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Click here to subscribeFrom the Collection of Catherine Leaney, "Voice of Cartier": a pair of Goossens style gold tone earrings with stones, a Michael Kors bag & three pieces of Kors gold tone jewellery, Assya jade style three piece suite, purchased at Notting Hill, a Sara Miller watch, a Rita Frascione Florence necklace, a pair of Royal Opera House eyeglasses, Monet designer costume jewellery & other items
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.
An Alexis Bittar lucite and gold coloured cuff bracelet, a Kenneth Lane gold coloured cuff bracelet, a Tiffany & Co silver key ring (boxed), a Louis Vuitton zip top purse in brown cardboard box, a Shanghai Tang white metal lidded box, an Alexander McQueen skull USB stick pendant, a Hermès leather zip top purse, a Marni faux tortoiseshell butterfly brooch, a Cartier leather watch box, three empty Hermès jewellery boxes and a Van Cleef & Arpels suede jewellery pouch
Cartier: A Magnificent Very Light Pink 8.62 Carat Diamond Necklace the modified marquise mixed cut diamond in a simple white six claw setting, detachable from a pendant mount potentially allowing varied use, both signed Cartier and numbered to the reverse, pendant mount to a trace link chain necklace length 42.8cm Provenance: From a private collection, gifted approximately 25 years ago. The necklace is accompanied by a Colored (sic) Diamond Report from the Gemological Institute of America, GIA, report number 2235473592, dated January 28, 2025, stating the natural diamond weighs 8.62 carat, clarity VVS1, color (sic) very light pink. Pink diamonds are exceptionally rare. Historically, they have largely been discovered in India, South Africa, Tanzania, and Borneo, amongst other places. Some estimates suggest that as few as 1 in 10,000 gem quality diamonds produced worldwide show any noticeable colour. Of that small number, a similar percentage (approximately 0.01%) have a pink tone. In more recent times (the latter part of the 20th century into the early 21st century) the most prolific producer of pink diamonds in the world was the Argyle mine in Australia. Only 1 in 90,000 diamonds mined there tended to be of gem quality pink colour. Furthermore, Argyle diamonds tend to be in the lower clarity range, unlike this example. How coloured diamonds are formed varies depending upon the colour. Some diamonds obtain their colour from plastic deformation. This is caused by dislocations in the diamond structure, which happens when the diamond is deep within the Earth, under great pressure, and subject to very high temperatures, when atoms are more mobile. The word plastic indicates that this deformation is permanent. This structural anomaly allows free bonds to react with light, and cause absorption in the blue end of the light spectrum, which can create a brown colour. In pink and red diamonds, the phenomenon is not yet fully understood, and it is possible that the aforementioned plastic deformation occurs in combination with another impurity, or defect, to create these incredibly rare colours. Please note viewing for this lot is strictly by appointment. Please contact Jewellery Specialist Jessica Fall to make an appointment on 01969 623780. The necklace is in good condition. It fastens with a bolt ring catch. The diamond is detachable from the reverse of the mount potentially allowing for varied use. By repute, there was originally a sapphire, diamond and pearl drop which formed part of the piece, which has previously been sold. The reverse bears the Cartier signature, stamped '750' and numbered '750624Z'. Once the diamond is detached from the chain the reverse of the mount is also signed Cartier, stamped '750' and numbered '750624'. The pink hue varies under different lighting conditions making it more visible at certain angles, possibly due to the strong orange fluorescence. Gross weight 7.6 grams. CR made 07.02.25.
Cartier 18K yellow gold ‘TRINITY CONSTELLATION RING’ set with approx. 0.25 ct. diamond Set with 18 brilliant-cut diamonds of approx. 0.25 ct. (0.014) Includes certificate and original jewellery box. In Good condition. Hallmarks: signed: Cartier, 1995, 750, 51, numbered: D56321. Maker's mark. Ring size: 16.25 mm / 51 mm. Weight: 10.49 grams.
Cartier 18K yellow gold ring with natural untreated Burmese sapphire and with 0.85 ct. diamond, Includes ALGT certificate Set with 32 brilliant-cut diamonds totalling approx. 0.85 ct. (VVS-VS / D-E-F) and one oval faceted natural sapphire (treated) of approx. 2.25 ct. Includes certificate, original jewellery box and pouch. In good condition. Hallmarks: Cartier Paris, 750 numbered: 225850. Ring size: 175 mm / 55 mm. Weight: 6.20 grams. Sapphire data: Colour: Blue, Transparency: Transparent, Origin: Myanmar (Burma), Untreated
Cartier 18K yellow gold 'Love Diamond' ring Includes original jewellery box. In good condition. Hallmarks: signed: Cartier, 53, numbered: QOJ328. AU750, Swiss assay mark (st. Bernard dog), International convention mark (scale), Maker's mark: Cartier. Ring size: 16.75 mm / 53 mm. Weight: 4.68 grams.
Cartier 18K yellow gold ‘Juste un clou’ bracelet set with approx. 1.99 ct. diamond Set with approx. 356 brilliant-cut diamonds totalling approx. 1.99 ct. of various sizes 0.005 ct. / 0.017 (VVS-VS / E-F). Includes certificate and original jewellery box - box does not close. In good condition. Hallmarks: signed: Cartier, 16, numbered: CQZ275, AU750, master's mark, Swiss convention door (St. Bernard dog), International convention door (scales). Inner size: approx. 56 mm / XS. Weight: 29.73 grams.
