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Lot 402

A large quantity of assorted 19th century and later leather bound books and antique reference books, including 'Army and Navy, General Price List 1933-1934, 1935-1936 and 1939-1940, also various reference books including 'Cartier', 'Pocket Watches', 'Automobilia', 'The Grapes of Ralph', 'Radio Art', 'Drawing and Painting the Landscape', 'A & N Story Circular' 1908 and 1903, 'Old Glass Paperweights', 'Fountain Pens', 'The Art of the Cigar Label', 'Clocks and Watches', etc.

Lot 1079

A Must de Cartier gold plated fountain pen - cartridge fill, the case with fluted decoration and tri-colour interwoven band to the cap, the clip with engraved name, in the original red and gilt case.* The nib is a little bent to the tip. Clip to cap with engraved name. The cartridge cassette to the end of the pen only partially retracts - the hinged catch appears to require some adjustment to allow it to be fully removed. No other faults noted.

Lot 7226

Patek Philippe & Co Genève wristwatch in Cartier case, Model ref. 8177

Lot 938

CARTIERPanthere. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Quarz. Gehäuse/Armband: Stahl, 750/-Gelbgold, Gliederarmband mit Doppelfaltschließe, Zffbl. weiß, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 81,5 g. Größe: Ø 29 mm x 29 mm, Länge 17 cm. Gehäuse-Nr.: 187957C05548. Referenz-Nr.: 1879. Beschreibung: 3-Zeiger-Armbanduhr mit Datumsanzeige bei "3" Uhr. Box: Ja. Papiere: Nein. Accessoires: Ja. Garantie-Booklet, Bedienungsanleitung. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Panthere

Lot 930

CARTIERTank. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Datierung: 1974. Werk: Handaufzug. Gehäuse/Armband: 750/- Gelbgold, Lederarmband mit Dornschließe, Zffbl. weiß, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 22 g. Größe: Ø 21 mm x 28 mm, Länge 17cm. Gehäuse-Nr.: 70734. Referenz-Nr.: 7808. Beschreibung: 2-Zeiger-Armbanduhr. Box: Nein. Papiere: Ja. Accessoires: Ja. Original Faltschließe. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Tank

Lot 933

CARTIERBaignoire. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Datierung: um 1996. Werk: Quarz. Gehäuse/Armband: 750/- Weißgold besetzt mit 150 Diamanten zus. ca. 2,25 ct., Gliederarmband mit Doppelfaltschließe, Zffbl. weiß, Zeiger gebläut, arabische Ziffern schwarz. Gesamtgewicht: ca. 79,5 g. Größe: Ø 30 mm x 23 mm, Länge 15 cm. Gehäuse-Nr.: C91018. Referenz-Nr.: 1951. Beschreibung: 2-Zeiger-Armbanduhr. Box: Nein. Papiere: Ja. Accessoires: Ja. Reparaturbericht mit Rechnung und Etui. Voraussichtliche Versandkosten für dieses Los: Deutschland: 100,00 Euro inkl. 15,97 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Baignoire

Lot 939

CARTIERPasha. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Automatik, Cal. 048. Gehäuse/Armband: Stahl, Gliederarmband mit Doppelfaltschließe, Zffbl. silbern, Zeiger gebläut, arabische Ziffern schwarz, Indizes golden, Leuchtmasse. Gesamtgewicht: ca. 106 g. Größe: Ø 36 mm, Länge 15 cm. Gehäuse-Nr.: 828963UF. Referenz-Nr.: 2377. Werk-Nr.: 400433. Beschreibung: 3-Zeiger-Armbanduhr mit GMT- und Datumsanzeige. Box: Nein. Papiere: Nein. Accessoires: Nein. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Pasha

Lot 935

CARTIERPanthere. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Quarz. Gehäuse/Armband: Stahl, 750/- Gelbgold, Gliederarmband mit Doppelfaltschließe, Zffbl. cremefarben, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 66 g. Größe: Ø 26 mm, Länge 15 cm. Gehäuse-Nr.: 9008459. Referenz-Nr.: 8394. Beschreibung: 3-Zeiger-Armbanduhr mit Datumsanzeige bei "5" Uhr. Batteriewechsel 02/2025. Box: Nein. Papiere: Nein. Accessoires: Ja. Etui. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Panthere

Lot 927

CARTIERTank Américaine. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Quarz. Gehäuse/Armband: 750/- Gelbgold, Gliederarmband mit Doppelfaltschließe, Zffbl. weiß, Zeiger gebläut, arabische Ziffern schwarz. Gesamtgewicht: ca. 80 g. Größe: Ø 35 mm x 19 mm, Länge 16 cm. Gehäuse-Nr.: SM11876. Referenz-Nr.: 1710. Beschreibung: 2-Zeiger-Armbanduhr. Box: Nein. Papiere: Nein. Accessoires: Nein. Voraussichtliche Versandkosten für dieses Los: Deutschland: 100,00 Euro inkl. 15,97 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Tank Américaine

Lot 936

CARTIERSantos. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Quarz. Gehäuse/Armband: Stahl, 750/- Gelbgoldlünette, Gliederarmband mit Doppelfaltschließe, Zffbl. cremefarben, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 61,5 g. Größe: Ø 24 mm, Länge 15 cm. Gehäuse-Nr.: BB176237. Referenz-Nr.: 1567. Beschreibung: 2-Zeiger-Armbanduhr. Box: Ja. Papiere: Nein. Accessoires: Nein. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Santos

