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MARINA B: AN ONYX, EMERALD, RUBY AND DIAMOND 'NAJWA' NECKLACE, CIRCA 1982Designed as a rope of onyx beads, spaced by links set with pear-shaped cabochon emeralds, brilliant-cut diamonds, and onyx and ruby sections, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered W347, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay marks, with maker's case, length approximately 83cm (slightly extensible)Société Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000.For a similar model, page 75: 'Marina B. The Art of Jewellery Design', by Viviane Jutheau de Witt, first published in 2003 by Skira Editore S.p.A.  In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry.  Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses.  Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996.  Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit.  Condition Report: A couple of beads discoloured to the front near the clasp (discreet) and a dozen on the reverseEmeralds: of bluish-green hue, medium tone, overall well matchedRubies: of purplish-red hue, medium tone, overall well matchedDiamonds: bright and livelySignature on clasp + maker's mark 'MB' for Marina B located on the tongue of claspEagle's head for French 18K gold + stamped OR750Maker's mark for Marina B - numbered W347With maker's mark for Société Pierre-G BrunClasp closes securelyNormal signs of wear, commensurate with ageTotal gross weight approx. 130g

RENÉ BOIVIN: A COLLECTIBLE 'GROSEILLES' CULTURED PEARL RINGOf bombé design, set with graduated cultured pearls, each punctuated with dot gold detailing, mounted in 18K gold, signed René Boivin, with maker's mark 'Sté RB' for René Boivin, French assay mark, with maker's case, ring size I½ (Probably a design from Juliette Moutard, later reinterpreted by Marie-Caroline)A similar ring is illustrated, page 388, 'René Boivin, Paris', by Francoise Cailles, éditions de l'Amateur.René Boivin (1864–1917) began his jewellery career at seventeen, following his elder brother Victor’s footsteps by working first as a goldsmith’s apprentice and taking drawing lessons at a local art school. Having refined his skills in several workshops, he soon earned a reputation as a talented draughtsman, designer and engraver. By 1890, René was ready to start his own enterprise. He acquired his first workshop in Paris, equipping it with all the necessary tools and skilled craftsmen. A few years later, he moved to new premises on the rue de Turbigo and married Jeanne Poirot, sister of the esteemed French fashion designer Paul Poiret. The firm’s reputation grew rapidly by word of mouth, thanks to its meticulously crafted pieces and commissions from jewellers such as Mellerio and Boucheron. Though proficient in both modern and classical design, René developed a keen interest in naturalism; his solid background in botany led him to create life-like floral motifs. While Art Nouveau’s flowing curves were fashionable at the time, the Boivin workshop chose a more unconventional path to appeal to a more discerning clientele. Boivin’s wife Jeanne had already been deeply involved in the business, and after René’s untimely death in 1917, she took full control of Maison Boivin. Though she had not planned a career in jewellery, she quickly adapted to managing both the creative and financial aspects of the business. Jeanne not only upheld René’s legacy, but she also steered the firm through challenging post-war years, leading a workshop of around twenty artisans and establishing it as the only major jewellery house of its time run by women. Jeanne possessed a keen eye for talent. In 1919, she recruited Suzanne Vuillerme, later known as Suzanne Belperron, a new graduate from the Besançon Beaux-Arts Academy. Belperron’s innovative use of coloured stones, texture, and predominantly 18K yellow gold set her work apart from the prevailing Art Nouveau and Art Deco styles. Her collaboration with Jeanne brought renewed energy to the firm throughout the 1920s. In 1931, Belperron left to form a partnership with Bernard Herz, paving the way for Juliette Moutard to join the firm. Moutard was an experienced designer having worked at Verger Frères and designed for Cartier and Van Cleef & Arpels. She began her long-standing association with Maison Boivin in 1933. Under Jeanne’s guidance, Juliette flourished. She introduced bold, imaginative designs that embraced organic, feminine lines over rigid Art Deco forms. Jeanne further recognised Juliette’s talent by entrusting her with drawing duties for both herself and her daughter Germaine, who had recently joined the business. The close collaboration between Jeanne, Germaine, and Juliette created a unified creative force, often making it hard to pinpoint the origin of any single design. The firm’s approach was as distinctive as its jewellery. Clients were rarely given cost estimates or delivery dates, and customer gemstones or design ideas were only accepted for particularly significant patrons, such as the Duchess of Windsor and Millicent Rogers. Madame Boivin was so confident in her workshop’s output that she famously declared, “my style is my signature”, believing the pieces spoke for themselves. Many clients appreciated this unconventional method, knowing each design was unique, with few repeats and even fewer exact copies. Juliette Moutard dedicated her entire career to Maison Boivin, remaining at the firm even after Madame Boivin retired in 1954 and passed away five years later, leaving Germaine in charge. Together, Moutard and Germaine maintained the firm’s creative integrity and commitment to originality. Moutard retired in 1970 but stayed connected to the firm until her death in 1990. The family sold the jewellery house to their diamond supplier Mr. Perrier, and in 1967 Jacques Bernard took over, with a former Cartier workshop manager later assuming ownership. The 1980s brought revived interest in the Boivin Maison, first led by Marie-Caroline de Brosses and subsequently by Sylvie Vilein. The introduction of fresh, new creations that remained true to the Boivin style, attracting clients such as Hélène Rochas and the Aga Khan. The Asprey Group, acquired the firm before Nathalie Choay purchased it in 1999 to preserve its heritage and archives. Now overseen by Thomas Torroni-Levene, these documents will form the basis of a definitive book scheduled for publication this year, one that aims to record the complete history of René Boivin and highlight the contributions of each designer along the way. Condition Report:Cultured pearls: of white/cream tint with pink and green overtones, very good lustreSignature located inside mount, on the upper side of the galleryEagle's head for French 18K gold & maker's mark for René Boivin, 'RB with snake'Normal signs of wear, overall in good conditionTotal gross weight approx. 29.5g