Cartier 18K yellow gold ‘Juste un Clou’ ring set with approx. 0.40 ct. diamond Set with 53 brilliant-cut diamonds of approx. 0.40 ct. (VS1 / F - G). Includes certificate and original jewellery box. In good condition. Hallmarks: signed: Cartier, 53, AU750, numbered: IOB180, Swiss convention door (St. Bernard dog), convention mark (scales). Ring size: 17.25 mm / 54 mm. Weight: 2.96 grams.
CARTIER - an 18ct gold 'Classic Model' Love bracelet, circa 2022, with screw-head motifs, signed Cartier, serial no. PKZ966, size 17, internal circumference approx 16cm, band width 5.9mm, 32g, boxed with certificate of authenticity and accessories . Condition Report: No damage or repair, only extremely light surface abrasions from minimal use, with signed Cartier screwdriver, inner and outer box, certificate of authenticity, softshell pouch, lotion for jewellery and watches and gift bag
Roy Cecil King. A 1960's 18ct white gold articulated ring, a ring made up of textured finish articulated links, UK hallmark, London, date indistinct but possibly 1967, makers mark RCK, size U1/2, 6.4grams.(Note: Roy Cecil King was a highly skilled British jeweller and watchmaker. First apprenticed in London's Hatton Gardens at the tender age of fourteen, King learned both gem-setting and gold smithing from working jewellers and classes at the Sir John Cass Art School. Such was his aptitude that by the age of twenty-one, Roy King was creating bespoke and one-off pieces for some of the biggest names at the time to include Cartier, Rolex and Garrard.Upon the outbreak of World War II, King used his machine tooling techniques on the planning of the production line of the 'Hurricane' fighter aircraft. This wartime experience was to influence heavily upon his later experimental techniques with gold, creating unusual and innovative pieces that he is renowned for.Following the War, King established his own eponymous workshop where he produced "everything from a tiara to a tiepin." During this time, he also signed an agreement with Bueche Girod, creating the exterior of their wonderful watches, set in precious metals and adorned with gemstones. The 1960's bought a litany of awards form the prestigious British Modern Jewellery Exhibition, and the winning pieces are still on show as part of the permanent collection at Goldsmiths' Hall).
Roy Cecil King. A pair of 1960's 18ct gold cufflinks, each face of a textured finish, post and toggle fitting, UK hallmark to one cufflink, London, 1965, RCK (Roy Cecil King), face length approx. 2.8cm, 34.2grams.Note: Roy Cecil King was a highly skilled British jeweller and watchmaker. First apprenticed in London's Hatton Gardens at the tender age of fourteen, King learned both gem-setting and gold smithing from working jewellers and classes at the Sir John Cass Art School. Such was his aptitude that by the age of twenty-one, Roy King was creating bespoke and one-off pieces for some of the biggest names at the time to include Cartier, Rolex and Garrard. Upon the outbreak of World War II, King used his machine tooling techniques on the planning of the production line of the 'Hurricane' fighter aircraft. This wartime experience was to influence heavily upon his later experimental techniques with gold, creating unusual and innovative pieces that he is renowned for. Following the War, King established his own eponymous workshop where he produced "everything from a tiara to a tiepin." During this time, he also signed an agreement with Bueche Girod, creating the exterior of their wonderful watches, set in precious metals and adorned with gemstones. The 1960's bought a litany of awards from the prestigious British Modern Jewellery Exhibition, and the winning pieces are still on show as part of the permanent collection at Goldsmiths' Hall.
Roy King Solid Silver unisex designer dress watch c.1977 with an unusual heavy solid sterling silver case and buckle. The case is constructed from a solid ingot of silver and alone weighs approx 25g, hallmarked Sterling silver and dated 1977. The case is in excellent condition, no significant dents, original signed crown. The dial is gloss black, no marks with only Roy King logo. The movement is a Swiss made calibre manually wound. The watch is presented on a Condor black aligator leather strap with original solid silver .925 buckle fitted. Very interesting watch with a fascinating history (see below).ROY KING, was a leading British watch designer and jeweller, with customers ranging from Saudi princes to The Beatles and Tom Jones. King began his career at the age of 14 as an apprentice goldsmith and diamond mounter in Hatton Garden. By 21 he was foreman of a workshop, creating one-off pieces which readily found buyers (including members of the Royal Family) through Bond Street jewellers. Much of his work in the 1930s was also as an uncredited manufacturer for names such as Rolex, Cartier, Asprey and Garrard. After the war, King began to design and make watches under his own name. When restrictions on the import of Swiss watch movements were lifted in 1960, King decided to integrate these into his own designs, recognising that, whoever the manufacturer might be, people still wanted "Swiss Made" moving parts.He signed an exclusive agency agreement with Bueche-Girod, the Swiss movement makers, which left him free to design the exterior of the pieces as he wished. He also began to make watches with straps made wholly from gold, then a novel idea.In 1961, the Roy King workshop swept the board at the British Modern Jewellery Exhibition, winning two first prizes, as well as one second and one third prize. The winning pieces are now in the permanent collection of Goldsmiths' Hall.During the 1960s, the workshop produced many designs using a variety of unconventional methods. Molten gold would be poured through tea strainers before being stretched into shapes to satisfy the most avant garde tastes. King's "bark finish" design for bracelets sparked a craze: when George Harrison married Patti Boyd in 1966, she wore one of King's bark finish wedding bands.