Lot 937

CARTIERSantos. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Datierung: 1996. Werk: Quarz. Gehäuse/Armband: Stahl, 750/- Gelbgoldlünette, Gliederarmband mit Faltschließe, Zffbl. cremefarben, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 81,5 g. Größe: Ø 29 mm, Länge 17 cm. Gehäuse-Nr.: 18790171101. Beschreibung: 3-Zeiger-Armbanduhr mit Datumsanzeige bei "6" Uhr. Box: Ja. Papiere: Ja. Accessoires: Nein. Voraussichtliche Versandkosten für dieses Los: Deutschland: 100,00 Euro inkl. 15,97 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Santos

Lot 924

CARTIERTank Américaine. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Quarz. Gehäuse/Armband: 750/- Weißgold, Lederarmband mit Dornschließe, Zffbl. grau, Zeiger silbern, arabische Ziffern hellgrau. Gesamtgewicht: ca. 29,5 g. Größe: Ø 19 mm x 35 mm, Länge 17 cm. Gehäuse-Nr.: SM18516. Referenz-Nr.: 1713. Beschreibung: 2-Zeiger-Armbanduhr. Box: Nein. Papiere: Nein. Accessoires: Nein. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Tank Américaine

Lot 929

CARTIERTank. Art der Uhr: Armbanduhr. Herkunft: Schweiz, La Chaux-de-Fonds. Werk: Handaufzug, Cal. 21. Gehäuse/Armband: 750/- Gelbgold, Lederarmband mit Faltschließe, Zffbl. cremefarbend, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 36,5 g. Größe: Ø 30 mm x 24 mm, Länge 15 cm. Gehäuse-Nr.: C33209. Referenz-Nr.: 16121. Werk-Nr.: 5777. Beschreibung: 2-Zeiger-Armbanduhr.Leder-Armbänder geschützter Arten können nicht ins Ausland verschickt werden. In diesen Fällen wird vor dem Versand das Band entfernt. Box: Ja. Papiere: Nein. Accessoires: Ja, Booklet. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungBitte beachten Sie, dass dieses Objekt aus Materialien besteht, für deren Export in Länder außerhalb des EU-Vertragsgebiets eine Genehmigung aufgrund der Cites-Bestimmungen erforderlich ist. Wir weisen darauf hin, dass eine solche Erlaubnis normalerweise nicht erteilt wird.Erläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Tank

Lot 931

CARTIERTank. Art der Uhr: Armbanduhr. Herkunft: Schweiz, Genf. Datierung: 1974. Werk: Handaufzug. Gehäuse/Armband: 750/- Gelbgold, Lederarmband mit Faltschließe, Zffbl. weiß, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 21,5 g. Größe: Ø 23 mm x 16 mm. Gehäuse-Nr.: 030580. Beschreibung: 2-Zeiger-Armbanduhr. Außergewöhnlich kleine Ausführung des ikonischen Modells.Leder-Armbänder geschützter Arten können nicht ins Ausland verschickt werden. In diesen Fällen wird vor dem Versand das Band entfernt. Box: Ja. Papiere: Ja. Accessoires: Nein. Voraussichtliche Versandkosten für dieses Los: Deutschland: 50,00 Euro inkl. 7,98 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungBitte beachten Sie, dass dieses Objekt aus Materialien besteht, für deren Export in Länder außerhalb des EU-Vertragsgebiets eine Genehmigung aufgrund der Cites-Bestimmungen erforderlich ist. Wir weisen darauf hin, dass eine solche Erlaubnis normalerweise nicht erteilt wird.Erläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Tank

Lot 926

CARTIERTank Américaine. Art der Uhr: Armbanduhr. Herkunft: Schweiz, Genf. Datierung: 2007. Werk: Quarz. Gehäuse/Armband: 750/- Gelbgold, Lederarmband mit Dornschließe, Zffbl. weiß, Zeiger gebläut, römische Ziffern schwarz. Gesamtgewicht: ca. 34 g. Größe: Ø 19 mm, 17 cm. Gehäuse-Nr.: 248290304MX. Referenz-Nr.: W2601556. Beschreibung: 2-Zeiger-Armbanduhr. Letzter Batteriewechsel 12/2024.Leder-Armbänder geschützter Arten können nicht ins Ausland verschickt werden. In diesen Fällen wird vor dem Versand das Band entfernt. Box: Ja. Papiere: Ja. Accessoires: Ja. Bedienungsanleitung, Uhrenzertifikat (Huber / Valduz). Voraussichtliche Versandkosten für dieses Los: Deutschland: 100,00 Euro inkl. 15,97 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungBitte beachten Sie, dass dieses Objekt aus Materialien besteht, für deren Export in Länder außerhalb des EU-Vertragsgebiets eine Genehmigung aufgrund der Cites-Bestimmungen erforderlich ist. Wir weisen darauf hin, dass eine solche Erlaubnis normalerweise nicht erteilt wird.Erläuterungen zum KatalogBewertungssytem Armband und Taschenuhren Cartier Frankreich Armband- & Taschenuhren Tank Américaine

Lot 52

CARTIER - zwei Kettenclipse24 x 15 mm750/000 Gelbgold gekennzeichnet Cartier nummeriert 959845, jeweils mit einem kleinen blauen Saphir, Gesamtgewicht 11,9g.

