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Lot 208
A refined 4-piece Boucheron Eau de Parfum collection, beautifully presented in the brand's iconic deep blue and gold gift box. This set includes three factory-sealed 100ml (3.3 fl oz) spray bottles and one unboxed jewel-inspired presentation bottle alongside a matching blue orb container for body cream, all housed in a coordinating display case. Known for its timeless floral and oriental scent profile, Boucheron Eau de Parfum evokes elegance and sophistication in every spritz. Largest item measures 9.25"H.Issued: 21st centuryDimensions: See DescriptionCountry of Origin: FranceCondition: Age related wear.
Lot 462
A gold and sapphire vanity case by Cartier, circa 1920, of rectangular form, set to the front and base with repeating sapphire cabochons, each within a flowerhead motif, with similarly-set thumbpiece, opening to reveal mirror, powder compartment with cover and lipstick holder, signed ‘Cartier Paris’, maker’s marks (misstruck), French assay marks, numbered ‘02324’, dimensions 8.4 x 7.4 x 1.3cm. £6,000-£8,000 --- Following the end of World War II, women had achieved a new level of emancipation and confidence: it was now considered acceptable to smoke in public, (previously the preserve of men), and to wear cosmetics, even to be seen in public applying makeup. After the years of deprivation, this post-war era excited a new taste for the glamorous lifestyle. To match these lifestyle changes, the 1920s and 30s saw the finest jewellery houses such as Cartier, Boucheron, Lacloche Frères and Van Cleef & Arpels producing exquisite luxury miniature vanity cases and nécessaires of the highest craftsmanship. Condition Report Abrasions visible to surface of some sapphire cabochons. A small dent evident to one of the side of the case. Otherwise in very good condition. Lozenge mark and French assay mark visible to underside of lid (above mirror), lipstick and under powder compartment. Gross weight 243.2gm.
Lot 106
Includes three boxed bottles of Boucheron Eau de Parfum, each in sealed packaging. Two are presented in an elegant deep blue gift box with signature glass flacons"one in amber-tone glass with a gold-tone collar and another in deep blue, designed with sculptural, jewel-like forms emblematic of Boucheron's luxurious aesthetic. The third component consists of a group of three additional individually boxed Boucheron Eau de Parfum 100 ml sprays, also sealed and in pristine condition. Boucheron is a renowned French fragrance house known for its sophisticated and timeless scents. Largest box measures 9.5"L x 9.5"H. Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Lot 71
VERGER FRÉRES FOR BOUCHERON, A PLATINUM, DIAMOND AND PEARL WRISTWATCH WITH ENAMEL DIAL BY PAILLET CIRCA 1910 The elongated octagonal ivory dial painted with putti and doves, with a central Arabic hour ring, within a rose-cut diamond bezel, to a woven link bracelet with seed pearl border, maker's mark FV, French platinum poincon, dial signed Paillet, fitted gilt tooled leather case by Boucheron with gilt initials I.R.H Size/dimensions: 17.2cm long Gross weight: 31.8 gramsPlease note Dreweatts have applied for a de minimis exemption licence for the ivory in this lotRef: 59BUMKTNY Indicates that this lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding. Condition Report: Glass, minute hand, one diamond and one seed pearl deficient. Numbered on case back 5318V. Case back has not been opened. Hand can be set. Movement not currently winding or ticking. Running order cannot be guaranteed. Painted dial in good condition, with some light surface wear and traces of dirt. Rose cut diamonds overall well matched, one diamond deficient. Seed pearls have not been tested and are unwarranted as natural. Well matched with good lustre overall. Links articulated well and clasp closes securely, with additional safety chain provided. Boucheron box with some staining and scratches Condition Report Disclaimer
Lot 102
Three-piece Boucheron fragrance and body care set, all with original packaging. Includes two bottles of Boucheron perfumed body lotion in 8.5 fl oz and 6.7 fl oz sizes, each in branded retail boxes. Also included is one 3.3 fl oz bottle of Boucheron Eau de Parfum presented in a plain white box marked Tester, with Boucheron branding. A great bundle for personal use or fragrance enthusiasts looking to experience this classic French scent collection.Dimensions: Largest box measures 6.75"HCondition: Age related wear.