A group of costume jewellery and wristwatches. Including a Victorian white metal locket, a silver mounted cameo brooch, gold plated locket, rolled gold mounted ladies wristwatch, gold-plated dress ring, pendant compass, silver chain, Seiko wristwatch, pocket watch, faux Cartier wristwatch, earrings, etc.
A quantity of assorted Victorian and later jewellery including a white metal, garnet, split pearl and turquoise set cross pendant, 74mm two 925 and gem set crosses, a diamond and enamel set mourning pendant, pair of silver cufflinks, costume jewellery, three jewellery boxes including Must De Cartier, etc. Condition - poor to fair to good The portrait miniatures are plaques.
Large quantity of both vintage and modern jewellery boxes, including Asprey fine leather watch pouch, Cartier gold cigarette case, Garrard & Co watch box, Omega watch boxes, Martin & Co, Mappin & Webb, Brown & Sons Chester, Haskell Ipswich, John Perry Nottingham, with some Victorian ring, brooch boxes amongst others, 200+, not all photographed.
Cartier Santos - Dumont Ladies Superb 18ct White Gold Diamond Set Quartz Wrist Watch of large size, with deluxe black alligator watch strap and 18ct white gold deployment clasp; full hallmark for 750 18ct; one owner, appears unworn, mint condition, date 29th November, 2008, model ref. WH100 251, complete with deluxe Red Leather boxes with internal jewellery case compartments with bracelet and full paperwork; features 60 round brilliant cut diamonds, set to bezel by Cartier in house, all of top colour and clarity, est.diamond weight 2.0cts, with Cartier Red Leather Wallet containing Certificate of Origin and dates; watch, boxes and wallet in mint condition, confirm with photo
Cartier. A lady's rare platinum and diamond set manual wind bracelet watch offered on behalf of the family of the original ownerDate: Circa 1930Movement: 17-jewel manual windDial: Silvered, black Arabic numeral hour markers, black inner minute divisions, blued steel spade handsCase: Brushed and polished rectangular form, back secured by 2 screws, diamond set bezel and lugs, back winding, No.22824Strap/Bracelet: Platinum diamond set linkBuckle/Clasp: 9K white gold folding claspSigned: Dial, movement signed European Watch and Clock CompanySize: 6mm x 30mmFootnotes:The 1930s was a decade of tremendous creativity and technical innovation for Cartier. The strong, colourful Indian, Persian and Oriental inspired designs, which had dominated jewellery of the early 20th century, were starting to be substituted by a diamond and single coloured gemstone palette which found favour by 1935. This was also reflected in the stone set watches they produced of the period including the present lot, offered for auction on behalf of the family of the original owner.The deceptively simple design of this cocktail watch, which also follows the 1930s move towards a pure 'white' look, is belied by the combination of differently cut stones, in a number of different settings. Utilising brilliant, single and baguette cuts, there are approximately 4.5cts of diamonds. At nearly 100 years old, this charming timepiece is as elegant now upon the wrist as when it was first purchased by the Great Aunt of the current owner. The family recall the original owner as an exceptionally elegant woman with a great generosity of spirit. A beautiful person inside and out, she was a true lady in every sense of the word.For further information on this lot please visit Bonhams.com
Cartier 18K white gold 'Trinity' pendant on necklace set with approx. 0.43 ct. diamond. Set with 43 brilliant-cut diamonds totalling approx. 0.43 ct. (VVS / F - G). With Cartier jewellery box and certificate and extra silk cord. In good condition. Hallmarks: Dutch assay mark 750, signed Cartier and numbered GPH 245. L: 45 cm, Ø 1.9 cm. Weight: 6.24 grams.
CARTIER: AN EMERALD, DIAMOND AND ONYX 'PANTHÈRE' JABOT PIN, CIRCA 2005Designed as a panther, pavé-set with brilliant-cut diamonds, speckled by calibré-cut onyx, the eyes highlighted with pear-shaped emeralds, terminating with a circular-cut cabochon emerald, mounted in 18K gold, signed Cartier, numbered, with maker's mark 'JC' and 'PB' for Pierre Brun, European convention mark, with certificate of authenticity from Cartier, dated November 24th 2005, with maker's case, width 5.7cmThe twentieth century saw a profound sociological shift as gender roles were redefined, particularly in the context of two World Wars. Women stepped into roles once reserved for men, asserting their independence and driving progress toward gender equality, including the right to vote. This upheaval laid the foundation for the rise of the 'modern woman’—one defined by her autonomy, versatility, and strength. It was within this context of social change that Cartier distinguished itself as a leader in the world of fine jewellery, creating designs that celebrated the spirit of the modern woman.Central to Cartier's vision was the iconic Panthère motif, a symbol of both elegance and resilience. The panther's allure first appeared in Cartier’s interior designs, where its distinctive spots adorned soft furnishings. By 1914, the motif had transitioned to fashion, with artist George Barbier capturing the panther in an image for an upcoming exhibition. His illustration of a regal, goddess-like figure with a panther at her feet became a defining image, setting the stage for a new era of bolder designs.In 1913, Jeanne Toussaint was appointed Director of Bags, Accessories, and Objects at Cartier. A visionary with an