Lot 51

CARTIER - KleiderclipFrankreich um 198011 x 24,4 mm750/000 Gelbgold gekennzeichnet ´Cartier´ und nummeriert NO. 30905A, mit einem kleinen Rubin besetzt, Gewicht 9,1g, Maße 11 / 24,4 mm

Lot 50

CARTIER - Panther Stickpin (Badge)Frankreich um 198032 x 12,7 mm750/000 Weißgold gekennzeichnet `Cartier´ und nummeriert 611 100, mit zwei kleinen Smaragden besetzt (leicht bestoßen) und einem kleinen Onyx, Gewicht 8,6g, Maße 32 / 12,7 mm

Lot 671

CARTIERPenelope Double C. Set: Gold-Collier, Armband und Ohrschmuck. Herkunft: Frankreich. Datierung: Um 1990. Material: 750/- Gelbgold, Punze. Gesamtgewicht: ca. 213,0 g. Maße: Länge Collier 42,0 cm, Länge Armband 19,3 cm, Breite jeweils 1,8 cm. Ohrschmuck 2,0 x 1,6 cm. Beschreibung: Signiert "Cartier", alle Stücke mit Individualnummer versehen. Weitmaschiges dreireihiges Glieder-Collier, Armband und Ohrschmuck versehen mit zwei ineinander verschlungenen C's. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Cartier Frankreich Schmuck Penelope Double C Moderner Schmuck Set Gelbgold Frankreich

Lot 777

AUFWENDIGES AMETHYST-TÜRKIS-BIB-COLLIER UND OHRCLIPS. Datierung: Um 1970/1980. Material: 750/- Gelbgold, getestet. Gesamtgewicht: ca. 350,0 g. Maße: Länge Collier 40,0 cm, Länge Mittelstück 11,0 cm. Diamanten: Ca. 224 Brillanten zus. ca. 11,1 ct., H-I/VS1-SI2, 22 Diamanten im Karré-, Baguette- und Trapez-Schliff zus. ca. 1,3 ct., H-I/VS1-SI2. Edelsteine: 1 Amethyst im Tropfen-Schliff ca. 69,0 ct., 27 Amethyste im Emerald-Schliff, 3 ovale, facettierte Amethyste, zus. ca. 291,0 ct., ca. 292 runde und ovale Türkise im Cabochon-Schliff zus. ca. 102,0 ct. Beschreibung: Ein sehr opulentes, aufwendig gearbeitetes Set, besetzt mit feinsten Farbsteinen. Das Collier gleicht demjenigen aus dem ikonischen Amethyst-Türkis-Set von Wallis Simpson, 1937 - 1986 Herzogin von Windsor, das sie 1953 zu einer Gala in Versaille trug. Das Original wurde 1947 von Cartier für die Herzogin entworfen und als Teil ihrer Kollektion am 2. April 1987 bei Sotheby's in Genf versteigert. Abgebildet im Buch "Sotheby's Great Sales 1987-88", 1. Auflage, S. 19, damals versteigert für CHF 907.500. Heute ist es Teil der Sammlung Cartier. Das hier angebotene Set ist ein Beweis dafür, dass die Sammlung an herausragenden Schmuckstücken der Herzogin nach wie vor eine Inspirationsquelle für modernes Schmuckdesign darstellt . Voraussichtliche Versandkosten für dieses Los: Deutschland: 100,00 Euro inkl. 15,97 Euro MwSt EU: 32,00 Euro inkl. 5,11 Euro MwSt Weltweit: 80,00 Euro inkl. 12,77 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Schmuck Moderner Schmuck Set Gelbgold Farbsteine

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 176

MARCHISIO: A LAPIS LAZULI AND DIAMOND BANGLE, CIRCA 1968The hinged bangle centring a lapis lazuli baton, between single-cut diamond borders and reeded shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, inner length approximately 17.5cmThe story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels.  Condition Report: Clasp closes securely and with safety catchNumbered C473Signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968 - stamped 750 for 18K goldTotal gross weight approx. 52.2g

Lot 87

CARTIER: A LADY'S 18K GOLD AND DIAMOND-SET 'TANK AMÉRICAINE' BRACELET WATCHThe 4-jewel Cal-157 quartz movement, with rectangular silvered guilloche dial, Roman numerals, inner 5 minute divisions, blued sword hands, secret signature at 10, bezel and lugs highlighted with brilliant-cut diamonds, to a fitted 18K gold brick-link bracelet with signed folding clasp, brushed gold case secured with four screws, case with Cartier maker's mark, Swiss assay mark and European convention mark, case no. 88562CE, ref. no. 2489, dial, case, clasp and movement signed, with maker's case and certificate of authenticity from retailer WatchGallery, case: 19mm Condition Report: Normal signs of wear, overall in good conditionFactory diamondsIn running condition at the time of inspectionTotal gross weight approx. 80.4gAn 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 88

CARTIER: A DIAMOND 'AGRAFE' NECKLACEComposed of a fancy-link chain, centring a hook-and-loop clasp pavé-set with brilliant-cut diamonds, mounted in 18K white gold, signed Cartier, numbered, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay mark, with maker's case, length 42.7cmSociété Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000. Condition Report: Diamonds: bright and livelyClasp closes securely - numbered 23526ASignature, number, French assay mark for 18K gold and maker's mark located on pendant claspMinor signs of wear, overall in good conditionTotal gross weight approx. 67.5g

