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Click here to subscribeTwo silver brooches including a presentation brooch with an oval Murano glass panel surrounded by beads (some losses) and a silver foliate scrolling surround, Birmingham 1929, 6.5cm long, sterling silver brooch in the form of a pheasant set with coloured glass stones, 5cm long, approximate gross weight 46.5 grams together with a white metal bracelet set with scarab panels, white metal bangle set with red stones and two further white metal bracelets (6)
A 9ct yellow gold bronze core bangle, with engine turned decoration, diameter 7.5cm, a 9ct yellow gold cross pendant, 2.5 x 1.5cm, on 9ct yellow gold fine link necklace, length approx 48cm, and a 9ct yellow gold letter pendant, 1.5 x 1cm, on 9ct yellow gold fine link chain, length approx 48cm, combined weighable 9ct gold approx 5.8g (3).
WILLIAM NEALE & SON LTD; a George V hallmarked silver napkin ring, with engine turned decoration, Birmingham 1914, two further hallmarked silver napkin rings, a hallmarked silver feeding spoon and matching food pusher, four silver bangles, a hallmarked silver ingot pendant, a hallmarked silver square link necklace (af), length 50cm, a white metal bangle and a silver plated butter knife, combined weighable silver approx 4.55ozt/141.4g.
A 9ct gold illusion set diamond and sapphire cluster ring with textured shoulders, size N, approx 4.9g, a 9ct gold bezel set white stone ring, size L, approx 1.6g, a 9ct white stone solitaire ring, size Q, approx 1.6g, an 18ct gold ring with claw set white stone, size N, approx 3.6g, and a 9ct gold thin bangle, diameter 7cm, approx 3g (5).
WILLIAM HUTTON & SONS LTD; a cased set of six George V hallmarked silver coffee spoons, Sheffield 1916 and a cased set of five Victorian hallmarked silver teaspoons, manufactured by Wakeley & Wheeler, London 1891, also a hallmarked silver napkin ring, bangle and white metal belt buckle, combined weighable silver 6.05ozt/188.5g.
Group of gold jewellery to include four 18ct gold studs, three 9ct gold studs, one 9ct gold cufflink, 9ct gold elephant charm and a yellow metal Mizpah broken bangleFour 18ct gold studs weigh 9.2 grams in total.9ct gold- elephant charm, one cufflink and three studs weigh 5.7 grams in total.Yellow metal Mizpah broken bangle, unmarked but possibly 9ct gold weighs 8.4 grams
A Victorian silver Aesthetic Movement hinged bangle, Birmingham 1883, 58mm, 35g Condition-The inside measurement of the bangle is 58mm, the catch does work but it does take some aligning, the back of the bangle drops slightly when not in the catch, there is a slight dent to the decorated front towards the bottom left corner.I will attach more photos of the rear of the bangle. There are initials engraved to the rear and quite a few scratches, the photos should help further.
A small collection of vintage and modern silver and costume jewellery and watches - including a sterling silver bangle with hook and loop clasp; a silver filigree leaf brooch; a sterling silver heart-link bracelet; a large white metal wishbone pendant; an early 20th century South Africa enamel coin brooch; a modernist style white metal large double cable link necklace, 44cm long; a gold plated and enamel swivel fob; an early 20th century Swiss .935 silver fob watch, key wind (movement badly corroded); a Fossil stainless steel ladies quartz watch, ref. AM-4336; six other watches (none running); etc.
A box of collectables - including a copper and brass hunting horn, 22.8cm long; a pewter and leather spirit flask; a silver mounted cut glass EII Silver Jubilee paperweight; an Omani white metal bangle with brass insert to convert to a dish, 12cm diameter; a small group of 1950s lead toy figures; a 1918 steel and brass police whistle, stamped maker's mark and date; various pocket knives and other tools; two fossil hunter's hammers; three vintage pre-war tin openers; a set of six EII EPNS Coronation tea spoons and jam spoon; etc.
A small group of vintage jewellery - 1950s-70s, including a bright cut silver fringe necklace, Birmingham 1975 import hallmarks; 43.75cm long; two 1970s stainless steel pendant necklaces set with mother of pearl; a 1950s 'bakelite' leaf-shaped brooch; a pair of 1950s 'bakelite' leaf-shaped collar clips; a 1960s white metal and faux-carnelian bangle; and two other necklaces.
Six pieces of vintage costume jewellery - including a 1950s gilt metal and paste brooch in the form of a floral and foliate spray, 8cm long; a 1950s gilt metal and paste necklet and matching bangle; three 1950s paste white and pink necklaces; and a gilt metal flexible snake bracelet in the neo-classical style.