BOUCHERON: A LADY'S DIAMOND-SET COCKTAIL WATCH, CIRCA 1975Of manual wind movement, the oval champagne dial with gilt hands, the bezel and lugs pavé-set with brilliant-cut diamonds, to a double ropetwist chain bracelet, with brilliant-cut diamond connectors, mounted in 18K gold, diamonds approximately 7.50-8.00cts total, dial and movement signed Boucheron, with maker's mark 'Sté M' for Roger Mathon, French export marks, case no. 98541, length 17.5cm Studies of similar models dated 1975 from the archives of Boucheron, page 178: 'Boucheron: Le Joaillier Du Temps', by Gilles Neret.Roger Mathon's workshop was founded in 1972 in Paris and executed fine works for Van Cleef & Arpels, Fred, Boucheron amongst others. Condition Report: Diamonds: approx. 7.50-8.00cts total, bright and livelyDial slightly stain, visible when tilting it with a bright light sourceClasp closes securelyIn running condition at the time of inspection - movement observed to be cleanNormal signs of wear, overall in good conditionTotal gross weight approx. 64.1gAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The movement is running at the time of cataloguing, however, it was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the future working of the movement. The jewellery department is happy to offer any additional assistance.

MARINA B: A MOTHER-OF PEARL AND GOLD RING, CIRCA 1980Of bombé design, centring a heart-shaped plaque, within a mother-of-pearl frame, to further mother-of-pearl shoulders, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered, with maker's mark 'GS' for Guillemin & Soulaine, French assay mark, ring size FGuillemin & Soulaine was a Parisian workshop established in 1955. They worked for jewellery houses such as Marina B, Bulgari, Harry Winston to name just a few. The workshop closed in 1984.In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry.  Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses.  Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996.  Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit.  Condition Report: Mother-of-pearl: of white body colour with pink and green overtones - a minor chip at the tip of one shoulderNumbered 1075/34Normal signs of wear, overall in good condition commensurate with ageTotal gross weight approx. 8.9g

AN IMPORTANT EMERALD AND DIAMOND NECKLACE AND EARCLIPS EN SUITE The necklace composed of graduated curved pavé-set brilliant-cut diamond links, with collet-set brilliant-cut diamond accents, each motif claw-set with a graduated oval-shaped emerald, to a concealed clasp; together with a pair of matching earclips, mounted in 18K gold and platinum, diamonds approximately 25.00cts total, with green leather pouch, length of necklace 38.5cm, length of earclips 2cmAccompanied by a report from the SSEF laboratory in Switzerland, stating that the twenty-two emeralds are natural, of Zambian origin, with strong green saturation, minor to moderate (oil & wax). Dimensions from approx. 12.20x9.20x5.80mm to 6.85x5.20x3.60mm. Report number 144739, dated March 3rd 2025.Emeralds have captivated civilizations for centuries, from Cleopatra’s Egypt to the Mayans and the Mughals. The name “emerald” comes from the Greek 'smaragdos', meaning “green gem,” symbolizing life and renewal. Over time, the emerald became legendary, thought to hold powers of prophecy and truth-telling, solidifying its status as a revered gemstone. For centuries, Colombia has been the most famous source of emeralds, renowned for their deep green colour with rich undertones. Colombian emeralds owe their striking hue to the presence of chromium and vanadium. These stones are often described as having a “velvety” softness. However, they typically contain more inclusions, known as jardin, which are natural characteristics of the gem but can impact its durability. Despite these inclusions, Colombian emeralds are still highly sought after for their rich, saturated green tones. In contrast, Zambian emeralds, which gained recognition in the late 20th century, have carved out a prominent position in the global gemstone market. These emeralds are known for their intense bluish-green hue and exceptional clarity, which results from the presence of iron rather than chromium. Zambian emeralds typically have fewer inclusions, giving them a cleaner appearance and making them more structurally durable. This clarity has made them increasingly popular among jewellers who value both beauty and resilience in gemstones. The Kagem Mine in Zambia’s Copperbelt Province, the world’s largest emerald mine, supplies around 25% of global emeralds. Notable finds include the 5,655-carat “Inkalamu” (2018), 1,225-carat “Kafubu Cluster” (2022), and 1,104-carat “Lion Emerald” (2017), cementing Zambia’s status as a leading source of large, high-quality emeralds with exceptional clarity. In recent years, Zambian emeralds have broken auction records, underscoring their growing value. A 56.87-carat piece by Chopard sold for over $1 million at Phillips Hong Kong in 2021, while a 17.43-carat emerald fetched £1.2 million at Bonhams London in 2022. Renowned jewellers such as Chopard, Graff, Boucheron, and David Morris have incorporated Zambian emeralds into their collections. High-profile figures like Julianne Moore at the 2016 Cannes Film Festival, Taraji P. Henson at the 2016 Golden Globe Awards, and Ellie Goulding at the 2020 Green Carpet Fashion Awards, have all been spotted wearing them. Condition Report:Largest emerald estimated to weigh approximately 3.70cts and smallest emerald estimated to weigh approximately 0.73cts. Emeralds of deep green hue, good transparency, overall well matched in colourDiamonds: approx. 25.00cts total, estimated colour approximately G, estimated clarity approximately VS2, one of the smallest diamond deficient near claspEarclips for non-pierced ears, clips with tight tensionClasp closes securelyMetal unmarked, tested by the jewellery department to be platinum and 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 94gAccompanied by a soft green case

