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Lot 261
MARINA B: AN ONYX, EMERALD, RUBY AND DIAMOND 'NAJWA' NECKLACE, CIRCA 1982Designed as a rope of onyx beads, spaced by links set with pear-shaped cabochon emeralds, brilliant-cut diamonds, and onyx and ruby sections, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered W347, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay marks, with maker's case, length approximately 83cm (slightly extensible)Société Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000.For a similar model, page 75: 'Marina B. The Art of Jewellery Design', by Viviane Jutheau de Witt, first published in 2003 by Skira Editore S.p.A. In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: A couple of beads discoloured to the front near the clasp (discreet) and a dozen on the reverseEmeralds: of bluish-green hue, medium tone, overall well matchedRubies: of purplish-red hue, medium tone, overall well matchedDiamonds: bright and livelySignature on clasp + maker's mark 'MB' for Marina B located on the tongue of claspEagle's head for French 18K gold + stamped OR750Maker's mark for Marina B - numbered W347With maker's mark for Société Pierre-G BrunClasp closes securelyNormal signs of wear, commensurate with ageTotal gross weight approx. 130g
Lot 161
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
Lot 160
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
Lot 277
MARINA B: A MOTHER-OF PEARL AND GOLD RING, CIRCA 1980Of bombé design, centring a heart-shaped plaque, within a mother-of-pearl frame, to further mother-of-pearl shoulders, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered, with maker's mark 'GS' for Guillemin & Soulaine, French assay mark, ring size FGuillemin & Soulaine was a Parisian workshop established in 1955. They worked for jewellery houses such as Marina B, Bulgari, Harry Winston to name just a few. The workshop closed in 1984.In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Mother-of-pearl: of white body colour with pink and green overtones - a minor chip at the tip of one shoulderNumbered 1075/34Normal signs of wear, overall in good condition commensurate with ageTotal gross weight approx. 8.9g
Lot 258
MARINA B: A TOURMALINE 'PATRIZIA' RINGHorizontally set to the bezel, the oval-shaped pink tourmaline, set within a bi-coloured 18K gold hoop, signed Marina B, maker's mark 'MB', numbered, French import mark, ring size OCf: See Vivianne Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori for comparable rings, page 112, no. 214 (dated 1987). In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry. Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses. Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996. Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit. Condition Report: Tourmaline: of purplish-pink hue, medium tone, good transparency, facets are smoothNumbered C1510Normal signs of wear, overall in good conditionTotal gross weight approx. 12.1g
Lot 159
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
Lot 192
Elegant Swarovski vintage-style three strand choker necklace featuring cream faux pearls accented with a central cushion-cut sapphire blue crystal. The center ornament is set in a gold-tone metal frame, embellished with two rows of clear rhinestones that add sparkle and dimension. The necklace has a classic and bold design reminiscent of mid-century costume jewelry, ideal for formal occasions or vintage-inspired looks. Swarovski impressed mark on clasp. Issued: 20th centuryDimensions: 17"L Country of Origin: AustriaCondition: Age related wear.
