ADAM'S Fine Jewellery & Ladies Watches 12th May 2026

TUESDAY 12 TH MAY 2026 . STARTING AT 4PM 168 170* A CORAL, EMERALD, RUBY AND JADE SAUTOIR NECKLACE Composed of eleven rows of tubular-shaped Corallium rubrum coral beads, suspending a carved jade pendant with circular-cut emerald cap and collet-set ruby cabochon terminal, mounted in 18K gold, no clasp, length when worn approximately 50.2cm € 4,000 - 5,000 David Webb’s career began in 1948, when the young jewel- ler from Asheville, North Carolina, opened his first shop in New York. By the early 1960s, his work was appearing regularly on the covers of Vogue and Harper’s Bazaar, and his boutique was de- scribed by the New York Times as “as busy as a supermarket on Saturday morning”. His clients ranged from Old Money to Holly- wood stars, with names like Jackie Kennedy Onassis, Elizabeth Taylor, Diana Vreeland, Nan Kempner, Diane von Furstenberg, and the Duchess of Windsor. David Webb believed jewellery should be as individual as the person wearing it. Known for his bold shapes and confident use of colour, he often turned to enamel to bring a clean, graphic edge to his designs. In his hands, enamel wasn’t just decoration, but a way to play with contrast, create striking patterns, and give gold an unexpected sense of lightness. Bracelets were among his most versatile creations, moving eas- ily from everyday wear to evening glamour. Whether sleek and architectural or richly detailed, each one carried Webb’s unmis- takable sense of proportion and structure. His enamel work made them instantly recognisable, the crisp surfaces and vibrant hues standing out in any crowd. More than fashion accessories, Webb’s bracelets captured a moment in American style: fresh, modern, and unapologetically bold. Decades later, they still command attention, proving that good design doesn’t just endure, it stays alive. Webb’s design language drew from a wide range of influenc- es: his Southern upbringing, ancient Greek and Roman forms, pre-Columbian and Mayan art, heraldic motifs, and the bold ge- ometry of art deco. He worked almost entirely in yellow gold, fa- vouring texture and structure, and used colour not to overwhelm but to highlight the form of each piece. His workshop, located on the same premises since the company began, allowed him to oversee every step of production. By the time of his death in 1975 at age 50, Webb had left behind tens of thousands of drawings and a legacy of jewellery that was forthright, fresh, and distinctly American in spirit. As he once put it, “If you make something better, people will find it”. The business continued under Nina Silberstein, Webb’s long- standing partner, alongside her husband Arnold and the legacy is now carried on by their children, Stanley and Sharon, who remain true to the company and its vision.