Lot 264
Pair of sealed Boucheron Eau de Parfum bottles, presented in their original packaging. Known for its luxurious and sophisticated fragrance, Boucheron Eau de Parfum is a timeless scent blending floral, citrus, and oriental notes. This iconic perfume, introduced by the historic French jewelry house Boucheron, opens with vibrant top notes of mandarin, orange blossom, and basil, followed by a heart of jasmine, ylang-ylang, and tuberose, and a warm base of amber and vanilla. The bottles remain factory sealed, ensuring the contents are in pristine condition and ideal for collectors or gifting. Largest box measures 4"L x 4.5"H. Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.
Lot 307
BOUCHERON CUSHION-SHAPE IN GOLD, 70s - Case: punched and hallmarked, n. 83515, gold, snap on casebacK. Bracelet/Strap: signed clasp, patent n. 7023160. Dial: signed, champagne, Roman numerals. Movement: manual-winding caliber Lip R100. Accessories: – Diameter: 26 mm Note: running at the time of cataloguing, but a servicing is suggested.
Lot 238
A LATE 19TH/EARLY 20TH CENTURY ENAMEL AND GOLD SCENT BOTTLE BY BOUCHERON. A LATE 19TH/EARLY 20TH CENTURY ENAMEL AND GOLD SCENT BOTTLE BY BOUCHERON. the green enamel body with applied bow and foliate decoration, signed Boucheron, Paris to the inside lid, with French marks, 8cm long, 32.8 grams, with fitted case by Boucheron. *CR No obvious damage or repair.
Lot 342
A sterling silver and gold travel alarm clock, by Boucheron, of revolving hinged design, reeded silver case with polished gold borders, engine turned gilt dial with baton hour markers, luminous filled baton hands, blued second hand, engraved Boucheron Paris, patent no.679614, serial no. 73019, maker's mark, French assay marks, 68 x 68mmCondition ReportCurrently running, winds and ticking at time of cataloguing.Fully wound. Hands adjust, by hinged crown at base of dial. Alarm adjusts by button.Some corrosion visible to blued steel hands, with discolouration to luminous centre.Scratches and watermarks to dial.Marks and scratches to case.Tarnish.
Lot 4
Boucheron Schminkdose mit SpiegelParis, um 1940, 950 Silber, punziert, Minervakopfmarke, dazu bezeichnet 'Boucheron-Paris', aufgesetzte Blütenverzierung Gold, 5 kleine Rubine, inseitig zwei Klappdeckel, 1 Spiegel, 8,3 x 5,7 x 1,2 cm, Gewicht ca. 160 g, Schutzkassette anbei, Sprungmechanismus eines Klappdeckels innen hakt
Lot 59
Cartier. An exquisite silver, enamel, agate and diamond Mignonnette clock French, No.99458. made circa 1910 Key-wind mechanical movement, white enamel dial with fancy numerals, outer minute track, diamond-set hands, translucent canary yellow enamel over silver radial guilloché case with white enamel border with sliding key holes to reverse, star-set rose-cut diamonds to the sides, platinum diamond-set bezel, on an agate base with moulded edges. Dial signed, case and movement numbered, French maker's mark and partially struck assay mark. Approx. 60mm high, base 44mm wide x 39mm deep. Property of a noblewoman, to the best of our knowledge, this is the first time this clock has been offered publicly for sale. A very similar Mignonnette clock in pink enamel is illustrated and described on page 83 in the book ‘The Cartier Collection’ - Timepieces, published by Flammarion.Cartier's contact with Russia began with Pierre Cartier's visit to Moscow and St Petersburg in 1904-5. The opulence of taste in Imperial Russia meant that the environment was ripe for French jewellers. Cartier's Parisian rivals Boucheron opened in Moscow in 1897 to much acclaim. Cartier never opened a physical permanent store there but hosted exhibitions twice a year from 1908-1914.Russia's premier jeweller Fabergé influenced global styles to the extent that Cartier started to produce works in what is now referred to as the “Russian Style” in 1906. Their creations in this style are not as well documented but include jewellery, objects de art, clocks and lapidary works. They even employed the same suppliers and workshops as Fabergé. Their enamelwork was created using the same techniques. The bright canary yellow of this clock was created by applying layer after layer of enamel over a fine engine turned based. For over a decade, Fabergé and Cartier were rivals of sorts with clients shopping indiscriminately between the two. However when Fabergé closed their London store in 1917 clients transferred over to Cartier.
