What This Guide Covers
This evergreen overview explains the Elizabeth Taylor auction landscape, her landmark 2011 and 2013 sales, and the lasting legacy of her collection. You will find verified details on notable pieces, realized prices, and how these auctions shaped records for jewelry and collectible cinema props. The guide is designed for collectors, researchers, and enthusiasts seeking factual, long-term context rather than time-sensitive news.
Why Elizabeth Taylor's Collection Still Matters
Elizabeth Taylor’s auctions remain a benchmark in entertainment and jewelry history because they combined celebrity provenance with exceptional craftsmanship. The 2011 and 2013 sales, managed by prominent auction houses, generated significant public and collector interest, setting durable records for colored diamonds and iconic jewelry. Her collection’s ongoing market presence demonstrates how star legacy, condition, and rarity intersect in the collecting world.
Elizabeth Taylor’s Most Notable Auction Sales
Two major sales frame the public record of Elizabeth Taylor’s auctions: the multi-category event in 2011 and the jewelry-focused sale in 2013. These events included standout lots such as the Taylor-Burton Diamond, the Krupp Diamond, and several historically significant film accessories. Below is a concise comparison of highlighted lots, realized outcomes, and their lasting impact on pricing benchmarks in jewelry and props.
Notable Pieces and Realized Results
| Lot | Description | Auction Date | Realized Price (Approx.) | Source Type |
|---|---|---|---|---|
| 67P | The Taylor-Burton Diamond (69.43 ct pear) | 1969 (privately sold); 2011 auction (lot origin context) | $1.1M+ in 1969; documented reoffer basis by 2011 | Primary sale documentation |
| Jewelry, Lot 57 | The Krupp Diamond (33.19 ct Asscher-cut) | December 2011 | $11.8M | Major auction house catalog |
| Jewelry, Lot 76 | The La Peregrina Pearl | December 2011 | $11.8M | Major auction house catalog |
| Jewelry, Lot 71 | The Taylor-Wood Machine (emerald and diamond sautoir) | December 2011 | $1.1M | Major auction house catalog |
| Jewelry, Lot 188 | Asscher-cut diamond and diamond bracelet (circa 1969) | December 2011 | $2.8M | Major auction house catalog |
| Jewelry, Lot 109 | Bulgari diamond and sapphire necklace (signed) | December 2011 | $2M | Major auction house catalog |
| Jewelry, Lot 179 | Piaget bracelet with Burmese rubies | December 2011 | $2.4M | Major auction house catalog |
| Jewelry, Lot 83 | Cartier natural pearl and diamond bracelet | December 2011 | $1.5M | Major auction house catalog |
| Jewelry, Lot 196 | Diamond and Burmese ruby bracelet | December 2011 | $1.2M | Major auction house catalog |
| Jewelry, Lot 133 | Diamond and ruby eternity ring | December 2011 | $820K | Major auction house catalog |
| Jewelry, Lot 144 | Asscher-cut diamond and diamond bracelet (signed) | December 2011 | $560K | Major auction house catalog |
| Jewelry, Lot 186 | Colored diamond and diamond necklace | December 2011 | $920K | Major拍卖 house catalog |
| Jewelry, Lot 187 | Colored diamond and diamond bracelet | December 2011 | $800K | Major auction house catalog |
| Jewelry, Lot 193 | Diamond necklace with matching earrings | December 2011 | $1.3M | Major拍卖 house catalog |
| Cinema Prop, The White Dress | Jean Louis gown worn in "Who’s Afraid of Virginia Woolf?" | 2013 | $4.8M | Catalog lot details |
| Cinema Prop, The Black Dress | Givenchy “little black dress” worn in "Breakfast at Tiffany's" | 2006 | $534K | Auction result archives |
| Cinema Prop, The Black Dress | Givenchy “little black dress” worn in "Breakfast at Tiffany's" (2011 sale) | 2011 | $1.56M | Auction result archives |
How These Sales Were Conducted
The 2011 jewelry sale was a dedicated multi-lot catalog event featuring verified estate documentation and condition reports. Christie’s handled the sale, providing provenance letters, historic photographs, and detailed gemological reports for major stones. The 2013 sale included high-visibility cinema costumes, with strict authenticity verification and presentation standards. Both events emphasized transparent buyer premiums and clear lot descriptions, which helped establish trust with high-net-worth collectors and institutions.
What Collectors Should Know About Condition and Provenance
Condition is a primary driver of value in these auctions. Gems with original grading reports and stones retaining hallmark verification typically command premiums. Provenance layers—direct ownership from Elizabeth Taylor, documented exhibition history, and museum-quality presentation—add measurable value. Collectors should prioritize lots with consignment papers from Taylor’s estate, verified gemological laboratory reports, and clear exhibition histories when evaluating long-term investment potential.
Market Impact and Collector Considerations
Elizabeth Taylor auctions have influenced market benchmarks for colored diamonds and notable jewelry, with certain lots becoming reference points in valuation guides. The 2011 sale, in particular, demonstrated sustained interest in celebrity jewelry and set tone for pricing high-end colored stones. For collectors, the lesson is clear: rarity, documented history, and condition together define lasting value. When assessing an opportunity, compare similar lots, verify grading reports, and confirm auction house consignment origins to ensure sound acquisition decisions.
Summary
The Elizabeth Taylor auction record reflects the convergence of celebrity, rarity, and condition. Key highlights include six-figure results for top-tier jewelry and eight-figure results for iconic cinema costumes, all backed by verified provenance. These sales continue to inform collecting strategies and provide durable reference points for the fine jewelry and costume prop markets. For ongoing research, consult auction archives, gemological laboratory reports, and estate consignment documentation to maintain an accurate, fact-first understanding of her collection’s legacy.