Lot 276

CARTIER: A DIAMOND PENDANT BROOCH Of openwork lozenge-shape design, composed of reeded quarters and brilliant-cut diamond flower motifs, partially signed Cartier, numbered P1371, diamonds approximately 1.90cts total, length 4.5cm   Condition Report: Diamonds approx. 1.90cts, estimated colour approximately F/G, estimated clarity approximately VS with a couple of (good) SISmall area of tarnish on the reverseSigned Cartier and numbered P1371Clasp closes securely - bale for pendant possibly a later addition as the pin doesn't fully open due to the bale - bale blends well with the brooch (if I am right that it is a later addition).Normal signs of wear, overall in good condition Total gross weight approx. 22.g 

Lot 14

CARTIER: A STAINLESS STEEL 'TANK MUST' WRISTWATCHThe 4-jewel Cal-157 quartz movement, silver dial with black Roman numerals, inner 5 minute divisions, blued sword hands, secret signature at 6, polished stainless steel bezel and brushed case with four screws on back, blue cabochon for crown, fitted brown leather strap signed Cartier, stainless steel signed buckle, dial, case and movement signed, case no. 715944BX, ref. no. 4323, with maker's travelling cushion and pouch, case 24mm Condition Report: Glass: no scratches observedBezel and case: minor signs of wearBracelet and buckle: minor signs of wearIn running condition at the time of inspection - movement observed to be cleanTotal gross weight approx. 31.3gAn 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 185

CARTIER: A DIAMOND 'MADISON' PENDANT NECKLACEThe central bombé plaque, pavé-set throughout with brilliant-cut diamonds, between similarly-cut diamond fancy links, to a flattened fancy-link backchain, mounted in 18K gold, diamonds approximately 2.70cts total, signed Cartier Paris, numbered, with maker's mark, French assay mark, with maker's pouch, length 37.7cm Condition Report: Diamonds: bright and lively - unable to assess colour due to yellow mount, estimated clarity VSSigned Cartier Paris on the reverse of the pendant, numbered 228913Eagle's head for French 18K gold located on the tongue of the clasp with maker's mark: horizontal lozenge with 'D' 'Star?' D?Clasp closes securely and has a safety catchNormal signs of wear, overall in good conditionTotal gross weight approx. 51.3g

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 110

ALDO CIPULLO FOR CARTIER: AN 18K GOLD 'LOVE' BANGLE BRACELET, 1970The hinged bangle decorated with screw motifs, in 18K gold, signed, Cartier & Aldo Cipullo, stamped 1970 & Love, with maker's case and later screwdriver for opening and closing the bracelet, inner length approximately 16cm, width 6.3mmDesigned in 1969 in NYC, the Cartier Love bangle was the creation of Italian jewellery designer, Aldo Cipullo, who created this piece in 1969. “Love,” said Cipullo, “has become too commercial, but life without love is nothing. What modern people want are love symbols that look semi-permanent — or, at least, require a trick to remove. After all, love symbols should suggest an everlasting quality.”Cipullo was known for his innovative and bold designs. Initially he had proposed the design of the Love Bangle for Tiffany &Co. When Tiffany turned down his concept for the Love bangle, Aldo offered the design to Cartier. At the time, Cartier New York was independent from the Parisian Maison, and under the dynamic direction of Michael Thomas, who immediately saw the massive potential of the Love bangle to appeal to a new generation with entirely new values, lifestyle, and attitudes.The Love bangle as a symbol of everlasting love and commitment. The bangle features a simple, sleek design with a screw motif, inspired by medieval chastity belts, and it is meant to be worn as a symbol of love and unity. It is distinctive for its seamless, unbroken design, with a screwdriver needed to open and close it, symbolising the idea that love is something to be kept safe and protected.As the story goes, the bangles could at first only be purchased by couples who would surrender the screwdrivers to one another. When Cartier introduced the bangle, they were given to high-profile couples like Elizabeth Taylor and Richard Burton. According to Vogue, some NYC hospitals keep a Love bangle screwdriver on hand in case patients need their accessory removed in an emergency. While a Cartier Love bangle may be easier to remove than a chastity belt, it has still proved enduring, and a smart investment.What makes the Cartier Love bangle even more intriguing is the way it is meant to be worn. Traditionally, the bangle is given by one partner to another, and it is secured on the wrist with the help of the accompanying screwdriver. Once fastened, it is typically not meant to be removed, symbolising the permanence of the relationship.The Love Bangle quickly gained popularity among couples, celebrities, and fashion icons. Its iconic design and symbolism resonated with people around the world. The bangle not only became a symbol of love and commitment, but a status symbol as well. Condition Report: Minor signs of wear, overall in good conditionI believe both the screwdriver and case are laterTotal gross weight approx. 28.2g

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 6

CARTIER: A STAINLESS STEEL AND 18K GOLD 'BALLON BLEU' BRACELET WATCH, CIRCA 2021The 25-jewel Cal-076 automatic movement, circular guilloché silvered dial, black Roman numerals, black inner minute divisions with 5 minute markers, secret signature at 7, brushed stainless steel case secured by 8 screws, blue cabochon inset crown, fitted polished steel and gold link bracelet with signed folding clasp, case, dial and movement signed, case no. 212480, ref. 3284, three stainless steel spare links, with maker's case and warranty card from Cartier, case (including crown): 38mm Condition Report: Normal signs of wear, overall in good conditionIn running condition at the time of inspectionTotal gross weight approx. 100g An 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 48