RENÉ BOIVIN: A RARE CULTURED PEARL CLIP PENDANT BROOCH, CIRCA 1940Designed as a cluster of grapes, of various sized cultured pearls of cream tint, suspended from a polished vine leaf surmount, mounted in silver and gold, signed René Boivin, indistinct maker's mark, French assay marks, length 6.8cmAccompanied by a certificate of authenticity from René Boivin Joaillier, certifying that the brooch is an original piece manufactured by René Boivin, circa 1940, after a drawing by Juliette Moutard. Certificate no. 202503PEP, dated March 31st 2025.René Boivin (1864–1917) began his jewellery career at seventeen, following his elder brother Victor’s footsteps by working first as a goldsmith’s apprentice and taking drawing lessons at a local art school. Having refined his skills in several workshops, he soon earned a reputation as a talented draughtsman, designer and engraver. By 1890, René was ready to start his own enterprise. He acquired his first workshop in Paris, equipping it with all the necessary tools and skilled craftsmen. A few years later, he moved to new premises on the rue de Turbigo and married Jeanne Poirot, sister of the esteemed French fashion designer Paul Poiret. The firm’s reputation grew rapidly by word of mouth, thanks to its meticulously crafted pieces and commissions from jewellers such as Mellerio and Boucheron. Though proficient in both modern and classical design, René developed a keen interest in naturalism; his solid background in botany led him to create life-like floral motifs. While Art Nouveau’s flowing curves were fashionable at the time, the Boivin workshop chose a more unconventional path to appeal to a more discerning clientele. Boivin’s wife Jeanne had already been deeply involved in the business, and after René’s untimely death in 1917, she took full control of Maison Boivin. Though she had not planned a career in jewellery, she quickly adapted to managing both the creative and financial aspects of the business. Jeanne not only upheld René’s legacy, but she also steered the firm through challenging post-war years, leading a workshop of around twenty artisans and establishing it as the only major jewellery house of its time run by women. Jeanne possessed a keen eye for talent. In 1919, she recruited Suzanne Vuillerme, later known as Suzanne Belperron, a new graduate from the Besançon Beaux-Arts Academy. Belperron’s innovative use of coloured stones, texture, and predominantly 18K yellow gold set her work apart from the prevailing Art Nouveau and Art Deco styles. Her collaboration with Jeanne brought renewed energy to the firm throughout the 1920s. In 1931, Belperron left to form a partnership with Bernard Herz, paving the way for Juliette Moutard to join the firm. Moutard was an experienced designer having worked at Verger Frères and designed for Cartier and Van Cleef & Arpels. She began her long-standing association with Maison Boivin in 1933. Under Jeanne’s guidance, Juliette flourished. She introduced bold, imaginative designs that embraced organic, feminine lines over rigid Art Deco forms. Jeanne further recognised Juliette’s talent by entrusting her with drawing duties for both herself and her daughter Germaine, who had recently joined the business. The close collaboration between Jeanne, Germaine, and Juliette created a unified creative force, often making it hard to pinpoint the origin of any single design. The firm’s approach was as distinctive as its jewellery. Clients were rarely given cost estimates or delivery dates, and customer gemstones or design ideas were only accepted for particularly significant patrons, such as the Duchess of Windsor and Millicent Rogers. Madame Boivin was so confident in her workshop’s output that she famously declared, “my style is my signature”, believing the pieces spoke for themselves. Many clients appreciated this unconventional method, knowing each design was unique, with few repeats and even fewer exact copies. Juliette Moutard dedicated her entire career to Maison Boivin, remaining at the firm even after Madame Boivin retired in 1954 and passed away five years later, leaving Germaine in charge. Together, Moutard and Germaine maintained the firm’s creative integrity and commitment to originality. Moutard retired in 1970 but stayed connected to the firm until her death in 1990. The family sold the jewellery house to their diamond supplier Mr. Perrier, and in 1967 Jacques Bernard took over, with a former Cartier workshop manager later assuming ownership. The 1980s brought revived interest in the Boivin Maison, first led by Marie-Caroline de Brosses and subsequently by Sylvie Vilein. The introduction of fresh, new creations that remained true to the Boivin style, attracting clients such as Hélène Rochas and the Aga Khan. The Asprey Group, acquired the firm before Nathalie Choay purchased it in 1999 to preserve its heritage and archives. Now overseen by Thomas Torroni-Levene, these documents will form the basis of a definitive book scheduled for publication this year, one that aims to record the complete history of René Boivin and highlight the contributions of each designer along the way.  Condition Report: Pearls: of cream/white body colour, with pink and green overtones, some pearls with presence of growth marks, and some pearls with visible blemishesFrench assay mark: an oval with boar & eagle's head for - Mixed gold and silver - mark introduced in 1905. Mark located on the reverse of the leaf surmount. Eagle's head for 18K gold located on the two pins and indistinct maker's mark also on one pinSignature René Boivin located on the reverse of the leaf surmount.Normal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 22.36g