innate sense of style, she quickly rose through the ranks, earning the affectionate nickname “La Panthère” for her sharp intellect and rebellious spirit. Her first Cartier panther piece—a cigarette case featuring a leopard nestled among trees—was designed especially for her. Toussaint’s deep connection to the panther motif grew, and over time, she transformed it into a symbol of both strength and beauty.After mentoring Toussaint for two decades, Cartier entrusted her with the role of Creative Director of Jewellery, a progressive move for the time. This decision underscored Cartier’s commitment to modernity and confidence in "La Panthère." Working with designer Peter Lemarchand, Toussaint brought her emblematic animal to life; in 1935, the first three-dimensional panther piece was created, designed as a ring featuring a central ruby and panther heads on either side.The legacy of the Cartier panther was secured when the Duke of Windsor commissioned a stunning brooch for his wife, Wallis Simpson. The piece, which featured a panther perched atop a dazzling 116.74-carat emerald, cemented the motif’s place in high fashion. Wallis Simpson, a devoted patron of Cartier, would go on to acquire several more pieces, including a 1952 panther bracelet, considered one of the house's finest creations.Throughout her tenure, Toussaint continually reinvented the panther, introducing new forms and expressions—earrings, bangles, and brooches—captivating collectors and admirer alike. When she retired in 1970, her legacy as a trailblazer in jewellery design was firmly established. Today, the Panthère collection remains a cornerstone of Cartier's identity, its timeless elegance and powerful symbolism continuing to resonate with customers around the world, a tribute to the enduring spirit of modern femininity. Condition Report: Numbered on certificate & pin: 43415AMinor signs of wear, overall in good conditionWith certificate of authenticity and maker's caseTotal gross weight approx. 9.6g
GEORGES LENFANT FOR O.J PERRIN: A COLLECTIBLE BI-COLOURED GOLD BRACELET, CIRCA 1970Composed of a series of alternating bi-coloured textured gold links, in 18K white and yellow gold, signed O.J Perrin, with maker's mark 'GL' for Georges Lenfant, French assay marks, length 18.7cmNestled in the heart of Paris at the historic Place Vendôme, O.J. Perrin has long been recognized as a premier destination for exquisite jewellery. Since its founding in 1961, the brand has attracted a diverse clientele of celebrities, politicians, and discerning collectors from around the globe, such as Charles Aznavour and Mireille Mathieu. With a deep commitment to timeless sophistication and modern elegance, O.J. Perrin’s collections epitomize the very essence of Parisian luxury.The Maison’s signature pieces are informed by an exceptional understanding of contemporary design; defined by their graceful lines, each piece is a seamless blend of modern innovation with a classic aesthetic. Whether creating original pieces or reimagining cherished heirlooms, O.J. Perrin has become renowned for its ability to personalize jewellery to reflect the individuality of its clients. This bespoke approach has helped elevate O.J. Perrin pieces into a symbol of exclusivity in the world of fine jewellery.This dedication to craftsmanship and artistry echoes the legacies of other prominent Parisian jewellers, such as Georges Lenfant, whose story also began near the iconic Place Vendôme. Born into the world of French jewellery design, Georges Lenfant quickly mastered his trade, undertaking apprenticeships and studying jewellery design in both Paris and abroad. In 1900, he established his own workshop at 47 rue des Petits-Champs, just minutes away from the jewellery houses of Place Vendôme and Rue de la Paix. By 1903, his exceptional work was already recognized, earning him a listing in the Revue de la Bijouterie, Joaillerie, Orfevrerie.Lenfant’s designs, celebrated for their creative brilliance and flawless execution, attracted attention from the leading jewellery houses of the day, including OJ Perrin, Cartier, Mellerio dits Meller, and Van Cleef & Arpels. Determined to establish his own identity, Georges created a maker's mark in 1909, ensuring his pieces stood apart.In the period following World War II, Georges Lenfant continued to innovate, expanding further with the acquisition of Verger Frères. This partnership led to an exciting collaboration with Vacheron Constantin, producing exquisite timepieces and jewellery, including designs for Hermès. Jacques, who succeeded his father in the 1960s, infused the brand with a renewed focus on goldsmithing, creating beautifully textured pieces that celebrated the versatility of gold. One of his signature designs was the interlocking chain motif, which resulted in over 3,000 unique pieces, now considered some of the most iconic works of the Georges Lenfant legacy.Much like O.J. Perrin, a pillar of Parisian luxury under the direction of Ralph Aljord, Georges Lenfant has built a lasting legacy in the world of fine jewellery. The two houses have collaborated in the past, creating exquisite pieces that combine elegant details with innovative design. These creations perfectly exemplify a commitment to exceptional craftsmanship, personalized design, and the seamless blending of timeless elegance with contemporary flair. Condition Report: French assay marks + maker's mark located on the tongue of clasp - signature OJ Perrin located on the other end of claspClasp with safety catch, closes securelyMinor signs of wear, overall in good conditionTotal gross weight approx. 98.7g