CARTIER: AN AMETHYST, ENAMEL AND DIAMOND PENDENT NECKLACEThe millegrain-set rose-cut diamond bow suspending an oval-shaped amethyst cabochon, within a white enamel border, to a fine cable-link necklace, chain in platinum and pendant mounted in 9K gold, signed Cartier Paris, partial assay marks, with maker’s case, length 37cm Condition Report: Amethyst of deep purple hue, good transparencyDiamonds bright and livelyStamped with French(?) assay mark for platinumGold tested by the jewellery department to be 9K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 5.9gAccompanied by case signed Cartier, with signs of wear

Lot 65

CARTIER: A RARE AND COLLECTIBLE LAPIS LAZULI, TURQUOISE AND DIAMOND NOVELTY CLIP BROOCH, CIRCA 1945The stylised scarab, with carved lapis lazuli body, a turquoise cabochon head, highlighted with single-cut diamond eyes and rose-cut feet at the front, mounted in 18K gold and platinum, signed Cartier Paris, with maker's mark, French assay marks, with maker's case, length 2.7cmAn identical brooch is illustrated, page 164, in the catalogue of the Cartier exhibition, L'Art de Cartier at the Musée du Petit Palais between October 1989-January 1990, by Hans Nadelhoffer.The discovery of Tutankhamun’s tomb in 1922 sparked a cultural phenomenon that extended far beyond archaeology. Throughout the 1920s and 1930s, the Egyptian Revival style swept across the decorative arts, leaving its mark on everything from ceramics and prints to furniture and, most strikingly, jewellery. Museums in Cairo and touring exhibitions in London and Paris further solidified the global fascination, showcasing the dynamic dialogue between age-old myths and contemporary design. The era’s fascination with ancient Egypt found a perfect partner in the materials and aesthetics of Art Deco: platinum, diamonds, onyx, and vibrant enamel brought ancient motifs into the modern age. Designers reimagined scarabs, sphinxes, lotuses, and hieroglyphs through the lens of contemporary luxury, resulting in pieces that were at once reverent and boldly forward-looking. Among the jewellers of the time, Cartier distinguished itself not merely by mimicking Egyptian symbols but by engaging directly with history. Louis Cartier developed a personal passion for Egyptian antiquity, travelling and acquiring genuine archaeological objects from dealers who handled finds from ongoing excavations. Rather than replicate ancient designs, Cartier incorporated these authentic artifacts such as scarabs, faience fragments, and deity heads into his own creations, elevating them with platinum and diamonds to craft sophisticated Art Deco jewels that were both historically rooted and stylistically avant-garde. This approach set Cartier apart, offering clients pieces that were not just inspired by the past but built from it. Egyptian-inspired jewellery is defined by its rich symbolism and vibrant palette. Gold, regarded as the skin of the gods, and silver, seen as divine bone, were used alongside vivid lapis lazuli, symbolising the intense, sky-like blue hair of the deities. Turquoise and green hues evoked the protective qualities of water and the Mediterranean. Jewellers embraced these colours and symbols, often incorporating amulets like the scarab, which in ancient mythology was observed pushing its ball in the desert, as a metaphor for the sun’s journey at dawn and a symbol of rebirth, cosmic order, good luck, and fortune. With the advent of global conflict, significant material shortages and restrictions rapidly transformed the landscape of jewellery production. The scarcity of platinum and diamonds forced designers to adopt innovative solutions without sacrificing the aesthetic values of their style. In response, jewellers began experimenting with advanced alloys and a wider array of semi-precious stones, reinterpreting traditional motifs with alternative materials that mimicked the allure of their predecessors. These necessary adaptations led to creative breakthroughs, ensuring that the symbolic richness and visual impact of their creations endured even in times of adversity. Even after the height of its popularity at the beginning of the 19th century, Egyptomania continued to resonate through popular culture. The mid-to-late 20th century saw waves of renewed interest thanks to cinema, particularly Hollywood films of the 1960s through the 1980s featuring mummies, curses, and pharaohs. These narratives reignited public fascination with Egypt’s mystique, sustaining its influence in both fashion and fine jewellery. From screen to studio, the mythos of ancient Egypt remained a rich source of inspiration and proving that, even decades later, its magic still had the power to captivate and create.  Condition Report: Normal wear, overall in good conditionMaker's mark located on the reverse of the scarab and one of the two pin (horizontal lozenge with what I think is 'P(symbol)M'Double pin clip system - signature located on the reverse of the broochFrench assay marks for platinum and 18K gold located on the reverse of one feet and another eagle's head located on the pinCloses securelyTotal gross weight approx. 16.7g

Lot 97

VAN CLEEF & ARPELS: A CHRYSOPRASE PENDANT/BROOCH, CIRCA 1965-70Of openwork lattice design, set throughout with chrysoprase beads, between polished gold frames, to an articulated similar bale, with ropetwist and beading detailing, mounted in 18K gold, signed VCA, numbered, with maker's mark, French assay marks, length (excluding bale): 3.8cm Condition Report: bale: signed 'VCA', numbered '68110534' & '©' & eagle's head for 18K gold French on the reverse of baleDouble pin: signed 'VCA' + numbered '68110534' + '750' + '©' + two partial eagle's headReverse of the brooch: eagle's head for French 18K gold + maker's mark 'C + Ladder + B', probably for 'CB' for Camille Bournadet, workshop in Paris between 1932-1972, worked for Cartier, Van Cleef, Lacloche amongst others.Chrysoprase: of green medium hue, translucent, overall well matched and in good conditionPin clasp: Closes securelyBale: articulated to be worn as pendant or hidden to be worn as broochNormal signs of wear, overall in good conditionTotal gross weight approx. 21.8g