BOUCHERON: A GOLD AND SAPPHIRE COMPACT, WITH MATCHING LIPSTICK HOLDER, CIRCA 1935-40The rectangular powder compact, the exterior with reeded detailing with polished sides, the thumbpiece embellished with circular-cut sapphires between circular scrolls, opening to reveal a powder compartment and a mirror, in 18K gold, signed Boucheron Paris, patent mark BTE SGDG, French assay mark, numbered 864, length 9.4cm (excluding the thumpiece), width 8cm, depth 9.5mm; Together with a lipstick case of similar design, signed Boucheron Paris, numbered 15183, with maker's mark 'SAM' for Strauss, Allard & Meyer, French assay mark, length 5.1cm, with fitted pouch for both, total gross weight approx. 270.4g  Strauss, Allard & Meyer was a Parisian workshop between 1919-1941, located 11 place des Vosges. One of the most prominent box makers in Paris between the two wars. They worked for Boucheron, Van Cleef & Arpels, Cartier amongst many other prestigious jewellery houses. Condition Report: The power rectangular basket is removableMirror with some stains and wear commensurate with ageClosing securelyBoth with normal wear, overall in good conditionTotal gross weight for both: approx. 270.4g

MARINA B: A TOURMALINE 'PATRIZIA' RINGHorizontally set to the bezel, the oval-shaped pink tourmaline, set within a bi-coloured 18K gold hoop, signed Marina B, maker's mark 'MB', numbered, French import mark, ring size OCf: See Vivianne Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori for comparable rings, page 112, no. 214 (dated 1987). In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry.  Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses.  Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996.  Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit.  Condition Report: Tourmaline: of purplish-pink hue, medium tone, good transparency, facets are smoothNumbered C1510Normal signs of wear, overall in good conditionTotal gross weight approx. 12.1g

BOUCHERON: A DIAMOND PENDANTOf openwork bombé heart design, pave-set with brilliant-cut diamonds throughout, with single-cut diamond bale, mounted in 18K gold, diamonds approximately 2.90cts, signed Boucheron, with maker's mark 'AJV' for Atelier de Joaillerie Vendôme, French assay mark, length 3cm Condition Report: Diamonds bright and livelySignature & maker's mark located on the reverseNumbered 92928Eagle's head for French 18K gold located on the side of the pendantNormal signs of wear, overall in good conditionTotal gross weight approx. 4.7g

Collet-set round rubies and sapphires, interior with comb and holder, two covered compartments, one with powder mesh, two lipstick cases, signed Boucheron Paris, nos. BT875012, 81.488, 663, with maker's marks, French assay marks and export mark, c. 1940, ap. 307.4 dwts. gross. 5 1/8 x 3 3/8 x 3/4 inches. With fitted multicolored silk floral brocase carrying case with braided strap and button pocket.Tests as 14 kt.Colored stones: medium grayish blue and pinkish-red, moderately included, abraded.Dings to metal, some tarnishing and scratches. Comb missing one tine.Size with carrying case 7 5/16 x 4 5/16 x 1 inch. Strap length 8 1/2 inches. Discoloration to fabric and some fraying to silk threads.Tests as 14 kt. Colored stones: medium grayish blue and pinkish-red, moderately included, abraded. Dings to metal, some tarnishing and scratches. Comb missing one tine. Size with carrying case 7 5/16 x 4 5/16 x 1 inch. Strap length 8 1/2 inches. Discoloration to fabric and some fraying to silk threads.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Waterman Signe Boucheron, a limited edition blue resin and gold filigree fountain pen, nr 2632/3741, gold coloured cap with blue detail, transparent blue resin barrel with gold filigree decoration, the medium nib stamped 18K 750, cartridge filling system, original presentation box, guarantee card, booklet, cartridge converter, two boxes of ink cartridges and outer card packagingFrom a private collection of Export Manager of Parker/Waterman when based in Newhaven. Many pens appear to be for demonstration and may be prototypes for later models.Very lightly used, some light surface wear, slight rubbing of gold surface to cap

A fine link platinum necklace, with a Boucheron pendant box and with a letter dated Dec. 30 '32, headed 'Bateman's Burwash Sussex', and signed Carrie Kipling, Rudyard Kipling's wife, Caroline, the necklace measuring 46cmIn the convivial letter to Mrs Sernior, Carrie mentions that she will be sending a little necklace to a Pamela, possibly Mrs Sernior's daughter and goddaughter to Carrie.

Boucheron: A cord and shackle bracelet The series of white cord in figure-of-eights, centrally set with reeded barrel accents, connected by polished shackles, signed Boucheron, numbered, French assay marks, length 19.4cm, maker's case

BOUCHERON SAUTOIR en or jaune (750 millièmes) torsadé alterné de perles en chrysoprase. Agrémenté d’un fermoir à cliquet invisible signé et numéroté.Travail français, vers 1970. Signé BOUCHERON, Paris. Poinçon du Maître joaillier.Long. : 110 cm. Poids brut : 51gr.

