Boghossian is delighted to present its new 2024 High Jewellery Collection, PALACE VOYAGES.

Boghossian’s own unique adventure is a journey from East to West, an exploration of beauty and enchantment in their most daring, mesmerising forms. Along this road, like so many gems studded across a glittering chain, a collection of fine buildings sparkle: the Palaces.

Like a jewel itself, a palace distills the essence of fantasy and beauty. These are special places, unique to their eras and situations. Palaces represent what is most precious about a culture or historical period. Within these hallowed walls, the finest examples of art and craftsmanship are allowed to bloom, endowed with a freedom and means rarely seen in other contexts.

Boghossian’s Palace Voyages collection maps a unique route through time and space, beginning at Beijing’s Qianlong Palace and travelling across continents to end at Brighton Pavilion. Fourteen distinct palaces provide the inspiration for so many equally unique pieces, inspired as much by the architectural and historical details of a location as by its story and atmosphere.

Join us as we unveil a treasure trove of exquisite pieces, where the past meets the present in a symphony of elegance and grace.


Also known as the “Palace of Tranquil Longevity”, Qianlong Palace was destined to be the retirement retreat of the Qianlong Emperor, who launched its construction in 1771. The emperor was never to spend a night in the fnished palace, as he never fully retired from active rule, but the building itself – a part of Beijing’s Forbidden City – was perfectly preserved through future generations, ensuring that this fne example of 18th Century design uniting classical Chinese traditions with Western influences remained intact.

The marquetry work in the palace – and particularly in the Juanqinzhai or Retirement Lodge – is said to be among the fnest in the world, inspiring the elegant lines of creations in a mix of diamonds, white jade and green jadeite. These exquisite pieces reference the sense of classical form intended by the “aesthete” Qianlong Emperor, as well as the importance of asymmetry and empty space in traditional Chinese art.

Taman Sari

Taman Sari, the “garden of flowers”, was built in the late 18th Century as a series of buildings and pavilions on the site of a bathing spring by the Yogyakarta Sultans. Unique of its kind, this building centred around a series of pools designed for ritual bathing, decorated with statues and carvings representing the local nature and wildlife.

Certain pools and buildings were said to be connected only by hidden, underwater tunnels to ensure private access for the Sultan and his men. Though many of the elements have been destroyed, there remains a sense of peace and tranquillity about Taman Sari.

Grand Court

Constructed in 1782, Bangkok’s Grand Palace was conceived as the residence of the Kings of Siam, now known as Thailand. The vast complex is still in use today for several annual ceremonies, seen also by countless visitors keen to witness the striking architecture and detailed craftsmanship of the different spaces, including the spectacular temple of the Emerald Buddha. Roofed with traditional glass and gold leaf tiles, the Grand Palace has a unique grandeur and sparkle.


Jaipur’s City Palace was built in the late 1720s and early 1730s to house the ruling Maharaja Sawai Jai Singh II’s family.

Its intricate complex of buildings and gardens brings together Mughal and Rajput styles. The inner courtyard is famous for its four gates dedicated to four Hindu gods and goddesses and representing the four seasons. The lines and colours of these sets are directly inspired by two of these gates. The city of Jaipur itself has a unique link with the Maison, since Albert Boghossian spent time here as a young man at the start of his career, discovering the intricacies of precious gems and the Art of Inlay.


Known as the “City of Palaces”, Mysore is best known for its most recent and imposing residence, also known as the Amba Villas Palace, commissioned in the late 19th Century by the Maharaja Krishnaraja Wodeyar IV and designed by British architect Henry Irwin. The ceremonial Durbar Hall, whose majestic arches and pillars are reflected in the sets, was added in the 1930s. The selection of precious stones reflects the colours of this ornate residence, with elements of the interior architecture appearing as details.


The legendary palace of Persepolis rose in the Zagros mountains of modern-day Iran in the 6th Century BC. This royal complex was uniquely spectacular both for its location and scale, intended as a ceremonial location as well as a residence.

