Presentworth Multi-Strand Necklaces

This mid-century shiny yellow-gold-plated snake-chain multi-strand necklace features a sculptural finely-textured gilt-metal bow that is positioned to rest on the upper left chest to...

With settings and construction like Art-Deco-period unsigned crystal costume-jewelry by Bavarian-born blacksmith Henry Schreiner (1898-1954), this mid-century unsigned silver-soldere...

On this Art-Deco period glass micro-bead 20-strand necklace, the yellow-gold-plated clasp is stamped with a crown-topped Trifari signature without a U.S.-copyright symbol, which Indi...

This antique French early Art-Deco period two-strand necklace is strung with a variety of Parisian handcrafted beads that date to the early 1920s, including sea-green lampwork glass,...

Miriam Haskell's first designer Frank Hess--before 1947, when the brand mark was added and while couture-style adjustable-hook necklaces were in demand in post-war America--produced ...

Stamped "Western Germany" on the gold-tone underside of its box clasp, this double-strand long necklace with cherry-red beads and decorative clasp features the reflective glossy face...

This mid-century like-new Bakelite and yellow-gold-gilt beaded double-strand necklace still sports the CoroCraft pegasus 1940s retail foil-tag as if never worn. As an elegant take on...

Between 1948-1955 this early Vendome crystal set was made for a high-end line by Coro to include a three-strand tricolor beaded necklace with flowe...

Kenneth Jay Lane--whose monogram KJL is signed on the white-rose-decorated gold-tone clasp of this double-strand black-resin beaded necklace--is only one of four bylined jewelry designers collected by The Brooklyn Museum Costume Collection At The Metropolitan Museum of Art from the two-decade period between 1970-1989, which was dominated by such bold big shapes in mostly black, white and gold. A must for any collector of the world-renowned American-founded beauty-brand Avon, its rare limited-edition retailed necklace by Lane titled "Midnight Rose" is among the most distinctive that it produced among its lines of primarily perfume, cosmetics, and personal-care products whose origin dates back to 1886 in New York. Notably, the life-sized shiny cast-acrylic rose has the look of a far more expensive carved stone, such as one cut and polished from light-filled saturated-white chalcedony, which is a hard semi-precious stone favored by Lane. Like Lane's own line when it was originally signed KJL, the decorated clasp is uniquely designed. It locks underneath with a semi-circular hinge, which enables the stylized three-dimensional smooth rose to be perfectly positioned on the right side of the upper chest with the bud facing upwards above its three-leaf sepal in contrasting gilt textured metal. This position adds sparkle from above to the three pave rhinestones in a gold-tone setting at center of the rose, as if its dew-covered bud was beginning to open in strong moonlight. To balance the bold rose shape, the black strands cross each other below at a single point, which adds another eye-catching element to the concealed-string-tied necklace. In mint condition with no sign of wear, the necklace was acquired in its original lavender Avon retail box. In contrast, the paper shows wear and tear from handling, while still featuring the jewelry designer's full-name script signature, title, and text details like how to care for this synthetic jewelry. The metal-stamped hallmark is "KJL for Avon...