ver a year ago, a woman called reception and said she would like to sell some jewellery. This kind of thing happens ten times a day but to get a call from someone you don’t know, who owns such an important collection that has never come to auction, that happens once in a lifetime, and I’ve been in the business since 2010!” exclaims Marie-Cécile Cisamolo, director and jewellery specialist at Sotheby’s.

Anyone with a love of jewellery will be enthralled by the jewels in question. “I’ve never seen such a thoughtfully assembled collection in my entire career,” Sotheby’s specialist continues. “There are some magnificent 1970s pieces, virtually all signed by houses such as Van Cleef & Arpels, Cartier and Bulgari. And there are fabulous artists’ jewels from the 1950s and 1960s. Things you never see, such as a Lucio Fontana cuff or an Arnaldo Pomodoro necklace alongside an Art Nouveau pendant by Georges Fouquet or a necklace by Falize. Absolutely the best of the best!”

Bulgari iconic lady’s gold diamond and ruby wristwatch Serpenti, circa 1968

Sotheby’s

Lucio Fontana rare gold bangle “Concetto Spaziale Taglio”, circa 1967-1968

Sotheby’s

Arnaldo Pomodoro silver-gilt and enamel pendent necklace, circa 1970

Sotheby’s

Each piece in the collection has been chosen, loved and, most of all, worn. “It’s a woman’s collection,” muses Marie-Cécile Cisamolo. “Many of the great jewellery collections were assembled by men who seek to acquire the most beautiful ruby, the most beautiful sapphire, the most beautiful diamond, the most beautiful Cartier necklace. It’s an intellectual process. The pieces in this collection were chosen for their quality but also for their comfort. This woman wore her jewellery every day. It was part of her life. We’re looking at a collection defined by passion.”

René Boivin sapphire and emerald demi-parure Algues, circa 1962

Sotheby’s

Among the multitude of stunningly beautiful pieces are a large number of Boivin jewels. Indeed, the lady in question owns the finest and largest collection of Boivin jewellery in the world, but this was never what drove her. In fact her aim was never to build a collection, as she herself says: a few days before the sale, she agreed to talk about these treasures (without revealing her identity).

Bulgari rare and imortant gem set and diamond sautoir Buddha, circa 1971, belonged to Lyn Revson

Sotheby’s

What made you want to buy jewellery?

I never set out with the intention of forming a collection. For me, a collection is something that takes shape obsessively, around a particular theme. An accumulation of Ming vases, for example. I bought jewellery because I wanted to wear it, which doesn’t mean there was never a common thread. That thread is what I liked then and what I like now, and has evolved over time.

Do you remember the first piece you bought?

An unsigned Art Deco platinum ring with an aquamarine and step-cut diamonds, which I no longer have.

Verdura pair of nephrite and gem set cuffs Maltese Cross cuff

Sotheby’s

Was there a point when you realised you were building a collection?

No, not really. The first person to mention the word “collection” was Françoise Cailles [the vintage and modern jewellery specialist] in reference to my Boivin jewellery.

What made you decide to part with just over 250 jewels?

Because my daughter has chosen the pieces she wants to keep and because I’ve worn my jewellery every day, all my life, and now I wear it far less. Keeping it locked in a safe would serve no purpose. It would feel as though it were no longer mine.

René Boivin gold and sapphire pendant brooch, circa 1970, and a chain

Sotheby’s

Is there one thing that connects the different pieces?

Yes. I haven’t always bought signed jewels but I have always been guided by quality and design. Cartier with no spark has never interested me. I’m also drawn to jewellery that goes against the grain. Of course, it has to suit me! I’ve missed out on certain pieces either because the price wasn’t acceptable or because it didn’t hang properly. I have no regrets.

Cartier superb diamond devant-de-corsage, circa 1910

Sotheby’s

Where did you purchase your jewellery? At auction, from the jewellers themselves or perhaps from dealers?

Very few were acquired at auction and I always asked someone to represent me. The only pieces purchased directly from the creator are the Marina B jewels my husband gifted me. Mostly I bought from dealers. You should know they have their own collections, pieces they particularly appreciate and don’t always put on display. Some were swaps. When a dealer agreed to show me the contents of his safe, it’s because he was interested in one of the jewels in my safe!

Marina B sapphire amethyst and diamond demi-parure byzance, circa_1978

You own the world’s most extensive collection of René Boivin jewellery. What drew you to Boivin?

I never went looking for Boivin, it simply happened over time. I liked the fact they were so different. Jewellery by Boivin isn’t like other jewellery. The “Algues” necklace, for example, suffices by itself, it doesn’t need an elaborate dress. The earrings once owned by the Empress of Vietnam, on the other hand, could be the work of a more traditional jeweller, but I couldn’t resist their provenance.

Bulgari impressive pair of fancy intense yellow diamond emerald and diamond pendant earrings, circa 1979

How did you acquire the fabulous Bulgari earrings that belonged to Baroness di Portanova?

It’s quite a story! You’ll have noticed there are very few diamonds and hardly any solitaires in my collection. Well, one day, after completing a property transaction, I decided to buy myself a diamond. I mentioned it to a friend, who is also my associate, and over the next three months she faxed me a great many certificates. In the end, I asked to view two diamonds, one cushion and one emerald-cut. After seeing them, I told my friend that ice-cubes weren’t my thing [laughs]. Wearing them would have been like saying, “Look at me, I’ve got a 20-carat diamond on my finger” which is not my style at all, so I decided that would be the end of that.

A fortnight later, the same friend called and asked would I be interested in a pair of fancy yellow diamonds. I went to the office of the diamond trader, saw the diamonds and liked what I saw. My idea was to wear them as earrings and in fact the trader had dismantled a pair of earrings, which had been withdrawn from a sale, to sell the diamonds. He still had the mount with its two emeralds, and so I asked if he could remount the diamonds.

Have you had any memorable experiences with these earrings?

Yes, in the EasyJet boarding lounge at 6am with my two young children. I’d arrived early because I had a lot of luggage to check in and I was wearing the earrings, hidden by my hair. All of a sudden, a very nice Lebanese lady looked at me, clearly amused, and said, “Darling, do you always wear that kind of thing at 6 o’clock in the morning?” We laughed. It could have been costume jewellery, Burma, but she could see it wasn’t the kind of thing you wear when you pop out for groceries!

Stern gold and diamond demi-parure, 1950

Sotheby’s

Brooches are making quite the comeback and there are a number of them in the sale. What is it about brooches that most appealed to you?

Quite simply they were something I used, to drape a scarf, for example. Sometimes I’d wear a pretty brooch rather than a necklace. I detest having a chain around my neck, I feel I’m being choked.

René Boivin sapphire and emerald demi-parure Algues, circa_1962

Sotheby’s

These are jewels you’ve worn over decades, a reminder of happy occasions. How hard is it to let them go?

I don’t feel the same today about it today as when I took the decision to sell them. It’s brought back entire episodes of my life spent with these jewels. I have a photographic memory, I remember every detail. A couple of days ago a friend asked me, “If the sale is a success, will you start again?” My answer was yes.

Mauboussin important emerald ruby enamel and diamond pendent necklace, circa 1929

Sotheby’s