Lot 261
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
Lot 60
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
Lot 109
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.
Lot 277
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
Lot 116
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
Lot 58
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
Lot 62
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
Lot 258
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
Lot 148
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
Lot 88
Boucheron, two jewellery cases, one brooch case in teal leather, stamped Boucheron London, New York, St Petersburg and Paris, approximately 6 x 6 x 2.4cm; and a bracelet box in white leather stamped Boucheron, length 25.5cm Scuffs and tears, back of brooch box lid restuckPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 321
A pair of French mid 20th century gem-set ear clips by Boucheron each designed as a 'C' scroll with a central stylised rope twist band of alternating blue and yellow carved cabochons (probably sapphire but untested) with brilliant-cut diamond detail and linear borders, signed 'Boucheron' and maker's lozenge 'SteB', numbered 'P36237', stamped with French control marks for gold and 'OR750', contemporary fitted maker's cream case width 1.6cm, 22.7g, Overall condition good. Diamonds: bright Coloured stones: well matched and not as illustrated. one blue stone nearest clip spring slight crack near upper edge Condition: Overall condition good. Diamonds: bright Coloured stones: well matched and not as illustrated. one blue stone nearest clip spring slight crack near upper edge. IT HAS COME TO OUR ATTENTION THAT THE COLOURED STONES ARE POSSIBLY CITRINES AND IOLITES.
Lot 322
A French mid 20th century emerald and diamond-set ring by Boucheron centrally-set with a rectangular cut-cornered emerald weighing approx. 3.10cts, claw-set to either side with a triangular-cut and baguette-cut diamond collets above the pavé-set diamond surround, signed 'Boucheron', stamped '750' and with a French poinçon, contemporary maker's fitted cream case ring size Q1/2, 8.6g Condition: Overall condition good/very good. Little sign of wear. Emerald: 9.1 x 7.7 x 6.2mm, strong vibrant green with relatively few inclusions (a few near one claw) Diamonds: trilliants each spreading 0.40-0.50cts approx., K/L, VS2/SI1; others bright with good clarity and colour With a GCS report, numbered 5785-1781, dated 25 March 2025 stating that the emerald is Colombian with indications of minor clarity enhancement
Lot 1037
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
Lot 89
BOUCHERON: MONTRE DE DAME DIAMANTS, CIRCA 1950Le boîtier de forme rectangulaire serti de diamants de taille 8/8 et décoré de motifs torsadés en or, sur un bracelet souple à maille 'brique', mouvement mécanique Omega, signée Boucheron Paris Ω, numérotée, poinçons français pour l'or 18K (750 ‰) et pour le platine (850 ‰), longueur 17.50 cm, dimensions du boîtier 2.50 x 2.00 cm, poids brut 70.05 g.BOUCHERON: DIAMOND LADY'S BRACELET WATCH, CIRCA 1950The rectangular case set with single-cut diamonds, decorated with gold twisted motifs, on a woven brick-link bracelet, Omega mechanical movement, signed Boucheron Paris Ω, numbered, French assay marks for 18 carat gold and for platinum, length 17.50 cm, dial dimensions 2.50 x 2.00 cm, gross weight 70.05 grams.For further information on this lot please visit Bonhams.com
Lot 5
BOUCHERON: PAIRE DE CLIPS D'OREILLES DIAMANTS, CIRCA 1985Chacun formant des volutes godronnées, partiellement serti de diamants de taille brillant, signé BOUCHERON, poinçons français pour l'or 18K (750 ‰), longueur 2.60 cm, poids brut total 19.23 g.BOUCHERON: PAIR OF DIAMOND EARCLIPS, CIRCA 1985Each designed as a fluted scroll motifs, partially set with brilliant-cut diamonds, signed BOUCHERON, French assay marks for 18 carat gold, length 2.60 cm, total gross weight 19.23 grams.For further information on this lot please visit Bonhams.com
Lot 91