CARTIER, ATTRIBUTED TO: A RARE 'TUTTI FRUTTI' GEM-SET & DIAMOND CLIP BROOCH, CIRCA 1930Of shield shape, the central carved sapphire foliate motif, within emerald bead borders, to an old European and single-cut diamond surround accented with baguette-cut diamonds, mounted in platinum and 18K gold, unsigned, French import marks, length 3cm, width 2.4cmAccompanied with a letter of expertise, from IAJA (The International Antique Jewellers Association) based in Paris, stating that the brooch is by Cartier New York, circa 1930. Report no. Xp1527 - 040124Olivier Bachet is a distinguished jewellery consultant and expert, and a member of the Compagnie Nationale des Experts. Initially an antique art dealer, he has spent the past 20 years specialising in vintage Cartier jewels. He authored Cartier, Exceptional Objects with Alain Cartier and In The Beginning Was The Line: Cartier Art Deco Drawings 1910-1930. His extensive expertise has established him as an internationally recognised specialist on vintage Cartier jewellery.With its origins in the Art Deco designs of the 1920s, Cartier's 'Tutti Frutti' style has become one of the most sought-after jewellery motifs to this day. The design is a distinct multicultural fusion of Eastern and Western influences. By combining colourful Indian carved stones with the period’s monochromatic trends, Cartier upheld their motto: "never copy, always create."The term ‘Tutti Frutti’ was coined in the 1970s and copyrighted by Cartier in 1989. Its roots trace back to 1901, when Queen Alexandra of the United Kingdom commissioned Pierre Cartier to create a necklace to complement her colourful Indian gowns. This piece, adorned with rubies, emeralds, and sapphires, was a foundational influence for Cartier’s 'Tutti Frutti' jewellery.Jacques Cartier drew further inspiration during his 1911 trip to India for the Delhi Durbar, where he encountered Maharajas adorned in vibrant jewels. Captivated by their ornamentation, Cartier sourced the most exquisite gems and antiquities to be sold from the London branch to the European elite.By 1925, “Art Deco” was officially recognized at the Paris Exposition des Art Décoratifs et Industriels Modernes. The Cartier brothers emerged as trendsetters; their designs blending Western clean lines with Eastern carved gems and colourful beads were heralded as a celebration of global cultures and creativity.Initially referred to as the “foliage” line or “pierres de couleur,” these pieces featured carvings of flowers and leaves, with many stones varying in quality and colours. Their popularity surged after the Crash of 1929, signalling the public’s desire for vibrancy and novelty.Throughout the 1920s and 1930s, 'Tutti Frutti' designs flourished, inspiring jewellers across Europe and America. Notable figures like Daisy Fellowes commissioned the exquisite “Collier Hindou” necklace in 1936, while Marjorie Merriweather Post requested a pendant with Mughal emeralds. These commissions elevated the style and its popular legacy further.As World War II approached, jewellery design shifted from the delicacy of Art Deco to the boldness of the Retro period. Nevertheless, Cartier's timeless 'Tutti Frutti' creations endure, remaining coveted by collectors today. Each piece tells a story of cultural fusion and artistic innovation, embodying the prestige of the iconic Cartier house. Condition Report: Carved sapphire: of blue hue, medium tone, a surface reaching inclusion visible with naked eye, some scratches due to normal wear visible under 10x magnificationEmeralds: of bluish-green hue, medium tone, numerous nicks visible under 10x magnification due to normal wearWith 'Mascaron' for French import mark, for platinum and owl for 18K gold import markAnother partial mark with 'A' located on pinsNormal signs of wear, commensurate with age, overall in good conditionPin slightly bentStock no. handwritten: D443 or D883Accompanied with a certificate of authenticity from IAJA (The International Antique Jewellers Association) based in Paris, stating that the brooch is by Cartier New York, circa 1930. Report no. Xp1527 - 040124Total gross weight approx. 12.6g
CARTIER: A DIAMOND AND EMERALD 'PANTHÈRE' DRESS RING, FRENCHThe sprung ring designed as a panther, the head pavé-set with brilliant-cut diamonds, the eyes set with pear-shaped emeralds, the nose with onyx detailing, mounted in 18K gold, signed Cartier, numbered, with maker's mark 'Sté HV' for Abysse Hamard Vitau, French assay mark, ring size M (EU size stamped 52)The twentieth century saw a profound sociological shift as gender roles were redefined, particularly in the context of two World Wars. Women stepped into roles once reserved for men, asserting their independence and driving progress toward gender equality, including the right to vote. This upheaval laid the foundation for the rise of the 'modern woman’—one defined by her autonomy, versatility, and strength. It was within this context of social change that Cartier distinguished itself as a leader in the world of fine jewellery, creating designs that celebrated the spirit of the modern woman.Central to Cartier's vision was the iconic Panthère motif, a symbol of both elegance and resilience. The panther's allure first appeared in Cartier’s interior designs, where its distinctive spots adorned soft furnishings. By 1914, the motif had transitioned to fashion, with artist George Barbier capturing the panther in an image for an upcoming