The French jewelry house Boivin is associated with some of the most original and impeccably crafted jewelry of the 20th century. The firm was founded in 1890 by the jeweler Rene Boivin (1864-1917). At the age of 17, Rene became an apprentice jeweler in the workshop of his older brother Victor, and also took drawing lessons. Having started his own business, he, like many other young jewelers, created pieces for famous jewelery houses such as Mellerio dits Meller or Boucheron until he acquired his own clientele. The early works of the master, which are very rare, have a design traditional for the end of the 19th century, such as this pendant with diamonds, the authorship of which is attributed to René Boivin.

In 1893, René married Jeanne Poiret, and this marriage was of great importance for the success of the company. Jeanne was an experienced business partner, kept accounts and had numerous connections among the elite of Parisian fashion. Her brother, Paul Poiret (1879-1944), was the most famous couturier in Paris, the most influential figure in the fashion world of the early 20th century. Jeanne and René attended Paul’s sumptuous evenings where they mingled with the elite. Soon their firm was catering to movie stars, artists, intellectuals, and even royalty. Their clients included fashion icon Elsa Schiaparelli, French writer Louise de Vilmorin and Empress Nam Phuong.

In 1905, Boivin produced the first Barbare pieces inspired by Assyrian, Egyptian, Etruscan and Celtic traditions. Some of his most daring works were realistic and mythological depictions of animals. His bold designs, which later came into vogue during Art Deco, were called “barbaric”. Many of them were never sold and were taken apart to create other decorations.

The Boivin family had three children: Pierre, Suzanne and Germain. The youngest daughter of Jeanne, inherited her parents’ innate sense of style. Germaine, trained in the design of clothes and accessories in the workshop of her uncle Paul Poiret. A virtuoso designer, she turned her attention to jewelry and began collaborating with Maison Boivin in the 1920s. Designed by Germaine for her mother’s 80th birthday, this commemorative brooch features cleverly hidden folding plaques bearing the names of the designers, craftsmen and business associates who have worked most closely with René and Jeanne Boivin over the years.

Around 1930, the firm began creating bold, large pieces with exotic themes and materials that deviated from the Art Deco style that was popular at the time. Jeanne Boivin reintroduced the “barbarian” style bracelets, first designed by her husband decades ago, with great success. Rubies, sapphires and emeralds were ditched in favor of semi-precious stones such as citrines, aquamarines and topaz. Pieces often included onyx, rock crystal, and lapis lazuli, as well as non-jewelry materials such as ebony and sandalwood.

Plant motifs have traditionally been used in the decorations of the Boivin jewelry house throughout its history. The tradition was started by René Boivin himself, in 1937 his 1900s drawing inspired a series of orchid brooches, the first of which was bought by Daisy Fellowes, fashion icon and Parisian editor of Harper’s Bazaar.

Boivin’s design team also created jewelry inspired by images of animals and marine life. The most expensive brooch, which set a record for the cost of jewelry of this brand, belonged to Helene Rocha, the wife of the French fashion designer Marcel Rocha, is a shoulder brooch in the form of a tiger.

The Boivin firm changed hands several times during the 20th century. After the death of Jeanne Boivin in 1959, her daughter Germaine took over the management. In 1976, the Boivin sisters sold the company to Jacques Bernard, a designer who had been with the company since 1964. In 1991, the firm was again sold to the Asprey Group. The Boivin brand has endured to the present day and continues to produce exquisite jewelry in typical Boivin themes.