Lot 141
Theo Fennell, a cultured pearl three-row choker necklace, with sliding clasp, gathered to an 18ct gold vari-cut diamond and black enamel central spacer, maker's mark for Theo Fennell, principal diamond estimated weight 0.60ct, G-H colour, VS clarity, pearls measure approxinately 7mm, hallmarks for London 1995, length 35cm, with maker's case, 94.2gOverall good conditionModerate general wearAn area of deep scratches and acid mark to side of central spacerDiamonds bright, lively, good quality and conditionEnamel in good conditionPearls fairly well matched, some a little creamier than others. Pearls are creamy/white colour with pinky/blue overtones. Many have natural surface blemishesClasp in working orderClients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lot For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Lot 178
A cultured pearl three-row choker necklace, gathered to a 19th century amethyst and old-cut diamond cluster panel, with later 9ct gold sliding clasp, estimated total diamond weight 0.80ct, pearls measure approximately 7mm, clasp with hallmarks for London 1998, length 34cm, 80gOverall good conditionModerate general wearAmethyst with good depth and saturation of colour. Some light surface scratchesAmethyst measures approximately 22 by 16.5 by 9.7mmDiamonds fairly bright and lively, fairly good conditionPearls fairly well matched on colour, shape and size. Most with natural surface blemishesClasp in working orderClients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lot For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Lot 202
An early 20th century coral bead two-row choker necklace, with yellow metal coral cabochon accent clasp, beads measure approximately 7mm to 5mm, length 35.5cm, 40.8gProvenance: From the collection of the late Anne Parsons, Countess of Rosse, (nee Messel, of Nymans, Sussex, previously Armstrong-Jones) 1902-1992, mother of Lord Snowdon and mother-in-law to HRH Princess Margaret Overall good conditionModerate general wear and tarnishingNatural blemishes and polyp holes to some beads and clasp cabochonClasp in working orderClients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lot For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Lot 125
Stephen Webster, a cultured pearl three-row choker necklace, with 18ct gold spacers and sliding clasp, gathered to 18ct gold amethyst cabochon and brilliant-cut diamond accent heart-shape central panel, maker's marks for Stephen Webster, hallmarks for London 1999, length 35cm, 124gOverall good conditionLight to moderate general wearAmethyst in good conditionDiamonds fairly bright and lively considering size. One top diamond setting is slightly bentPearls fairly well matched on colour, vary a little on shapeClasp in working orderClients are advised to view and inspect items before bidding and they must satisfy themselves as to the condition of every lot For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
Lot 71
This limited edition piece from the Six Wives of Henry VIII collection features Catherine as the picture of royalty, dressed in highly detailed royal garments in black, purple, and gold. She is adorned with a choker and a gold pendant necklace, exuding regal elegance. Catherine is posed beside a chair, gracefully lifting a second royal gown draped over her arm. The additional gown is rendered in soft pink with a blue-gray bodice and trimmed in gold. Catherine Howard was the fifth wife of King Henry VIII and the cousin of Anne Boleyn. She married the king in 1540, becoming an integral part of English Tudor history. Royal Doulton backstamp.Artist: Pauline ParsonsIssued: 1992Dimensions: 6"L x 8.5"HCountry of Origin: EnglandCondition: Age related wear.
Lot 402
**NO RESERVE**A Lot of 2 White Metal Choker Necklaces, One with Coiled Design and the Other Plain Circular.This pair consists of two white metal necklaces. One features a coiled design with intricate detailing along the coil, offering a textured and dynamic appearance. The other necklace is a simple, smooth, and unadorned circular piece, highlighting a minimalist and elegant style.Provenance: Private British Collection
Lot 637
Pair of Scottish pebble bracelets, each with eleven oval agate panels in yellow metal mounts, each 17cm long, can be attached together to form a choker necklace. Sold with a copy of an Edwardian inventory of the family jewellery stating that the stones were picked up near Balmoral, were set by HRH the Duchess of Kent who gave them to HRH the Princess Alice who gave them to HE Seymour.
Lot 186
THREE INDIAN SILVER NECKLACES One example with spherical beads and seed-like spacers, rectangular pendant depicting Bhairava; another example with triple stand of box-link chains; and a Rajastani choker necklace with multiple droplets 20cm to 36cm high (double strand) For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.
Lot 225
A quantity of cultured pearls with gold clasps: to include a three strand choker with cluster clasp in 9ct mount stamped 375 with Sheffield assay mark; a graduated two strand necklace with clasp stamped 9ct 'CIRO'; a pale pink two strand necklace with clasp stamped 375; a single strand with rope twist style clasp hallmarked Birmingham 1989; a single strand graduated necklace with clasp stamped 9K; and a single strand necklace with clasp stamped 9K, (6)
Lot 97
A silver peridot choker necklace, with two lines of oval cut peridot, each approximately 6mm x 4mm, suspending a flowerhead cluster drop of oval cut peridot, drop length 24mm, into a box clasp with safety catch, 390mm long, London 2016, 56.52gCondition ReportPeridot showing scratches to tables and some small chips to facet junctions. Visible by 10x magnification. Clasp secures.Minor marks and scratches to surfaces.Minor tarnish.
Lot 94
Royal Doulton Diana, Princess of Wales (HN5066) was issued in 2007 as a limited edition of 10,000 pieces to commemorate the life of Princess Diana. This striking figurine captures Diana in a regal pose wearing an elegant off-the-shoulder deep purple evening gown, reminiscent of her timeless style. The glossy finish enhances the rich tones of the dress, while delicate gold detailing on her choker and earrings adds a refined touch. The underside bears the Royal Doulton backstamp and edition number. Signed at base.Artist: Tim PottsIssued: 2007Dimensions: 9.25"HCountry of Origin: EnglandCondition: Age related wear.