A collage of jewellery designs by Cartier, circa 1960, pencil and gouache on parchment, each cut-out depicting a gem-set brooch design, to include a citrine-set owl, various lovebirds, an opal kingfisher, a fish and three ‘Moretto’ brooches, some numbered, with embossed Cartier stamp clipping, mounted on A4 card with glue and tape, together with a painted photograph of an enamel and gem-set bracelet by Boucheron, 1952, with typed caption reading ‘GOLD DIAMOND RUBY AND SAPPHIRE BRACELET DESIGNED BY GORDON ALLAN FOR HRH DUKE OF EDINBURGH AS HIS PERSONAL GIFT FOR HER MAJESTY THE QUEEN UPON THEIR FIFTH WEDDING ANNIVERSARY IN 1952. MADE FOR BOUCHERON LTD.’, various sizes. (2) £800-£1,200 --- Provenance: Formerly the property of the jewellery designer Gordon Henderson Allan, thence by family descent. The jewellery designer Gordon Henderson Allan was born in 1926 to James and Constance Allan. His father James was a silversmith and his three brothers were all also jewellers. He received a scholarship to The Hornsey College of Art before being conscripted to work in the Yorkshire Main Colliery during the war. In 1948 Gordon entered the annual craft design competition at Goldsmiths’ Hall and was awarded third place in the senior jewellery design category, judged by representatives from Cartier, Hennell & Sons, Hardys and Jacques Hurwitz. Around this time Gordon was working for Godman & Rabey, a jewellery workshop on Bond Street and makers to firms such as Boucheron and Chaumet. It was through this work that he became involved in designing the bracelet for Boucheron, illustrated here, gifted by HRH The Duke of Edinburgh to HM Queen Elizabeth II upon their fifth wedding anniversary. Later, upon hearing of an opening at Cartier, Gordon successfully applied for a position and worked there as a designer for over 20 years.

INTERNATIONAL WATCH CO. (I.W.C) FOR BOUCHERON AN 18 CARAT WHITE GOLD KEYLESS WIND OPEN FACE POCKET WATCH, NO. 12184, IMPORT MARK FOR GLASGOW 1925Movement: Bimetallic split balance, overcoil balance spring, lever escapement Case: 18 carat white gold three piece hinged case Dial: Silvered Size: 46mm Signed: Case and movement signed International Watch Co., dial signed Boucheron Accessories: White gold coloured chain, stamped with a poinçon Condition Report: Movement is currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to have noticeable marks and scratches. Hands show noticeable marks and tarnishing. Tip of minute hand corroded Glass has some scratches and marks when viewed under a 4x loupe. Case shows light scratches and marks. Hinges appear intact.Crown has light scratches and marking. Pocket watch - 49g grossChain - 16g This lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com             Condition Report Disclaimer

Boucheron Bergkristall-Rubin-ArmspangeFrankreich, 1980er Jahre. Signiert und nummeriert "Boucheron 5006". 750 Gelb-/Weissgold. Schauseite mit zwei Bergkristallen in Melonenschliff und besetzt mit zwei Rubin-Cabochons. B 1-1,3 cm. Innenmass 6x4,5 cm. 45 g.

ROLEX; a vintage Rolex The Watch Company black leather watch box, outer Rolex box, Rolex tag, Rolex Oyster Perpetual GMT-Master II booklet and Rolex links/straps, also a Boucheron les Montres blue leather multi-watch display case, in outer box (2).

A PAIR OF 'GRAINS DE MURE' AMETHYST EARRINGS BY BOUCHERON Featuring a pair of blackberry shaped carved amethyst, mounted to a yellow gold setting marked 'OR750' for 18K, signed 'Boucheron', alongside other marks such as the French eagle mark. 2.4cm high each side 6.1g Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A Selection of Wristwatch straps by Breitling, Boucheron, Chopard, Jaeger LeCoultre, etc and Other Wristwatch Straps and Bracelets, unmarked

A boxed Boucheron 18ct gold ruby and diamond bracelet set with rubies and brilliant cut diamonds, with sliding size adjustment. Retail price: £4,470.

A Limited Edition Waterman Boucheron cartridge/converter fountain pen in blue resin and gold filigree, with gold cap stamped with number 3699 to clip. having Waterman 18k 750 nib. No 3699/3741. Comes with original Watermans box, Guarantee card, booklet, cartridges, outer package. The number of the run 3741 comes from the addition of the founding dates of Waterman and Boucheron. The lot also includes a promotional package for the pen. This uninked pen is well worth a view. Condition Report - The outer white packaging is good, but has some small marks.  Other than that as new.

Platinbrosche mit Brillanten und Diamantbaguetten, wohl Frédéric Boucheron, Paris um 1950, gestempelt Hund und FB in Raute, Adlerkopf, 18 kt. für Nadel, Hundekopf für Platin, Handarbeit, flügelförmiges Oberteil, besetzt mit 17 Diamanten im 8/8-Schliff, 87 Diamanten im modernen Brillantschliff, ca. 2,60 ct., Farbe Weiß, Reinheit if-vvsi, 3 Anhänger besetzt mit 26 Diamanten im Baguette-Schliff, ca. 3,90 ct., Farbe Weiß, Reinheit if-vvsi, 3 Diamanten im modernen Brillantschliff, ca. 1,35 ct., Farbe Weiß, Reinheit if, Länge 9 cm, Breite 1,5 cm, Gewicht 24,04 g. 4610-0004Unsere Beschreibungen fertigen wir nach bestem Wissen und Gewissen. Wir geben keine Garantie auf Karatzahl oder Beschaffenheit der Edelsteine. Während der Vorbesichtigung haben Interessenten die Möglichkeit, die Stücke zu prüfen. 