BOUCHERON: MONTRE DE DAME DIAMANTS, CIRCA 1954Le boîtier de forme rayonnante, accentué de douze diamants de taille brillant, sur un bracelet jonc ouvrant, la monture en or jaune godronné, mouvement manuel à remontage mécanique, signée Boucheron Paris, numérotée, poinçons français pour l'or 18K (750 ‰) et pour le platine (850 ‰), circonférence intérieure 14.50 cm, poids brut 39.29 g.BOUCHERON: DIAMOND LADY'S WATCH, CIRCA 1954The radiant dial, highlighted by twelve brilliant-cut diamonds, to an hinged bracelet, the fluted mount in 18 carat gold, mechanical movement, signed Boucheron Paris, numbered, French assay marks for 18 carat gold and platinum, inner circumference 14.50 cm, gross weight 39.29 grams.For further information on this lot please visit Bonhams.com
Lot 119
MONTURE BOUCHERON: BAGUE SAPHIR ET DIAMANTSLe cabochon de saphir pesant 11.87 carats dans un entourage de diamants de taille baguette et de taille brillant, signée MONTURE BOUCHERON, poinçon français pour le platine (850 ‰), poinçon de maître pour Robert SUBLON, tour de doigt 56 à 57 (anneau de mise à taille), poids brut 13.74 g.Accompagnée d'un rapport d'analyse du Bellerophon attestant l'origine birmane (Myanmar), sans indication de traitement thermique pour ce saphir. Rapport no.A14435 en date du 27 janvier 2025.MONTURE BOUCHERON: SAPPHIRE AND DIAMOND RINGThe sapphire cabochon weighing 11.87 carats within a baguette and brilliant-cut diamond surround, signed MONTURE BOUCHERON, French assay mark for platinum, maker's mark for Robert SUBLON, ring size P to P½ (presence of sizing ring), gross weight 13.74 grams.Accompanied by a report from Bellerophon stating that the sapphire is of Burma (Myanmar) origin, with no indications of heating. Report no.A14435 dated 27th January 2025.Footnotes:Au cours du XXe siècle, les clients fidèles des joailliers de la Place Vendôme pouvaient venir en boutique avec leurs pierres précieuses, héritées ou rapportées d'un voyage. La maison créait une monture sophistiquée, selon les goûts du client et de l'époque, pour mettre en valeur la pierre. Ainsi, un bijou dont la pierre était apportée chez Boucheron était signé 'Monture Boucheron', indiquant que seule la monture était fabriquée par la maison, tandis que la pierre provenait de la collection personnelle du client.During the 20th century, loyal clients of the jewelers on Place Vendôme could come to the boutique with their precious stones, inherited or brought back from a trip. The house would create a sophisticated setting, according to the client's tastes and the fashion of the time, to highlight the stone. Thus, a piece of jewelry with a stone brought to Boucheron would be signed 'Monture Boucheron,' indicating that only the setting was made by the house, while the stone came from the client's personal collection.For further information on this lot please visit Bonhams.com
Lot 67
MONTURE BOUCHERON: BROCHE CLIP PERLE DE CULTURE ET DIAMANTS, CIRCA 1960Formant une fleur stylisée, le pistil orné d'une perle de culture blanche de forme ronde, les pétales ponctués de diamants de taille ancienne et de taille brillant, signée MONTURE BOUCHERON, numérotée, poinçons français pour l'or 18K (750 ‰) et pour le platine (850 ‰), poinçon de maître pour Atelier de Joaillerie Vendôme, dimensions 5.20 x 3.30 cm, poids brut 20.95 g.MONTURE BOUCHERON: CULTURED PEARL AND DIAMOND CLIP BROOCH, CIRCA 1960Designed as a stylised flower, the pistil set with a round-shaped white cultured pearl, the petals accented by old brilliant and brilliant-cut diamonds, signed MONTURE BOUCHERON, numbered, French assay marks for 18 carat gold and platinum, maker's mark for Atelier de Joaillerie Vendôme, measurements 5.20 x 3.30 cm, gross weight 20.95 grams.For further information on this lot please visit Bonhams.com
Lot 12