Even today, the ruins bear witness to the imposing nature of the remaining raised platforms and staircases. The bricks used in the construction of the frescoes and gates were glazed with blue and yellow to represent sacred scenes and creatures, colours remaining intrinsically linked with Mesopotamian archaeology, in an era where pigments were a sign of great wealth.


In the heart of Tehran, the Golestan Palace was commenced in the 16th Century: known as the “Palace of the Rose Garden”, it is a perfect example of traditional Kadjar architecture. As Tehran was designated the new capital, later elements were added to the original structure throughout the late 19th Century, including the celebrated Hall of Mirrors, which took four years to complete, and the smaller yet equally ornate Hall of Diamonds.


The great city of Amarna was erected under the reign of pharaoh Akhenaton, in the 14th Century BC. Remains from the North Palace, constructed for his wife Nefertiti, show to what extent the stylistic shift of Ancient Egyptian arts was apparent during this period, with a clear move towards a more informal style and a sense of freedom.

Fragments from the paintings of the so-called “Green Room” of the Amarna palace show an interpretation of the traditional papyrus motif, in a more abstract, geometric shape.

Rainbow Raid

The Bahia palace in Marrakesh was commissioned in the late 19th Century by Si Moussa, the Grand Vizir of Sultan Moulay Hassan I. Its impressive scope across eight hectares was conceived to showcase the finest Moroccan traditions of craftsmanship, especially in its highly ornate muqarnas or painted cedarwood ceilings.

The intricate design of these details, as well as their masterful use of colour, form the direct inspiration for pieces which reflect the geometry and rich palette of the muqarnas (painted wooden carvings).

Red Fortress

Perhaps the most celebrated example of Islamic art and architecture in the world, the Alhambra palace stands on the Sabika hill above the Spanish city of Granada, bearing witness to the Arab presence in Europe between the 8th and 15th Centuries.

The Alhambra (meaning red fort or palace) was built in the 13th Century, though a pre-existing fort may have already stood on the same location. The splendour of the site was such that it survived the Reconquista and remains a much-visited monument to this day. The beauty and intricacy of its décor are especially evident in the muqarnas, representing the seven levels of heaven.

Amber Room

Initially, the Amber Room was conceived in 1701 for the Schloss Charlottenburg, before being installed in the Berlin City Palace. Visiting the palace ffteen years later, Russia’s Tzar Peter the Great was so taken with the beauty of the room that Kaiser Friedrich-Wilhelm I decided to donate it to his ally, and it was rebuilt within the Catherine Palace near Saint Petersburg, using more than fve tonnes of amber.

The original Amber Room vanished after World War II and a renovated version was completed in 2003. The unusual history and materials of this space have inspired two contrasting interpretations spanning the more traditional and contemporary visions of amber jewellery.


Situated in the scenic landscape of Prussian Arcadia, just outside Berlin, Sanssouci was built by Frederick the Great in the 1740s as a countryside  escape,  where  the  king  and  his  courtiers  could  enjoy music and nature without a care in the world, hence its name, signifying “carefree” in French. In fact, all conversation in the palace was conducted in French. Built in the Rococo style with elements unique to Frederick’s wishes, the picturesque building sits at the top of a stylized park, surrounded by vineyards and woodland. The golden detailing of the Rococo frescoes, the omnipresence of nature and music provide the inspiration for a delicate yet frivolous design.

Petit Château

Conceived by architect Ange-Jacques Gabriel as a perfect neo-Classical gem in which to house the retinue of Louis XV, this “petite” annex of Versailles was also Louis XVI’s gift to his new wife Marie-Antoinette, who enjoyed the simple lines and more remote situation offered by the Petit Trianon.

Regency Residence

Later to be crowned George IV, the then-Prince of Wales visited Brighton in the late 18th Century, advised by his physician to bathe in the sea. The original house was renovated several times, most notably by architect John Nash, who extended the Royal Pavilion and gave it its unique Indo-Saracenic domes, completed in 1823. The interior design matched the ornate, oriental feel of the building, which was also used by King William IV. Queen Victoria disliked its central location in the highly fashionable resort and sold the building to the city of Brighton in 1850. It remains one of its most famous landmarks, with its unexpected, highly spectacular architecture and interiors.

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