Arne Johansen: a Danish sterling silver and amethyst bangle - stamped 'Denmark AJ 925S', the broad band with three oval cabochon amethyst stones in rub over settings, the band 2.4cm wide, internal size 5.8 x 5cm.* In good condition - no damage to stones or settings. Clear marks. Light scratching to silver from use and would benefit from cleaning.
MARCHISIO: A LAPIS LAZULI AND DIAMOND BANGLE, CIRCA 1968The hinged bangle centring a lapis lazuli baton, between single-cut diamond borders and reeded shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, inner length approximately 17.5cmThe story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels. Condition Report: Clasp closes securely and with safety catchNumbered C473Signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968 - stamped 750 for 18K goldTotal gross weight approx. 52.2g
TIFFANY & CO. DESIGNED BY ELSA PERETTI: A PAIR OF JADE 'BEAN' CUFFLINKSEach polished jade bean front and back, mounted in 925 silver, signed Tiffany & Co. & Elsa PerettiBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her. Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design. Condition Report: Normal signs of wear, overall in good conditionTotal gross weight approx. 11.4g
TIFFANY & CO., DESIGNED BY ELSA PERETTI: A GOLD 'MESH SCARF' NECKLACEOf woven mesh-linking, in 18K gold, signed Peretti and T&Co., with maker's pouch and outer box, length approximately 96.2cmBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her. Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design. Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 90gRetail price on Tiffany & Co.'s website: €29,400 (currently out of stock)https://www.tiffany.ie/jewelry/necklaces-pendants/ep-mesh-18k-rose-gold-necklaces-pendants-60145954.html?queryID=233b5787aee6a0c495c4437336c5f578&objectID=60145954&indexName=ecommerce_eu_products__en_IE&searchQuery=MESH&variantId=1415168429According to client: bought in the 1990s, worn once
ALDO CIPULLO FOR CARTIER: AN 18K GOLD 'LOVE' BANGLE BRACELET, 1970The hinged bangle decorated with screw motifs, in 18K gold, signed, Cartier & Aldo Cipullo, stamped 1970 & Love, with maker's case and later screwdriver for opening and closing the bracelet, inner length approximately 16cm, width 6.3mmDesigned in 1969 in NYC, the Cartier Love bangle was the creation of Italian jewellery designer, Aldo Cipullo, who created this piece in 1969. “Love,” said Cipullo, “has become too commercial, but life without love is nothing. What modern people want are love symbols that look semi-permanent — or, at least, require a trick to remove. After all, love symbols should suggest an everlasting quality.”Cipullo was known for his innovative and bold designs. Initially he had proposed the design of the Love Bangle for Tiffany &Co. When Tiffany turned down his concept for the Love bangle, Aldo offered the design to Cartier. At the time, Cartier New York was independent from the Parisian Maison, and under the dynamic direction of Michael Thomas, who immediately saw the massive potential of the Love bangle to appeal to a new generation with entirely new values, lifestyle, and attitudes.The Love bangle as a symbol of everlasting love and commitment. The bangle features a simple, sleek design with a screw motif, inspired by medieval chastity belts, and it is meant to be worn as a symbol of love and unity. It is distinctive for its seamless, unbroken design, with a screwdriver needed to open and close it, symbolising the idea that love is something to be kept safe and protected.As the story goes, the bangles could at first only be purchased by couples who would surrender the screwdrivers to one another. When Cartier introduced the bangle, they were given to high-profile couples like Elizabeth Taylor and Richard Burton. According to Vogue, some NYC hospitals keep a Love bangle screwdriver on hand in case patients need their accessory removed in an emergency. While a Cartier Love bangle may be easier to remove than a chastity belt, it has still proved enduring, and a smart investment.What makes the Cartier Love bangle even more intriguing is the way it is meant to be worn. Traditionally, the bangle is given by one partner to another, and it is secured on the wrist with the help of the accompanying screwdriver. Once fastened, it is typically not meant to be removed, symbolising the permanence of the relationship.The Love Bangle quickly gained popularity among couples, celebrities, and fashion icons. Its iconic design and symbolism resonated with people around the world. The bangle not only became a symbol of love and commitment, but a status symbol as well. Condition Report: Minor signs of wear, overall in good conditionI believe both the screwdriver and case are laterTotal gross weight approx. 28.2g