BOUCHERON: BRACELET RUBIS ET DIAMANTS, CIRCA 1960Formant un feuillage stylisé, la succession de maillons ajourés, articulés et ponctués de rubis de forme circulaire et de diamants de taille brillant, signé Boucheron Paris, numéroté, poinçons français pour l'or 18K (750 ‰), poinçon de maître pour André VASSORT, longueur 19.00 cm, poids brut 61.37 g.BOUCHERON: RUBY AND DIAMOND BRACELET, CIRCA 1960Of openwork design, the articulating series of foliage motifs accented by circular-cut rubies and brilliant-cut diamonds, signed Boucheron Paris, numbered, French assay marks for 18 carat gold, maker's mark for André VASSORT, length 19.00 cm, gross weight 61.37 grams. For further information on this lot please visit Bonhams.com
Lot 55
BOUCHERON: MONTRE BRACELET DE DAME DIAMANTS, CIRCA 1960Le clapet serti de diamants de taille brillant, ouvrant sur un cadran rectangulaire, sur un bracelet ajouré et tressé de fils torsadés partiellement serti de diamants de taille brillant, mouvement mécanique signé Omega, signée Boucheron Paris Ω, numérotée, poinçons français pour l'or 18K (750 ‰), poinçon de maître pour Verger Frères, circonférence intérieure 15.00 cm, accompagnée de maillons supplémentaires, poids brut total 75.84 g.BOUCHERON: LADY'S DIAMOND BRACELET WATCH, CIRCA 1960The flap set with brilliant-cut diamonds, opening to reveal a rectangular dial, on an openwork braided ropes twist bracelet, partially set with brilliant-cut diamonds, mechanical movement signed Omega, signed Boucheron Paris Ω, numbered, French assay marks for 18 carat gold, maker's mark for Verger Frères, inner circumference 15.00 cm, with extra links, total gross weight 75.84 grams.For further information on this lot please visit Bonhams.com
Lot 88
BOUCHERON: MONTRE BRACELET DE DAME DIAMANTS, CIRCA 1950Le boîtier de forme rectangulaire avec un cadran à fond guilloché, accentué de diamants de taille brillant, sur un bracelet souple à maille 'brique', mouvement mécanique, signée Boucheron Paris, numérotée, poinçons français pour l'or 18K (750 ‰) et pour le platine (850 ‰), longueur 17.50 cm, dimensions du boîtier 1.60 x 1.40 cm, poids brut 34.56 g.BOUCHERON: LADY'S DIAMOND BRACELET WATCH, CIRCA 1950The rectangular case with a guilloché dial, highlighted by brilliant-cut diamonds, to a woven brick-link strap, mechanical movement, signed Boucheron Paris, numbered, French assay marks for 18 carat gold and for platinum, length 17.50 cm, dial dimensions 1.60 x 1.40 cm, gross weight 34.56 grams.For further information on this lot please visit Bonhams.com
Lot 6
BOUCHERON: COLLIER DIAMANTS, CIRCA 1985Composé d'une succession de maillons à motifs de volutes godronnées, partiellement serti de diamants de taille brillant, signé BOUCHERON, poinçon français pour l'or 18K (750 ‰), longueur 40.50 cm, poids brut 99.49 g, accompagné d'une pochette de la maison Boucheron (abîmée).BOUCHERON: DIAMOND NECKLACE, CIRCA 1985The succession of fluted scroll motif links, partially set with brilliant-cut diamonds, signed BOUCHERON, French mark for 18 carat gold, length 40.50 cm, gross weight 99.49 grams, accompanied by a pouch from Boucheron (damaged).For further information on this lot please visit Bonhams.com
Lot 17
BOUCHERON: POUDRIER ÉMAIL ET DIAMANTS, CIRCA 1925De forme rectangulaire, orné d'émail noir, décoré d'une fleur et d'un fermoir sertie de diamants de taille rose, ouvrant sur un miroir, deux compartiments à poudre et un étui à rouge à lèvres, la monture en or jaune et en platine, signé Boucheron Paris, numéroté, poinçons pour l'or 18K (750 ‰) et dispense accordée pour le platine (850 ‰), dimensions 9.00 x 5.00 x 1.50 cm, poids brut 225.19 g.BOUCHERON: ENAMEL AND DIAMOND POWDER COMPACT, CIRCA 1925Of rectangular form, the black enamel decorated with a flower and a clasp set with rose-cut diamonds, opening to reveal a mirror, two powder compartments and a lipstick holder, mounted in yellow gold and platinum, signed Boucheron Paris, numbered, French assay marks for 18 carat gold and exempt from platinum hallmarks, measurements 9.00 x 5.00 x 1.50 cm, gross weight 225.19 grams.For further information on this lot please visit Bonhams.com
Lot 4
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
Lot 34
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.