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 213

CARTIER: AN 18K GOLD 'LA DONA' WRISTWATCH, CIRCA 2007Of quartz movement, the silvered guilloche asymmetrical tonneau-shaped dial, with Roman numerals ad inner hours and minute track, blued steel hands, fitted burgundy strap with original gold buckle, faceted  blue crown, ref. 2904, case no. 83878MX, case, dial, movement and buckle signed, with certificate from Cartier in Milan dated December 25th 2007, with manual booklet and maker's case, case from 20mm to 16mm  In 2006, Cartier unveiled ‘La Dona’ watch collection as a heartfelt tribute to the legendary Mexican actress and singer, María Félix. The collection, designed to honour her extraordinary legacy as both a style icon and a loyal Cartier client, captures the essence of the woman known to her fans as "La Doña". The La Dona watch, with its distinctive silhouette, tells a fascinating story, one woven from the deep connection between Maria Félix and the legendary jeweller. This bond dates back to the 1950s when the actress at the height of her fame, became a muse for the Maison. Known for her commanding sense of style and love for bold, statement-making accessories, she frequently turned to Cartier for bespoke creations. It was during this time that her renowned jewellery collection began to take shape, featuring striking pieces like the Snake Necklace and the Crocodile Necklace, two of her most famous Cartier designs. The crocodile, one of María Félix's favourite animals, played a pivotal role in one of the most memorable stories behind her jewellery. Legend has it that Félix brought her pet crocodile to Cartier's Rue de la Paix Paris boutique, hoping it would inspire the master jewellers to recreate the creature as realistically as possible. The result was a necklace that captured the wild elegance of the reptile, cementing Félix's love for animal-themed designs, a theme that Cartier had long been celebrated for. When Cartier launched the 'La Dona' watch in 2006, they paid tribute to the iconic relationship between the designer and María Félix, celebrating her fierce and exotic spirit while incorporating subtle nods to the crocodile that Félix so admired. The watch's trapezoidal case echoes the asymmetrical shape of a crocodile's head. Available in both polished metal and vibrant leather strap options, it offers a modern take on the boldness and elegance that defined Félix's personal style. Its classic dial, featuring black Roman numerals and blue sword-shaped hands, evokes Cartier's signature timeless elegance, while the faceted crown, topped with a blue stone, adds a touch of refinement. The design is both daring and graceful, perfectly capturing the essence of the woman it honours. Although María Félix passed away in 2002, before ‘La Dona’ watches were introduced, it's easy to imagine that she would have appreciated the watch's bold yet refined design. Today, the pieces she cherished, like her famous Snake and Crocodile Necklaces, live on in Cartier's official heritage collection, frequently displayed in exhibitions around the world. ‘La Dona’ watch collection, like these iconic pieces, serves as a lasting testament to María Félix's legacy, her love for the extraordinary, and her unique place in both Cartier's history and the world of style.  Condition Report: Glass: no scratches observedCase & bezel: minor scratches due to normal wearBuckle: normal signs of wearBracelet: Normal signs of wearIn running condition at the time of cataloguing.Normal signs of wear, overall in good conditionTotal gross weight approx. 35.2gWith Cartier certificate from Cartier Milan dated 25.12.2007 & Cartier CaseAn 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 171

CHANEL: AN IMPORTANT FANCY COLOURED DIAMOND AND DIAMOND 'L'AIR' RING, CIRCA 2000Commande Spéciale - Special OrderThe cushion-shaped fancy coloured diamond weighing 8.08cts, within a surround of orbiting rings pavé-set with brilliant-cut diamonds, to similarly-cut diamond shoulders, mounted in 18K gold, remaining diamonds approximately 3.00cts total , signed Chanel, numbered, with maker's mark 'JB', French assay mark, with maker's case and outer box, ring size approx. KWith photocopy of reports from EGL & HRD Laboratories. Refer to Jewellery Department for further details.Condition Report:Principal diamond: 8.08cts, Fancy Brownish-YellowClarity not provided on the copy of the HRD certificate, estimated to be VS2-SI1Maker's mark 'JB' in a horizontal lozenge, indistinct symbol at the centre of the mark - letters look like it could be JB for Joseph Bellemans (who worked for Cartier amongst others)Signed Chanel on the inside with numbered 13L311 located near the signatureNormal signs of wear, overall in good conditionTotal gross weight approx. 20g

Lot 111

CARTIER: A RARE CORAL AND DIAMOND 'TOI ET MOI ' DRESS RING, CIRCA 1976Of raised crossover design, set with a pear-shaped onyx and corallium rubrum coral cabochon, within a surround pavé-set with brilliant-cut diamonds, mounted in 18K gold, approximately 3.00cts total, signed Cartier London, English hallmarks for London 1976, with maker's mark 'JC' for Jacques Cartier, French import mark, ring size JProspective buyers are advised that several countries prohibit the importation of items containing materials from endangered species, such as coral. Therefore, buyers should familiarise themselves with relevant customs regulations before bidding if they plan to import this lot into another country. Condition Report: Coral: of orange hue, waxy lustre, in good conditionOnyx: black, waxy lustre, in good conditionDiamonds: approx. 3.00cts total, bright and lively - unable to assess colour due to yellow mount, estimated clarity VSEnglish hallmarks for London 1976 and JC for Jacques Cartier and Cartier London, all located inside hoopOwl for 18K gold imported in France located on the outside of the hoopNormal signs of wear, overall in good conditionTotal gross weight approx. 9.3g  