exhibition. His illustration of a regal, goddess-like figure with a panther at her feet became a defining image, setting the stage for a new era of bolder designs.In 1913, Jeanne Toussaint was appointed Director of Bags, Accessories, and Objects at Cartier. A visionary with an innate sense of style, she quickly rose through the ranks, earning the affectionate nickname “La Panthère” for her sharp intellect and rebellious spirit. Her first Cartier panther piece—a cigarette case featuring a leopard nestled among trees—was designed especially for her. Toussaint’s deep connection to the panther motif grew, and over time, she transformed it into a symbol of both strength and beauty.After mentoring Toussaint for two decades, Cartier entrusted her with the role of Creative Director of Jewellery, a progressive move for the time. This decision underscored Cartier’s commitment to modernity and confidence in "La Panthère." Working with designer Peter Lemarchand, Toussaint brought her emblematic animal to life; in 1935, the first three-dimensional panther piece was created, designed as a ring featuring a central ruby and panther heads on either side.The legacy of the Cartier panther was secured when the Duke of Windsor commissioned a stunning brooch for his wife, Wallis Simpson. The piece, which featured a panther perched atop a dazzling 116.74-carat emerald, cemented the motif’s place in high fashion. Wallis Simpson, a devoted patron of Cartier, would go on to acquire several more pieces, including a 1952 panther bracelet, considered one of the house's finest creations.Throughout her tenure, Toussaint continually reinvented the panther, introducing new forms and expressions—earrings, bangles, and brooches—captivating collectors and admirer alike. When she retired in 1970, her legacy as a trailblazer in jewellery design was firmly established. Today, the Panthère collection remains a cornerstone of Cartier's identity, its timeless elegance and powerful symbolism continuing to resonate with customers around the world, a tribute to the enduring spirit of modern femininity. Condition Report: Diamonds: bright and livelyEmeralds: of bluish-green hue, medium tone, both well matchedNumbered 05232CSignature + maker's mark + number located inside hoop, French assay mark eagle's head for 18K gold on the outside hoopNormal signs of wear, overall in good conditionTotal gross weight approx. 18.5g
WEMPE: A DIAMOND THREE-STONE RINGThe brilliant-cut diamond at the centre weighing approximately 1.00ct, between two similarly-cut diamonds, within collet-setting, mounted in 18K gold, remaining diamonds approximately 0.90ct total, partially signed Wempe, numbered 4715, ring size LIn 1878 Gerhard Diedrich Wempe (1857-1921), a German watchmaker, opened a modest workshop in the downstairs of his aunt’s home in the town of Elsfelth. A talented entrepreneur and skilled craftsman, he quickly established a successful trade. Four generations later, the family company, now led by Kim-Eva Wempe, represents brands such as Rolex, Cartier, Chopard and Montblanc to name but a few. In addition to retailing the world’s finest watches and jewellery, Wempe is also dedicated to the research, innovation and preservation of the fascinating science and craft that is watchmaking. Condition Report: Diamonds: principal diamond approx. 1.00ct, remaining diamonds approx. 0.90ct total, unable to assess colour due to yellow mount, estimated clarity VS2-SI1Partial signature for WempeMinor signs of wear, overall in good conditionTotal gross weight approx. 8.7g
A box of various costume jewellery to include various bead and other necklaces, bracelets and bangles, three various watches, clip on earrings, amber necklaces, enamelled butterfly brooch and five various scent bottles and contents (part), including Parfums Cartier, Jo Malone, Guerlain, Organza, Givenchy, etc.
Asprey & Co., a ruby and diamond demi-parure, circa 1977, comprising: a necklace and bracelet, each composed of oval linking, set with oval rubies and brilliant-cut diamonds, mounted in 18ct gold, necklace length 36.5cm, bracelet length 17.5cm, each with French assay marks and British import hallmarks for 18ct gold, sponsor's mark A&Co. Ltd for Asprey & Co., date letter for 1977, French maker's marks for Pierre Brun, combined gross weight 99 grams, caseThe workshop of Pierre Brun was established in 1935 and for much of the 20th century was one of the leading manufacturers of high jewellery in Paris, who made for Cartier, Van Cleef & Arpels and Boucheron amongst others, before being bought by Cartier in 2000.
Cartier, possibly by Jeanne Toussaint: An Art Deco velvet and diamond handbag, circa 1925 The black velvet exterior decorated with a rose-cut diamond tongue clasp, fed through a similarly-cut diamond rivet, the interior featuring several compartments including a removable pouch, the top strap adorned with courses of rose-cut diamonds, signed Cartier, makers' marks, French assay marks, width 19.7cm This rare evening bag, in the envelope style, was made by Cartier in Paris in the mid 1920s. In 1919 Louis Cartier (1875-1942) made his lover, Jeanne Toussaint (1887-1976), an employee of Cartier in their handbag department to alleviate family pressure surrounding their affair. Within Rue de la Paix, Toussaint became famous for her stylish contributions not to mention her frugal use of valuable fabrics; not an unwelcome contribution in times of economic difficulties. In 1933 she was promoted to Artistic Director focusing on high jewellery.