Boucheron Paris A pair of 18 k gold and interchangeable carnelian, black onyx and tiger’s eye cufflinks.

Retailed by Boucheron, a silver cigarette case, maker's mark incuse P & R, London 1937, rectangular form, engine-turned decoration with bands of three colour gold decoration, the interior inscribed 'From Mother May 1943', with a silk pouch cover, length 10.2cm, approx. weight 4.6oz.Provenance: Stephen Demetriadi and then by family descent to the current owner. The case was given to Stephen Demetradi by his Mother in 1943, when he was serving in Palestine with the Cheshire Yeomanry.

BOUCHERON - an 18ct gold multi-strand pearl and diamond necklace, the graduated pearls ranging from 3.5mm - 3mm, with 2 Art Deco style clasps set with square and modern round brilliant-cut diamonds, signed Boucheron, import maker's marks PCJ, import hallmarks London 1982, 40cm, 26.7g . Condition Report:No damage or repair, pearls are well matched and have a good lustre, diamonds are very bright and lively with no obvious inclusions, fitting working, full UK hallmarks clear, marked 750

Boucheron, a sapphire and diamond ring, set with a baguette-shaped sapphire weighing 4.969 carats, within tapered baguette-shaped diamond shoulders in platinum, signed Boucheron, with rubbed maker's lozenge and French control mark, size JAccompanied by report number 143109 from SSEF dated 16th December 2024 stating that the sapphire shows no indication of heating, origin: KashmirAccompanied by report number 20020186 dated 9th March 2020 from Gubelin stating that the sapphire shows no indication of heating, origin: Kashmir

Boucheron, an enamel and diamond brooch, mid 20th century, of twisted design, pavé-set with brilliant-cut diamonds and applied with green guilloché enamel within textured gold borders, length 9.1cm, signed Boucheron Paris, numbered 18404, French assay mark for 18ct gold to pin, fitted case stamped Boucheron

Boucheron, a pair of diamond 'Quatre Classique' earrings, set with four rows including diamonds, pink gold, yellow gold and brown PVD, signed Boucheron and numbered H50700, with maker's mark and French control mark, post and clip fittings, length 2.2cm

Boucheron, a diamond 'Quatre Classique' ring, set with four rows including diamonds pink gold, yellow gold and brown PVD, signed Boucheron and numbered E66399, size O

3 Jewellery books including Boucheron The Secret Archives, Boucheron Capturing The Sparkle & Cartier Innovation

Boucheron Parfum Bottle, Frosted Crystal, Gold Toned Accents and a Blue Pyramid Crystal Top, Vintage, Hallmark No. 50261, backstamped inside the bottle, Vintage, 1980 Introduction, presented in a Blue Presentation Box with Gold Stamping from Boucheron, Paris, France. (Empty). This Lot includes the Parfum Bottle and Presentation Box. From the Archival Collection of Re Vann Galleries, G.Reasoner, Owner. Artist: BoucheronIssued: 1980Dimensions: 2.25"L x 1.75"W x 3 1/8"HManufacturer: BoucheronCountry of Origin: FranceCondition: Excellent

A SILVER GILT COMPACT MIRROR BY BOUCHERON. of oval-shape, each mirrored side enclosed by foliate and scrolling silver gilt decoration, signed Boucheron to the rim and with French marks, 7.5cm wide, 118 grams. *CR With some light wear.

Boucheron: An Art Deco Travelling Alarm Timepiece, signed Boucheron, Paris, white metal case with engine turned panels and ribbed sides, case signed and numbered 679614, dial with baton markers, mechanical movement, with original Boucheron red fitted case68mm wideCase with light surface scratches, movement and alarm are working, outer fitted case with small scratches and minor dents in parts, outer case with front strap missing to hold down the flap.

An 18ct white gold Boucheron ring. The 18ct white gold Boucheron ring having a swirled design to tapered shank. Marked Boucheron and 750 to inner shank. Size L. Weighs 11.7g. All weights, measurements and sizes are approximate.

goldsmith's hallmark 'A. Reza'H. circa 12 cm, diameter circa 21 cmgross weight: circa 950 gr.Condition: signs of wear, small accident to a petalAlexandre Reza (1922 - 2016), who was born in Moscow and emigrated to France as a child, became a gem dealer in Paris and, after the Second World War, quickly became a supplier to renowned jewellers such as Cartier, Harry Winston, Chaumet, Van Cleef & Arpels, Bulgari and Boucheron. In 1981, Alexandre Reza founded the company that bears his name in Paris and moved to Place Vend“me.

Boucheron Carré, 70s18k gold square case with reeded finishing, n.74612.Burgundy lacquer dial, painted roman numerals.Quartz movement.Boucheron leather strap and Boucheron gold sliding buckles.Size: 23 x 23 mm.