Lot 113

JEAN & PIERRE BELLIN: A CORAL, DIAMOND AND CULTURED PEARL PENDANT NECKLACE, CIRCA 1970The ropetwist-link chain suspending two openwork lozenge motifs highlighted with brilliant-cut diamonds, within ropetwist and beading detailing, suspending a detachable cultured pearl and coral tassel finishing with gold bead terminals, mounted in 18K gold, with maker's marks 'Sté JPB' for Jean & Pierre Bellin', unsigned, French assay marks, necklace length 50.5cm, detachable tassel length 9.2cmProspective buyers are advised that several countries prohibit the importation of items containing materials from endangered species, such as coral. Therefore, buyers should familiarise themselves with relevant customs regulations before bidding if they plan to import this lot into another countryJean & Pierre Bellin, heirs to a long lineage of master jewellers, represented the fourth generation of a family whose legacy in fine craftsmanship began in the early 20th century. Trained by both their father and grandfather, the brothers honed their skills in the prestigious workshops of Cartier before setting out to revive their own family’s maison. In 1962, they brought new life to the house by opening an impressive atelier at 62 rue La Fayette, one of the largest jewellery workshops in Paris. This expansion followed their original atelier on 16 rue de la Grange-Batelière, established decades earlier. Their sister Pierrette later joined them, as did thier brother Philippe, as representatives of the next generation, ensuring that the Bellin legacy would continue to shine. Jean & Pierre Bellin quickly gained a reputation for being extraordinary craftsmen: their work was defined by a vibrant aesthetic, blending the clean, bold lines of Art Deco with the rich, flowing elegance of Baroque art. They were particularly renowned for their use of emeralds, rock crystal, and other stones that required intricate cutting and imaginative setting. Demand for their pieces was so high that clients were often placed on lengthy waiting lists. Though they were among the most successful independent jewellers in France, a significant portion of their revenue came from international markets, particularly in the Middle East and Asia, where their name became synonymous with refined French luxury. In the 1980s, the two brothers also produced unique, high-priced pieces, destined for Place Vendôme houses such as Mauboussin and Chaumet, and numerous pieces of jewellery for Fred. In the 1980s and 1990s, the Bellin workshop embraced evolving techniques, including the popular “chaté de chaton”, a setting style that added movement and energy to gemstone designs. Whether it’s a turquoise cabochon bird pendant with ruby foliage and emerald eyes or a finely polished brooch with engraved detail, every Bellin jewel holds a spark of individuality and imagination. From the narrow streets of Paris’s 9th arrondissement to private collections across the globe, such as the Sultan of Brunei, Jean & Pierre Bellin crafted a legacy of elegance, imagination, and timeless artistry. In a testament to the enduring appeal of their creations, a sale held last March by Margaux Serrano Maison de ventes in Paris featured 56 pieces dedicated to the jewellery crafted by the Bellin brothers. This exceptional auction offered collectors and connoisseurs the rare opportunity to acquire works from the renowned Parisian house.   Condition Report: Coral: Typical angel's skin hue, overall well matched and in good conditionPearls: cream tint with pink and green overtones, high lustreDiamonds: bright and livelyMaker's marks located on the clasp of the necklace and on the clasp of the pendantFrench assay marks - eagle's head for 18K gold - located on both the necklace and pendantClasps close securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 59.5g 

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 2

CARTIER: A GOLD 'ÉCROU DE CARTIER' BRACELETThe oval bracelet designed as a circular reeded bolt with four movable nuts and two stationary nuts, in 18K rose gold, signed Cartier, numbered FUF*****, Swiss assay mark, European convention mark, with maker's case and outer box, size stamped 15 Condition Report: Clasp closes securelySuperficial signs of wear, overall in good conditionRetail price on Cartier website: €8,400.-https://www.cartier.com/Item/Index?cod10=25372685655706578&langId=5&queryID=0050c72039e11b665b223e841ce06b50&share=%7B%22size%22%3A%2215%22%7D&siteCode=CARTIER_FRLink for Cartier sizes for bracelets:https://www.cartier.com/ycm/resource/blob/636914/fa7bff01921cb25d91cf5b0a4e69fd9e/bracelet-sizing-table-fr-data.pdfTotal gross weight 25.8g

Lot 177

MARCHISIO: A LAPIS LAZULI AND DIAMOND RING, CIRCA 1968Centring a lapis lazuli baton, between single-cut diamond borders, to reeded and domed shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, ring size L The story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels.  Condition Report: Diamonds: bright and livelyOne screw could be tighten to the ring mountSigned Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered C1563Normal signs of wear, overall in good conditionTotal gross weight approx. 11.1g

Lot 16

CARTIER: A DIAMOND 'LOVE' PENDANT ON CHAIN, CIRCA 2015The pendant hoop pavé-set with brilliant-cut diamonds, accented with screw motifs, suspending from a fine trace-link chain, mounted in 18K white gold, signed Cartier, reverse inscribed 'LOVE', numbered, Italian registry mark on pendant, Swiss assay mark on chain and European convention mark 750, with certificate of authenticity from Cartier in Nice, dated August 31st 2015, with maker's case and outer box, pendant length 2.3cm, chain length 41.8cm Condition Report: Diamonds: bright and livelyWith certificate of authenticity from Cartier in Nice, dated August 31st 2015, with maker's caseRetail price on Cartier's website: €10,400.- https://www.cartier.com/fr-fr/pendentif-love-pave_cod25372685655706635.html#dept=EU_LoveMinor signs of wear, overall in good conditionTotal gross weight approx. 17.5g