CARTIER, NEW YORK: PENDULE DE BUREAU EN ÉMAIL, NACRE, CORAIL, ONYX ET DIAMANTS, CIRCA 1930Conçue comme un écran vertical, le cadran rectangulaire serti d'une marqueterie de nacre blanche 'turbo marmoratus' et 'pinctada margaritifera', les index en chiffres romains décorés d'émail noir et sertis de diamants taille rose, les aiguilles assorties, dans un boîtier rectangulaire en or jaune, nacre blanche et émail noir, décoré de bâtons de corail 'corallium rubrum', soutenu par deux arches en onyx sur un piédestal en or jaune et émail noir, mouvement mécanique signé Longines no.2978568, signée Cartier N.Y, numérotée, poinçons français pour l'or 18K (750°/00), poinçon de maître pour Maurice Couët, accompagnée de la clé de remontage, hauteur 17.00 cm, largeur 11.60 cm, profondeur 8.40 cm, poids brut 2285,98 g.Footnotes:Provenance: Christie's Geneva, jeudi 21 mai 1992, lot 744, voir catalogue de vente 'Jewellery by Cartier', page 158-159.La « pendule écran » a été introduite par Cartier en 1922, rapidement devenue l'une des créations les plus emblématiques de la période Art déco. Inspirée des paravents chinois des dynasties Ming et Qing, elle reflète l'influence asiatique avec ses batons de corail et l'éventail « ruyi » utilisé pour l'aiguille des heures, un symbole chinois de bonne fortune. Ces éléments décoratifs, associés à des matériaux luxueux comme la nacre, l'émail et les diamants, confèrent à la pendule une allure unique et sophistiquée. La nacre, avec son éclat irisé, capte et reflète la lumière, tandis que le corail apporte une touche de couleur vive et contrastée, soulignant l'harmonie et la virtuosité du design. Ce design raffiné, mêlant matériaux précieux, illustre parfaitement l'élégance et le savoir-faire de la maison Cartier.Cette pendule de prestige porte également la marque du talent exceptionnel de Maurice Couët, horloger et artisan renommé, étroitement associé à la maison Cartier. Couët a rejoint Cartier en 1911 et est rapidement devenu l'une des figures majeures de la création horlogère de la maison, spécialisé dans les pendules de luxe. Il est particulièrement connu pour ses pendules dites « mystérieuses », des chefs-d'œuvre techniques qui donnaient l'impression que les aiguilles flottaient librement, sans connexion visible avec le mécanisme. Son ingéniosité et sa maîtrise technique ont repoussé les limites de l'horlogerie décorative, et son influence a grandement contribué à faire des créations de Cartier des pièces d'exception. Les pendules signées par Maurice Couët, souvent ornées de matériaux précieux comme la nacre, le corail et les diamants, sont aujourd'hui considérées comme des trésors de collection très recherchés.Voir 'Cartier', Hans Nadelhoffer, Editions du Regard, pages 48 and 58, 1984.Voir 'Le temps de Cartier', Jader Barracca, Giampiero Negretti, Franco Nencini, page 177, Fondation Cartier pour l'art contemporain, 1989.Veuillez noter que ce lot est soumis aux restrictions liées à la CITES en cas d'exportation hors de l'Union Européenne.CARTIER NEW YORK: ENAMEL, MOTHER-OF-PEARL, CORAL, ONYX AND DIAMOND TABLE CLOCK, CIRCA 1930Designed as a vertical screen, the rectangular dial inlaid with 'turbo marmoratus' and 'pinctada margaritifera' white mother-of-pearl, to rose-cut diamonds set black enamel Roman hour numerals and hands, within a mother-of-pearl and black enamel rectangular case, decorated with 'corallium rubrum' coral batons, supported by two onyx arches on a pedestal of yellow gold and black enamel, mechanical movement signed Longines no.2978568, signed Cartier N.Y, numbered, French assay marks for 18 carat gold, maker's mark for Maurice Couët, accompanied by the winding key, height 17.00 cm, width 11.60 cm, depth 8.40 cm, gross weight 2285.98 grams.Provenance: Christie's Geneva, Thursday 21 May 1992, lot 744, see auction catalogue 'Jewellery by Cartier', page 158-159.The 'screen clock' was introduced by Cartier in 1922 and quickly became one of the most iconic creations of the Art Deco period. Inspired by Chinese table screens from the Ming and Qing dynasties, it reflects Asian influence with its coral batons and the 'ruyi' fan used as the hour hand, a Chinese symbol of good fortune. These decorative elements, combined with luxurious materials such as mother-of-pearl, enamel, and diamonds, give the clock a unique and sophisticated appearance. The mother-of-pearl, with its iridescent shimmer, captures and reflects light, while the coral adds a vibrant and contrasting touch of colour, highlighting the harmony and virtuosity of the design. This refined design, blending precious materials, perfectly illustrates Cartier's elegance and craftsmanship.This prestigious clock also bears the mark of the exceptional talent of Maurice Couët, a renowned watchmaker and craftsman closely associated with Cartier. Couët joined Cartier in 1911 and quickly became one of the leading figures in the company's luxury clockmaking, specialising in high-end timepieces. He is particularly known for his 'mystery clocks,' technical masterpieces that created the illusion of floating hands with no visible connection to the mechanism. His ingenuity and technical mastery pushed the boundaries of decorative horology, and his influence greatly contributed to making Cartier's creations exceptional. Clocks signed by Maurice Couët, often adorned with precious materials such as mother-of-pearl, coral, and diamonds, are now considered highly sought-after collector's items.See 'Cartier', Hans Nadelhoffer, Editions du Regard, pages 48 and 58, 1984.See 'Le temps de Cartier', Jader Barracca, Giampiero Negretti, Franco Nencini, page 177, Fondation Cartier pour l'art contemporain, 1989.Please note, this lot will be subject to CITES regulations if exported outside the European Union.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A Must De Cartier 'Bordeaux' wallet and a jewellery box. The wallet with a burgundy leather exterior with embossed logo detailing and gold tone hardware, 19cm x 15.5cm (closed), the jewellery box having a red exterior with gilt detailing, Ref. COFBJX00, the interior lined in white velvet and featuring three open compartments and three ring cushions. L15cm
CARTIER: A QUARTZ ‘COLISÉE' DESK CLOCKQuartz movement, the circular-shaped white dial with Roman numerals, outer minute track and black sword-hands, alarm clock, within a polished circular-shaped case and reeded terminal, to a retractable stand, dial and reverse signed Cartier, numbered, with maker’s box, outer case and instructions manual, length 7.8cm, height 9.2cm* This lot is sold without a reserve Condition Report: Running at the time of cataloguing, please note that the movement has not been opened or tested for time keepingSigned Cartier ParisNumbered AL1002094Normal signs of wear, overall in good conditionTotal gross weight approx. 330.6gAccompanied by maker’s box, outer case ad instructions manual, some signs of wearThe 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.