Two Boucheron magnifiers, one in white metal with blue glass finial, branded 'Boucheron Paris' to handle, 13cm long, in branded box, together with another magnifier in gilt metal branded 'Boucheron' to handle, 13cm long, in branded box, (2)

BOURCHERON: A PAIR OF VINTAGE DIAMOND CUFFLINKSin platinum, each comprising two circular terminals set with baguette cut diamonds over a stylised design, signed 'Boucheron Paris', French assay marks, terminals c.1.3cm, (c.11.5g gross weight)

BOUCHERON ULTRA-THIN CARRÉE, 18K YELLOW GOLD An 18K Yellow gold Ultra-Thin ‘Carrée' manual winding bracelet watch,Year : C. 1950 Dial : Gold with black painted round hour markers and a square marker at 12.Gold stick hands Calibre : Ultra thin manual winding Case : Bte 1203255 – 77169 Bracelet : Boucheron leather strap with 18K sliding mechanism fitting the case. Dimensions : Ø 25.5 (square) mm. Signature : Case Accessories : Original Box Condition Report: General remarks : Good general conditionCase : Good general condition, slightly scratchedDial : Good general condition, slightly scratch in circle by the hands.Hands : Good general condition, original handsRunning at the time of cataloguing, overhaul recommended at buyer’s expense

BOUCHERON: EMERALD AND DIAMOND RINGThe step-cut emerald weighing 7.34 carats, mounted on brilliant-cut diamond-set shoulders and gallery, signed Boucheron, maker's mark Sté B, French assay mark, ring size G (sizing spheres), maker's pouchFootnotes:Accompanied by report from The Gem & Pearl Laboratory stating that the emerald is of Colombian origin, with minor clarity enhancement. Report number 25341, dated 8th November 2024.Accompanied by a copy of a GRS report stating that the emerald is of Colombian origin, with insignificant evidence of clarity enhancement. Report number GRS2018-087303, dated 9th August, 2018.For further information on this lot please visit Bonhams.com

BOUCHERON: 'SERPENT BOHÈME' BRACELET/NECKLACE COMBINATION AND EARCLIP SUITEThe necklace composed of textured oval links alternating with pear shaped terminals pavé-set with brilliant-cut diamonds, converting to a pair of bracelets, earclips en suite, signed Boucheron, maker's marks, French assay marks, bracelets numbered A296 1003 and P5757, diamonds approximately 4.65 carats total, lengths: bracelets 19.0cm, necklace 38.5cm, earclips 2.0cm (2)For further information on this lot please visit Bonhams.com

BOUCHERON: DIAMOND-SET 'MARGUERITE' EVENING PURSE, CIRCA 1960Of textured finish with a repeating marguerite daisy motif, the scalloped clasp set with a graduation of brilliant and single-cut diamonds, accented by two baguette-cut diamonds, opening to reveal a bevel-edged mirror and bakelite comb, signed Boucheron Paris, maker's mark for Raymond Soubrenie, French assay mark, diamonds approximately 3.95 carats total, length 16.0cm, suedette pouchFor further information on this lot please visit Bonhams.com

BOUCHERON: AMETHYST, DIAMOND AND GEM-SET CUFF, CIRCA 1970Of textured finish, centering a large oval-cut amethyst, accented by brilliant-cut diamonds, with amethyst, chrysoprase and turquoise cabochons, signed Boucheron Paris, maker's mark for Atelier de Joaillerie Vendôme, numbered 1089, inner circumference 15.0cmFootnotes:Please note, VAT at the prevailing rate is applicable on both the Hammer Price and the Buyer's Premium. An additional duty of 2% plus VAT will also be charged on the Hammer Price.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

BOUCHERON: CITRINE AND DIAMOND-SET BROOCH AND EARCLIP SUITE, CIRCA 1954Of openwork foliate design, each stylised flower set with circular-cut citrines between beaded scrolls, accented with brilliant and single-cut diamonds, mounted in 18 carat gold, diamonds approximatively 1.05 carats total, signed Boucheron, maker's mark, London import mark, French assay marks, lengths: brooch 5.7cm, earclips 2.1cm, fitted maker's case (2)For further information on this lot please visit Bonhams.com

BOUCHERON: ART DECO AMETHYST, JADE AND DIAMOND RING, CIRCA 1930The cut-cornered rectangular amethyst set between carved jade and brilliant-cut diamond set shoulders, amethyst later set, signed Boucheron Paris, numbered (indistinct), partially struck maker's mark, French assay mark, ring size F½ (sizing spheres)For further information on this lot please visit Bonhams.com

BOUCHERON: DIAMOND-SET 'SERPENT BOHÈME' NECKLACE/BRACELET COMBINATIONComposed of textured oval links alternating with pear-shaped terminals pavé-set with brilliant-cut diamonds, converting to three bracelets, signed Boucheron, numbered 9644, maker's mark, French assay marks, diamonds approximately 4.75 carats total, lengths: necklace 55.3cm, bracelets 17.5-19.2cmFor further information on this lot please visit Bonhams.com

Boucheron. An 18ct gold manual wind square case wristwatch  Case No. 1203255, London import hallmark for 1962 Jewelled manual wind movement, gold case with cross-hatch square engraved case and crown, down tuned lugs, leather strap slide-attached to the case, case signed 19mm diameterCondition Report: Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece.