Lot 1

CARTIER: A LADY'S 18K GOLD AND DIAMOND-SET 'PANTHÈRE' BRACELET WATCHThe 4-jewel Cal-057 quartz movement, square cream dial with Roman numerals, inner five minute divisions, blued sword hands, secret signature at 10, polished gold bezel highlighted with non factory brilliant-cut diamonds, brushed gold case secured with 8 screws, to a fitted 18K gold brick-link bracelet with signed folding clasp and further brilliant-cut diamonds near bezel, blue cabochon crown, case with Cartier maker's mark and Swiss assay mark, numbered 8057917 & 06467, clasp signed, with European convention mark and Swiss assay mark, with maker's case, case: 21mm Condition Report: Normal signs of wear, overall in good conditionDiamonds: bright and lively - these are non factory (diamonds added later)Inner length approx. 16cmBracelet: two small screws near folding clasp deficientNew battery replaced by the jewellery departmentIn running condition however service is always recommendedTotal gross weight approx. 66.7gAn 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 86

CARTIER: A DIAMOND, EMERALD AND ONYX 'PANTHÈRE DE CARTIER' PENDANT NECKLACE, CIRCA 2012Designed as a stylised panther, the body pavé-set with brilliant-cut diamonds throughout, to circular-cut emerald eyes and onyx nose, suspended from a fine gold double chain, mounted in 18K gold, signed Cartier, numbered, with maker's mark 'GC', French assay mark, Swiss assay mark, European convention mark, with photocopy of invoice from Cartier Paris dated 2012, with maker's case, pendant length 2.9cm, chain length 45cm Condition Report: Numbered UL3030 and same number is on the copy of the Cartier invoiceMinor signs of wear, overall in good conditionTotal gross weight approx. 12.2gRetail price on Cartier website: €32,200.-https://www.cartier.com/en-ie/panthere-de-cartier-necklace_cod25372685655696524.html

Lot 316

A Cartier gold plated pocket gas cigarette lighter, having slender ribbed body, stamped Cartier Paris and numbered 059701, length 7cm.

Lot 315

Alfred Dunhill Ltd; A Dunhill tallboy petrol pocket cigarette lighter made under Cartier licence, the gold plated textured body with impressed marks, H6.5cm.

Lot 339

Three pairs of ladies designer sunglasses, to include Tommy Hilfiger, Gucci and Prada, together with two pairs of prescription glasses by Cartier and Fendi. (5)

Lot 1

Cartier Must de Cartier ladies watch features quartz movement, gold plated, 925 silver, leather strap, and Paris hallmark with serial number 126720. Not currently ticking, possible requires a battery - all round very clean condition, to include original box and some papers

Lot 203

A vintage Cartier butane lighter in a striking black and gold design, housed in its original red Cartier box. The sleek rectangular body features a gold-plated frame with black lacquer panels and a fluted ignition mechanism. The base is stamped "Cartier" and "Japan," indicating its production origin. This elegant accessory reflects Cartier's renowned craftsmanship in luxury goods and is a sophisticated addition to any collection of fine smoking accessories.Issued: 20th centuryDimensions: 2.75"HCountry of Origin: JapanCondition: Age related wear. Lighter functionality is untested.

Lot 201

Celebrate four decades of Cartier's iconic eyewear with this exclusive Cartier 40th Anniversary Limited Edition Eyewear Set. This capsule collection features three pairs of rimless sunglasses, each elegantly designed with Cartier's signature craftsmanship and luxurious details. The lenses are tinted in a refined shade, accentuated by gold-tone temple arms with unique embellishments, including Cartier's signature panther, a sleek C-shaped bridge, and an intricate column-inspired design. These sunglasses embody the timeless elegance and sophistication that have defined Cartier's eyewear creations since 1983. The set is presented in a stunning red Cartier box, accompanied by a commemorative brass plaque detailing the significance of this milestone collection.Issued: 21st centuryDimensions: 8.5"L x 7"W x 3.5"HCountry of Origin: FranceCondition: Age related wear.

Lot 996

A ladies Must de Cartier quartz wristwatch with gilt metal case and leather strap, complete with original box, paperwork etc.

Lot 7090

A Ferrari Formula 1 wristwatch made by Cartier, grey dial, quartz movement, on a brown leather strap, 31mm including crown, with box and papers

Lot 35

British (from a Cartier design) 1980s  A whimsical elephant herd diamond bracelet. Pavé set throughout with brilliant cut diamonds, with ruby eye detail. Mounted in white gold.  Total length: Approximately 19 cm Weight: Approximately 43 grams

Lot 209

To include: [a] A pair of cartouche-shaped silver humidors [b] A set of  two large and six smaller leather and silver buttons in a fitted box. Hallmarked London 2008. [c] A Melda large silver envelope. Hallmarked 800. [d] A large set of silver erotic pins. [e] A Cartier pill box, with silver-coloured metal chain. The box hallmarked 925. Property of a nobleman Total silver weight: Approx. 2,249 g.

Lot 202A

Cartier, Paris A gold plated gas lighter. Wave design, of vertical type Numbered 75125D With original box, additional flints and gas refill tank As found To be sold without reserve Dimensions: 7 cm (H) x 2.5 cm (W)

Lot 93

Four early 20th century silver matchbox holders, Birmingham dated 1934, approx 44 x 28 mm, together with a silver plated Dunhill lighter, made under license to Cartier approx 63 cms h and a Victorian mother of pearl and silver pen knife, Sheffield dated 1865, approx 55 mm. 

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