A suite of bespoke emerald and diamond rings in 18 carat yellow gold, by Cartier. Featuring the principal piece of an 18ct gold emerald and diamond ring, with two clusters of four round brilliant cut diamonds formed into flowers, accentuated with four emerald "leaves". The estimated total diamond weight is 0.65 carats. emeralds an estimated total weight of 0.50 carats. Set into hallmarked 18ct gold bearing the Cartier hallmark and signature. Size O. Gross approximate weight 4.43 grams. The second ring is formed in leaf-like arch of three marquise cut diamonds, interspersed with four marquise cut emeralds. Set in 18ct gold bearing Cartier hallmarks and signature. Total estimated diamond weight 0.40 carats and 0.24 carats of emerald. SIze O. Gross approximate weight of 3.04 grams. Provenance: The rings are accompanied by full Cartier paperwork for the principal piece, including copies of the Cartier sketches, with catalogue numbers, a Cartier insurance valuation and correspondence between the jewellery house and the commissioning lady. Each ring is presented in a tooled red leather Cartier box. The rings are from the collection of a late Lincolnshire lady who commissioned the flower ring in 1987 as a Christmas gift to herself via the Cartier office at New Bond Street, London. The accompanying half eternity ring was made the following year to follow the contours of, and accentuate the design of the first piece. The lady was a professional who cared for family members alongside her working life and found her pleasure in enjoying fine jewellery and taking trips on Concord.
RING 'CARTIER' Platin. Ringmaß ca. 53, Ges.-Gew. ca. 29,11 g. Gest. Pt. 950, Herstellersignet, nummeriert. 243 Brillanten, zusammen ca. 10,30 ct., etwa G VS1-VS2, no treatment. Angaben laut beigefügtem Jewellery Report (im gefassten Zustand gemessen und bewertet). Expertise: Jewellery Report MSU Gemmological Center of Moscow State University, 15.04.2021.
VERGER FRÈRES: A RETRO DIAMOND BRACELET, CIRCA 1945-50Of openwork scrolled design, composed of palmette-shaped motifs of bi-coloured design, each terminal enhanced with brilliant-cut diamonds, to fluted connectors, mounted in 18K gold, diamonds approximately 6.50cts total, with maker's mark 'VF' for Verger Frères, French export mark, length 17.2cmVerger Frères was founded in Paris in 1872 by Ferdinand Verger, who quickly gained fame for his superb jewellery, clocks, and watches. Ferdinand began his apprenticeship at just 11 years old with the esteemed Parisian watchmaker Lépine. After serving in the Franco-Prussian War and working in London, he returned to Paris and started his own business. Initially focusing on women’s watches, he built a strong partnership with Vacheron Constantin, laying the foundation for his success.By 1896, Ferdinand had registered his maker's mark, "FV." In 1911, his sons Georges and Henri joined the business, prompting a name change to Verger Frères and the introduction of a new mark, "VF." This new chapter heralded a period of significant growth and creativity. The firm became known for its close collaborations with top artisans of the era, including Lalique and Makovsky, and for pioneering techniques. Notably, they were one of the two Parisian houses to produce the famous “mysterious clocks.”Verger Frères earned the title of the ‘jeweller’s jeweller’ because they supplied many top jewellery firms. Unusually for the time, they did not create pieces based on clients’ designs but instead sold their own original designs to retailers. Their designs, which drew inspiration from the synthesis of Art Nouveau and Art Deco, continue to inspire creativity today.During the 1920s and 30s, Verger Frères was at its peak. Their jewellery and watches were highly sought after by prestigious names like Cartier, Van Cleef & Arpels, Tiffany, and Bulgari. They offered exclusivity to their clients and showcased unparalleled craftsmanship. In Hollywood, Verger Frères pieces were worn by early film stars such as Joan Crawford, Katharine Hepburn, Greta Garbo, and Mae West.What set Verger Frères apart was their commitment to in-house production. They employed over 200 skilled craftsmen, including goldsmiths, enamellers, engravers, gem cutters, and watchmakers, ensuring high-quality work and meticulous designs. Throughout the 1940s and 50s, the company remained family-owned and continued to produce intricate designs using the finest gems. Their pieces, often in gem-set 18ct yellow gold with bold scrolling profiles, reflected the prevailing fashion of the time.Today, Verger Frères is celebrated for its elegance and craftsmanship. While many collectors appreciate their pieces, some remain less recognised due to the emphasis on the retailer’s name, making Verger Frères even more sought after. The company is now part of Atelier Bouder, which has carefully restored the brand’s heritage, using old drawings and models to recreate famous pieces while continuing to produce both classic and new designs. Condition Report: Diamonds: approx. 6.50cts total, bright and lively - unable to assess colour due to yellow mount, estimated clarity VSMaker's mark 'VF' for Verger Frères located on the tongue of clasp, together with Mercure's head mark for French 18K gold exported out of France.Normal signs of wear commensurate with age, overall in good conditionTotal gross weight approx. 131.7g
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