Lot 26
This striking silver-tone choker features an elegant design with bezel-set gemstones, including a central faceted oval stone flanked by iridescent cabochons. A teardrop-shaped gemstone dangle adds movement and sophistication to the design. The sturdy chain construction and lobster clasp closure ensure a secure and comfortable fit. A unique statement piece with a contemporary edge.Issued: 20th centuryDimensions: 15"L Country of Origin: United StatesCondition: Age related wear.
Lot 32
A striking choker necklace by designer Connie Bates, featuring an intricate silver-tone mesh collar adorned with a bold geometric pendant. The centerpiece showcases a vibrant green square-cut gemstone, accented by four bezel-set pearls for a sophisticated contrast. The choker fastens with a secure lobster clasp and adjustable chain, ensuring a comfortable fit. This unique statement piece blends industrial elegance with refined craftsmanship, embodying the designer's signature aesthetic.Issued: 20th centuryDimensions: 15"L Country of Origin: United States Condition: Age related wear.
Lot 14
A striking gold-toned mesh choker featuring an array of faceted and raw-cut gemstone drops, adding vibrant color and texture. The woven mesh collar is adorned with stones including turquoise, rose quartz, amethyst, citrine, and other semi-precious gemstones, each suspended from gold-tone links. The choker secures with a lobster clasp and adjustable chain. A bold statement piece blending elegance with organic charm.Issued: 20th centuryDimensions: 15"LCountry of Origin: United StatesCondition: Age related wear.
Lot 38
A bold and striking multi-strand choker necklace featuring an eclectic mix of silver and gold-toned chains accented with faceted stones, pearls, and metallic beads. The layered composition creates a statement look, with varied textures and contrasting tones adding depth and movement. The necklace secures with a lobster clasp and extender for adjustable wear.Issued: 20th centuryDimensions: 15"L Country of Origin: United StatesCondition: Age related wear.
Lot 46
A striking handcrafted multi-chain choker by designer Connie Bates, featuring an eclectic mix of thick and fine silver-toned chains. The piece is adorned with faceted and polished gemstone beads, including amethyst, garnet, and quartz, adding a bold yet elegant touch. The layered chain draping and cascading elements provide movement and dimension. Secured with a lobster clasp and extender chain for adjustable sizing.Issued: 20th centuryDimensions: 16"LCountry of Origin: United StatesCondition: Age related wear.
Lot 45
A striking and artistic statement piece, this 15-inch choker necklace by designer Connie Bates is titled "Multi Tango." The choker features an intricate multi-chain mesh design in a silver-tone finish, culminating in an abstract sculptural centerpiece. The pendant showcases a mix of faceted and cabochon-cut gemstones, including green, blue, pink, and yellow stones, along with an opalescent accent. The industrial-meets-artistic aesthetic is complemented by a sturdy lobster clasp closure and an adjustable extender. A bold and unique wearable art piece.Issued: 20th centuryDimensions: 15"LCountry of Origin: United StatesCondition: Age related wear.
Lot 178
A collection of pink and dyed red coral bead necklaces to include, four two-stand choker style necklaces: l. x 20cm, a pink coral two-strand intertwined black bead necklace with rose carved clasp fastening: l. x 28cm, a dyed red coral and black bead four-stand necklace on black bead upper section: l. x 36cm, a black bead and dyed red coral bead necklace on expanding black cord: l. x 40cm, a single stand cultured pearl and pink coral bead bracelet and a matching multi-strand bead bracelet (a lot)
Lot 179
A collection of Chinese freshwater cultured pearls to include a baroque matched choker style necklace with ring fastening:l. x 22cm, a four-stand graduated pink matched pearl necklace with white metal clasp fastening: l. x 23cm, a pink two-stand matched pearl necklace with metal clasp fastening|: l. x 21cm, a pink baroque choker style pearl necklace of off set design with white metal beads spacers and lobster claw fastening: l. x 18cm and three pink matched pearl necklaces: l x 20cm (a lot)
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