Lot 62
BOUCHERON Anhänger "Plume de Paon" mit Diamanten, davon 1 Diamant im Rosenschliff von ca. 0,47 ct, umgeben von kleinen Brillanten und weitere Brillanten in der Kette, alle zus. ca. 1,38 ct, ca. HFW-FW (D-F)/IF-VS, aus der Serie "Nature Triomphante" Clip-Anhänger Pfauenfeder 6x2,5 cm, Nr. L65342 an Collierkette L. 85 cm, Nr. L65842, GG 18K, 25,9 g, Kauf in 2020, guter Erhalt, mit Herstellergravuren und WEMPE Kaufbeleg. | BOUCHERON pendant "Plume de Paon" with 1 rose-cut diamond ca. 0.47 ct surrounded by small brilliant-cut diamonds and further brilliant-cut diamonds in necklace totalling ca. 1.38 ct, ca. EW-RW (D-F)/IF-VS, out of series "Nature Triomphante" clip-pendant peacock feather 6x2.5 cm, No. L65342 with necklace L: 85 cm, No. L65842, 18K yellow gold, 25.9 g, purchase in 2020, good condition, with maker's engravings and WEMPE sales receipt.
Lot 63
BOUCHERON Ohrringe "Serpent Bohème Diamants" Multi-Wear, aktueller NP (2025): 59.800 €, 2-teilige Ohrhänger mit 156 Brillanten von zus. ca. 6,15 ct, ca. HFW-FW (D-F)/IF-VS, GG 18K, 26,9 g, L: 4/11 cm (untere 5 Elemente aushakbar), Clips mit wegklappbaren Stiften, Kauf in 2020, guter Erhalt, graviert BOUCHERON L64163, mit BOUCHERON und WEMPE Zertifikate und WEMPE Kaufbeleg. | BOUCHERON earrings "Serpent Bohème Diamants" Multi-Wear, current NP (2025): 59,800 €, two-part earhangers with 156 brilliant-cut diamonds totalling ca. 6.15 ct, ca. EW-RW (D-F)/IF-VS, 18K yellow gold, 26.9 g, L: 4/11 cm (lower 5 elements can be unhooked), clips with fold-away pins, purchase in 2020, good condition, engraved BOUCHERON L64163, including BOUCHERON and WEMPE certificates and WEMPE sales receipt.
Lot 447
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.
Lot 3278
Boucheron, Tentation macaron, collier or gris et or noirci 750 retenant un centre serti d'un côté de saphirs roses taille rond et de l'autre d'un cabochon d'améthyste, signé, numéroté E67275, long. 42.5 cm ConditionTrès bon état de conservation général. Quelques micro rayures, en particulier à l'or noirci. Gemmes: Très bon état général.
Lot 2823
Verger Frères pour Boucheron et Omega, montre-bracelet en or 750 tresséMouvement: cal. 212, mécanique, 17 rubis, n°13259869Boîtier: n°71.567/4626/4404, larg. 18 mmSignature Verger Frères: boîtierSignature Boucheron: cadran, mouvement, boîtierSignature Omega: mouvement, boîtierPoids: 68g ConditionEtat général: Bon. Cadran doré: Etat moyen, rayures prononcéesAiguilles dorées: Très bon état, présence de poussières.Verre: Excellent état. Boîtier et bracelet: Bon état, présence de rayures et de micro rayures d'usage normal. Traces d'oxydation.Circonférence env. 16.8 cm.Poids: 68g. La montre est en état de marche au moment de la rédaction du catalogue. Ce fait doit être mis en rapport avec son âge. Nous ne garantissons pas son fonctionnement futur. Elle n'a pas été testée sur une longue période et nous ne garantissons donc pas la justesse de fonctionnement du mouvement ni celle de la réserve de marche. Des services ou restaurations ont pu être réalisés sur l'intégralité de la montre entraînant un remplacement des pièces qui pourraient donc ne pas être d'origine (cadran, aiguilles, parties du mouvement, bracelet...). La montre ayant été ouverte, nous ne garantissons pas son étanchéité. Sauf mention contraire, nous n'avons pas d'information sur le dernier service réalisé et nous vous conseillons de procéder à la révision de la pièce.