Boucheron. A diamond clip brooch, of stylised leaf design set with four intertwined lines of baguette diamonds, and a central line of brilliant-cut diamonds, signed in block capitals Boucheron, Paris, circa 1960, French assay mark for platinum, numbered 1548, length 5cmCondition Report: General surface wear/scratches to mount. Clasp in working condition. Diamonds appear bright, lively and well matched. Estimated total diamond weight approximately 5 - 6ct. 

An aquamarine and diamond cocktail ring, 1930s Claw-set with a rectangular step-cut aquamarine, each shoulder set with six eight-cut and round brilliant-cut diamonds, plain band, shank with partial Boucheron signature, numbered 7196, indistinct marks Ring size: M/N

BOUCHERON; a fine 18ct yellow gold aquamarine and diamond ring, the rectangular step cut aquamarine weighing 19.18ct, with seven round brilliant cut diamonds flanking one side and three the other, signed and presented in Boucheron pouch, size I, approx 12.3g.Provenance: Presented with insurance valuation of £16,000 detailing the aquamarine colour as being very strong blue, quality fine. The shank having applied sizing beads.Condition Report: Presented in excellent condition. There are no chips, cracks or damage to the aquamarine. The diamonds are facing up nicely, are of good colour and clarity. The only comment would be the application of the two sizing beads, one of which is obscuring the hallmark.

BoucheronFederbroscheParis, Mitte 20. Jh.18kt Gelb- und Weißgold, eingeschliffene Rubine, Diamanten im Brillantschliffauf der Broschierung signiert: BOUCHERON PARIS6,1 x 4,8 cm

Boucheron a ladies Reflet watch medium, with blue crocodile and grey satin interchangeable straps Dimensions: 7 in. (L)

Boucheron Paris, Circa 1990s A fine 18 carat yellow gold and diamond Serpent Boheme necklace. The clasp signed and numbered 'A841X376.' With original blue leather and suede case. Length: 40 cm. Weight: Approx. 47.56 grams

A Boucheron silver and silver gilt ruby set powder compact of rectangular form with ribbed sides, the hinged cover inset with a pierced and engraved openwork panel of two squirrels amidst branches, leaves and flowers, set with five cabochon rubies, opening to reveal a mirror and hinged powder compartment, signed 'Boucheron Paris', numbered 'BT No. 875012' and with French boar's head guarantee marks, length 7.6cm, with pouch, together with a similar Boucheron silver and silver gilt lipstick case of cylindrical form, decorated with pierced and engraved flowers set with five cabochon sapphires, one end signed 'Boucheron-London' and numbered 'BT No. 875012' and '7023/3', length 5.3cm, with pouch.

A Boucheron silver and silver gilt ruby set powder compact of rectangular form with ribbed sides, the hinged cover inset with a pierced and engraved openwork panel of a flower basket, set with five cabochon rubies, opening to reveal a hinged mirror and powder compartment, signed 'Boucheron Paris', numbered 'BT No. 875012' and with French boar's head guarantee marks, length 8.2cm.

Boucheron - a two-tone link bracelet in 18ct gold, of ridged design, alternating with white and yellow gold bar links, completed with a lobster clasp, signed, struck with Italian hallmarks and British import marks, 19.0 cm in length, 32.5 grams.

A ladies' gold mechanical watch, c.1960, the curved rectangular case with a champagne dial, black enamel hour markers, and spade hands. Snap-off case back with indistinct engraved case number. A 15 jewel manual winding movement by Gervaux Watch Co. A mesh link bracelet with a ladder clasp. Unmarked and tested as approximately 14ct gold, 44.37gCondition ReportWinds and ticking but no guarantee as to time keeping or continued running.Dial signed Boucheron, but it could be a later fitted dial.

A pair of fine late 19th century French studs by Frédéric Boucheron, the oval damascene steel plaques with highly decorative vari-coloured Mannerist style gold and metal inlay, depicting formal figural scenes including birds and animals, with scroll and arabesque detailing, mounted in gold, French assay marks, lozenge maker’s marks, with Boucheron case, plaque dimensions 28 x 21mm. £800-£1,200 --- This style of metalwork originated in Damascus, hence its name, and is thought to date back to 700 AD. The process involves inlaying different metals, usually gold or silver, into a darkly oxidized steel background, to create intricate patterns similar to niello. It is likely that the damascene plaques in this lot are by the French engraver Jean-Claude Tissot (1811-1889).

A pair of diamond ear clips by Hans Georg Mautner, 1963, each designed as two overlapping leaves formed from ropetwist wires and centred with three brilliant-cut diamonds, mounted in 18ct gold, maker’s mark, London hallmark, total diamond weight approximately 0.30 carat, length 20mm. £800-£1,000 --- Hans Georg Mautner (1901 - circa 1972) Born in Austria, Mautner undertook his apprenticeship in Prague , then working for the wholesale jeweller Bethhold Muller in Hanau. In 1925 he established his own workshop and retail premises in Vienna, exhibiting regularly at the Künstlerhaus, Vienna’s oldest surviving Arts Society. His work from this early period is sculptural and Art Deco in design. He went on to win a silver medal at the Milan Triennale in 1933, and a gold medal at the Paris Exhibition of 1937. Mautner moved to London in 1938, where he set up a workshop in Hatton Garden. Little is known about him during the 1940s, but through the 1950s and 1960s he produced jewellery for S. J. Rood of Burlington Arcade, Boucheron of Old Bond Street and Garrard & Co. Ltd. of Regent Street. Condition Report Gross weight 13.8gm.