Family Business

In 1876, Noury’s nephew, Georges Mauboussin joined the firm as an apprentice. After an extensive education, learning to draw and model jewellery during an internship for Maison Debacq, Mauboussin took over the management of his uncle’s workshop: he was only 21 years old.

In 1898, Georges Mauboussin bought Maison Noury. As a shrewd businessman, he kept his uncle’s name over the door, only adding his own, to reassure long standing clients of consistency.

By 1920s ‘Mauboussin’ had expanded, and Georges was joined in the business by his son, Pierre. In 1923 Georges, together with his son, Pierre, moved the business to Rue de Cloiseul. The new premises were light and spacious, with room for workshops above the ground floor show room. Pierre went on to oversee the opening of stores in New York, London and Buenos Aires.

International Recognition

In 1925 ‘Mauboussin’ participated in the Exposition Internationale des Arts Decoratifs. Here they one a gold medal. In seven years the Maison entered 18 international fairs, consequently gaining a broader clientele. Georges, unlike many haute jewellers at the time was open to advertising in magazines and lent jewellery to be featured in fashion illustrations gaining more publicity.

The 1929 Crash forced the closure of their New York store. But ever inventive, Georges struck a deal with the US firm, Trabert & Hoeffer. This partnership allowed the French jeweller to continue trading in New York at Trabert & Hoeffer’s Park Avenue store.

Another of Noury’s nephews, Marcel Goulet, had been working with his Mauboussin cousins. In 1942, Goulet’s son, Jean took over from Pierre Mauboussin who wanted to leave the jewellery industry to pursue his aeronautical interests. At this time, the designer Rene Sin Lacaze also joined the firm, bringing with him a fresh new style.

By 1946 ‘Mauboussin’ was ready for another change of address. This time they upgraded to the prestigious Place Vendome. In 1955 they opened a second boutique offering lower priced jewellery. This store catered to the increasing democratisation of jewellery. This second store with its more affordable stock was copied a year later by their neighbours, Van Cleef and Arpels.

In 1962 Jean Goulet agreed to add Pierre’s family name to his own as Pierre had no children to pass the name, and accompanying business, on to. Jean’s sons Alain and Patrick became Goulet-Mauboussin and joined the business in 1972 and 1975 respectively.

In 2002 the company was bought by Dominique Fremont. It now has stores in Paris and New York as well as Moscow, Singapore and Japan.

The Art Deco Era

During the 1920s Mauboussin embraced the new modern styles thriving in Paris. In this time they produced iconic collections of Art Deco designs. Utilising Art Deco’s characteristic use of monochrome aesthetic and emphasis on geometry they produced pieces several striking pieces with onyx and rock crystal.

The vogue for ‘Oriental’ designs feature prominently in ‘Mauboussin’ pieces from the 1920-30s period. Prominent of this time was a now iconic collection of Tutti-frutti jewellery. Cabochon cut vivid green emeralds were placed next to hot pink rubies and interspersed by yellow citrines and glittering diamonds to give pieces a tropical, fruit-bowl appearance.

The Maharaja of Indore was a loyal client. In 1931 he commissioned Mauboussin to reset his magnificent jewels, two monumental diamonds, known as the Indore Pears. Satisfied with their work, two years later, the maharaja appointed Mauboussin his official jeweller by appointment.

In recent years ‘Mauboussin’ have produced iconic collections around their signature ‘flock of birds’ or star collection feature a variegated arrangement of elongated stars. The ‘Etoilement Divine’ ring and ‘Medaille de Star’ pendant being prime examples.

Exhibitions

In 1928 Mauboussin held the first of three in house exhibitions at their Parisian head-quarters. The first show focused on emeralds. The star piece of the 240 jewels displayed, was a 24carat emerald once belonging to Empress Josephine. Mauboussin reset the stone in a fashionable oriental style mount.

In 1930 they exhibited a set of jewels all featuring rubies. The following year, 1931, the focus was on diamonds. The shows attracted high profile visitors from the Prince of Wales to the Maharajas of Kapurthala and Indore, who became key clients.