Lot 2756
Boucheron, Ed. pour les 150 ans, montre en or gris 750 sertie de diamants et de diamants jaunesMouvement: cal. GP4000, automatique, 27 rubisBoîtier: n°100-3199, diam. 38 mm, fond partiellement en verre laissant apparaître le mouvementBracelet Boucheron: galuchat orange clair avec boucle ardillon or gris 750 BoucheronSignature Boucheron: cadran, boîtierSignature Girard-Perregaux: mouvement ConditionEtat général: Très bon. Cadran argenté serti de diamants et de diamants jaunes taille brillant: Excellent état.Aiguilles argentées: Excellent état.Verre: Excellent état.Boîtier: Très bon à excellent état.Lunette sertie de diamants et de diamants jaunes taille brillant.Boucle ardillon Boucheron en or rose 750: Très bon à excellent état.Bracelet Boucheron en galuchat orange clair: Très bon état. La montre est en état de marche au moment de la rédaction du catalogue. Ce fait doit être mis en rapport avec son âge. Nous ne garantissons pas son fonctionnement futur. Elle n'a pas été testée sur une longue période et nous ne garantissons donc pas la justesse de fonctionnement du mouvement ni celle de la réserve de marche. Des services ou restaurations ont pu être réalisés sur l'intégralité de la montre entraînant un remplacement des pièces qui pourraient donc ne pas être d'origine (cadran, aiguilles, parties du mouvement, bracelet...). La montre ayant été ouverte, nous ne garantissons pas son étanchéité. Sauf mention contraire, nous n'avons pas d'information sur le dernier service réalisé et nous vous conseillons de procéder à la révision de la pièce.
Lot 2824
Boucheron, montre en or 750Mouvement: cal. ETA 950.001 quartz, 6 rubisBoîtier: n°B35251/26539, larg. 21 mmBracelet Boucheron: croco noir avec boucle or 750 BoucheronSignature: cadran, boîtier ConditionEtat général: Bon. Cadran doré: Excellent état.Aiguilles dorées: Très bon état, présence de petites traces.Verre: Très bon état, égrisures sur le pourtour.Boîtier: Bon état, présence de rayures et de micro rayures d'usage normal. Renfoncement sur la couronne.Couronne sertie d'un cabochon bleu.Boucle Boucheron en or 750: Bon état, présence de rayures et de micro rayures d'usage normal.Bracelet Boucheron en croco noir: Etat moyen, usures prononcées au cuir. Bracelet très souple. La montre est en état de marche au moment de la rédaction du catalogue. La pile a été changée. Ce fait doit être mis en rapport avec son âge. Nous ne garantissons pas son fonctionnement futur. Elle n'a pas été testée sur une longue période et nous ne garantissons donc pas la justesse de fonctionnement du mouvement ni celle de la réserve de marche. Des services ou restaurations ont pu être réalisés sur l'intégralité de la montre entraînant un remplacement des pièces qui pourraient donc ne pas être d'origine (cadran, aiguilles, parties du mouvement, bracelet...). La montre ayant été ouverte, nous ne garantissons pas son étanchéité. Sauf mention contraire, nous n'avons pas d'information sur le dernier service réalisé et nous vous conseillons de procéder à la révision de la pièce.
Lot 2651
Boucheron, collier années 1930-40 or rose 750 à maille tubogas retenant au centre une maille serpent ornée d'une succession d'éléments circulaires, signé, long. 41.3 cm, 115g ConditionTrès bon état de conservation général pour une pièce d'époque. Présence de micro rayures d'usage normal.Petites traces d'oxydation.
Lot 410
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
Lot 62
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.
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