TIFFANY & CO., DESIGNED BY ELSA PERETTI: A GOLD 'SNAKE' NECKLACEThe articulating graduated 'bean' links, finishing with a polished gold snake head clasp, mounted in 18K gold, signed Tiffany & Co. and Elsa Peretti, with maker's pouch and outer box, length 50.4cmBorn in Florence in 1940, Elsa Peretti led a life that spanned multiple countries and disciplines. Educated in Rome and Switzerland, she left home at 21 to teach abroad, later working as an interior designer in Milan. In 1966, she moved to Barcelona, where she began modelling, eventually relocating to New York two years later. In the 1960s and ’70s, Peretti forged her way as a fashion model and joined the glitterati of the New York’s nightlife scene, often attending Studio 54. During this time, she worked with photographers such as Helmut Newton and developed lasting relationships with designers, including Giorgio di Sant’Angelo and Halston. Peretti’s early jewellery designs were featured in Halston’s runway shows, complementing his minimalist style. Halston’s influence encouraged her to focus more seriously on jewellery design, so much so he became a key figure in her life, both personally and stylistically. Renowned for her effortless style, Peretti was soon invited to design silver jewellery in Manhattan. In 1972, she opened a boutique at Bloomingdale’s within Cul de Sac, a space for emerging designers. Two years later, through a meeting arranged by Halston and fashion editor Carrie Donovan, she joined Tiffany & Co. and was offered a contract shortly thereafter. Elsa Peretti’s defining moment came in 1974 when she began working with Tiffany & Co., reintroducing sterling silver to the brand for the first time in 25 years. Inspired by Victorian silver pieces she had encountered in London’s Portobello Road, she brought a fresh, modern perspective to Tiffany’s designs. That same year, she introduced her 'Diamonds by the Yard' collection, featuring fine gold chains with bezel-set diamonds, presenting a fresh and more accessible way to wear these precious stones.Her designs were deeply influenced by personal experiences, tactile sensations, and objects around her. Wearability was central to her work, ensuring each piece was comfortable, fluid, and body-conscious. In 1975, while visiting India, Peretti discovered a metal mesh fabric that intrigued her with its movement and texture. She reached out to Samuel Beizer, Director of the Jewellery Department at the Fashion Institute of Technology, and together they sourced antique machinery originally used to make mesh for evening bags in the early 20th century. This led to the creation of Peretti’s iconic mesh pieces, including a bra that debuted on the Halston runway and the scar, that with its innovative design created a fluid, tactile quality that became a hallmark of her work. By the mid-1970s, Elsa Peretti had established herself as a defining figure in contemporary jewellery design, creating some of the most recognisable pieces of the 20th century. Among them were the Open Heart, inspired by a void in a Henry Moore sculpture; the Bean, symbolising the beginning of life; and the Bone Cuff, inspired by the Capuchin crypt in Rome and Gaudí’s forms in Barcelona. One of her most notable designs, the Snake, was inspired by a rattlesnake tail given to her by a friend from Texas, which she kept as a talisman throughout her youth. The first design featuring this motif was a necklace-belt composed of 120 graduated, fully articulated bean-shaped links, allowing fluid movement. When the belt was first showcased in Women’s Wear Daily in 1973, Peretti modelled it herself, paired with a calf-length cashmere sweater dress by Halston. Over time, the snake motif was expanded into various forms, including a belt buckle, hairband, necklace, choker, pendant, bangle, ring, and earrings. Elsa Peretti passed away in March 2021 at the age of 80 in her Spanish home, leaving behind a lasting legacy in the history of jewellery design. Condition Report: Normal signs of wear, overall in good conditionWith maker's pouch and outer boxRetail price on Tiffany's website: €27,200https://www.tiffany.ie/jewelry/necklaces-pendants/18k-yellow-gold-necklaces-pendants-60116249.html?queryID=52817da0174899a6e7b063789b6a43b6&objectID=60116249&indexName=ecommerce_eu_products__en_IE&searchQuery=snake%20peretti&variantId=1415134711Total gross weight approx. 76.6g
BULGARI: AN 18K GOLD 'ANTALYA' BANGLE WATCHThe 6-jewel Cal-512 quartz movement, black dial with gilt hands, polished bezel with polished gold lugs, brushed gold case with two screws on back, polished gold bracelet surmounted with brown leather strap, case and movement signed, case no. C509, ref. no. BJ03, signed fabriqué en Suisse, case 20mm, internal circumference approx. 13.6cm (flexible) Condition Report: Normal signs of wear, overall in good conditionIn running condition at the time of cataloguing, movement observed to be cleanNew battery replaced by the jewellery departmentTotal gross weight approx. 84.4gAn external watch specialist who verifies every watch prior to each auction in order to open them, checks their working condition and mentions any potential damage, mentions any movement, reference numbers etc...The 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.
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