The 20 Most Beautiful Royal Jewelry Pieces.

The amethyst perue of the Duchess of Atholl is a remarkable jewellery set from around 1850, crafted from gold and deep purple amethysts. The ensemble includes a necklace, bracelet, earrings, ring, pendant, and two decorative clusters, together forming a complete and elegant collection typical of high aristocratic fashion in the mid-19th century. At that time, perues were designed to be worn as coordinated sets, allowing noblewomen to display both refined taste and social status during formal occasions, balls, and court gatherings. This particular set belonged to Anne Murray, Duchess of Atholl, born Anne Holmdrummond in 1814. She was the wife of George Murray, the sixth Duke of Atholl, a prominent Scottish nobleman. As a Duchess in Victorian Britain, Anne would have worn such jewels at grand social events where appearance and symbolism played an important role. Amethysts were especially admired during the 19th century for their rich colour and their association with elegance, dignity, and even a hint of royal prestige. At the beginning of the 20th century, a remarkable sapphire necklace was created by the who worked for the famous Russian jewellery firm Bolin. The piece was crafted from gold and decorated with a stunning combination of oval and cushion-cut sapphires, surrounded by old-cut diamonds. These diamonds, with their soft sparkle and hand-cut character, give the necklace a warm glow that reflects the elegance of jewellery from that era. In 1904, the necklace became part of a royal wedding celebration. It was presented as a gift to Princess Alexandra of Hanover, born in 1882, on the occasion of her marriage to Grand Duke Friedrich Franz, the fourth of Mecklenburg-Schwerin. The marriage united two important European dynasties, and the necklace symbolised both prestige and family tradition. Over time, the jewel passed through generations of the same family. Princess Alexandra later left the necklace to her youngest daughter, Duchess Anastasia, who was born in 1922. After her marriage, Anastasia became Princess of Schleswig-Holstein-Sonderburg-Glücksburg. The necklace then continued its journey to the next generation, and was inherited by her daughter, Princess Elisabeth of Schleswig-Holstein-Sonderburg-Glücksburg, born in 1945, who later became Princess of Eisenburg-Büdingen-Rechtersbach through marriage. For more than a century, this elegant piece remained within the family, quietly carrying the stories of European royal history. After the death of Princess Elisabeth in 2024, her family decided to part with the jewel. In 2025, the necklace was offered at Christie's Auction, where collectors and jewellery enthusiasts had the rare opportunity to compete for it. When the final hammer fell, the historic sapphire necklace was sold for 352,800 Swiss francs, a price that reflected not only the beauty of the gemstones and craftsmanship, but also the remarkable royal history that the necklace had carried for more than 100 years. Around 1910, the renowned jeweller's cook created an elegant tiara that perfectly reflected the refined style of the early 20th century. The piece was crafted in platinum, and decorated with a graceful combination of sparkling diamonds and rich purple amethysts. The cool shine of platinum, which had become fashionable among jewellers at the time, allowed the gemstones to appear even brighter and more delicate, giving the tiara a light, almost airy look, despite its intricate design. The tiara belonged to Madeleine Douglas, a Swedish aristocrat born in 1886. She later became the wife of Charles-Louis Fouché, the sixth Duke of Otranto. Her husband held an important position at the Swedish royal court, serving as the first equerry of the Royal House of Sweden between 1929 and 1950. Within such distinguished circles, the tiara naturally became part of elegant court life, appearing at formal events and family celebrations. Like many historic jewels, the tiara continued its story through the next generation. It was later worn by the couple's daughter-in-law, Birgitta Tam, born in 1915. One of its most memorable appearances came in 1968, when she chose the tiara for a royal family wedding, the marriage of a nephew of Prince Richard II of Sein-Wittgenstein-Berleburg. On that occasion, the amethysts and diamonds once again caught the light at a grand aristocratic gathering. Decades later, the tiara took an unexpected journey across the world. In the early 2000s, it was acquired by the Japanese jewelry institute Albion Art. The purchase ensured that the historic piece would be preserved and studied as an example of early 20th century European jewelry design. Today, however, the tiara's whereabouts remain something of a mystery. It is no longer publicly known who owns the jewel, leaving collectors and historians wondering where this beautiful creation, with its royal connections and international history, may be shining now. Earl Spencer's amethyst tiara in the Spartan style of turtle shell, decorated with golden flower heads, each with an amethyst in the centre. Almost nothing is known about the decoration, except that it was created by an English craftsman around 1860 and belonged to the Earl Spencer family. Stylus. The Ottoman Empire, 18th century. Gold, silver, precious stones, N.A. metal, coinage. Length, 15.5 centimetres. Museums of the Moscow Kremlin. In 1774, the next Russian-Turkish war ended in victory. In memory of the conclusion of the Treaty in 1775, the Ottoman Sultan Abdulhamid I sent precious gifts to Empress Catherine II the Great. Ceremonial horse finery. Weapons for solemn ceremonies and a magnificent egret feather. An ornament for a turban with more than 1,000 diamonds and a large yellow sapphire. In the centre. This elegant amethyst tiara once belonged to Baroness Hamilton of Hagerby, a Swedish aristocrat whose family history was closely connected to the royal court. The jewel dates back to the first half of the 19th century and reflects the refined craftsmanship of that era. The tiara is set with deep purple amethysts mounted in gilded silver, a material widely used in historic jewellery before platinum and white gold became fashionable. Its design is both graceful and versatile. The piece can be worn not only as a tiara, but also transformed into a necklace, making it suitable for different occasions. The set also includes matching earrings and a bracelet, forming a complete parure designed to create a harmonious and luxurious look. The jewel belonged to Margaret Ribbing, Baroness Hamilton of Hagerby, who was born in 1891 in Sweden. She inherited the jewellery from her father, Axel Ribbing, who served as an adjutant to King Oscar II of Sweden. Through this connection, the family moved within the circles of the Swedish royal court, where such jewels were often worn during formal receptions, celebrations and aristocratic gatherings. Margaret's marriage, however, remained without children. As a result, after her passing in 1970, the jewellery did not stay within her immediate line. Instead, it was inherited by her cousin, Eva Rade, Baroness Essen, who was born in 1907. The historic jewels remained in her possession for many years, quietly preserving their family legacy. In 2022, more than a century after Baroness Margaret first inherited them, the tiara and its accompanying pieces were finally offered for sale. At the auction house, Stockholm's Auctionsverk in Stockholm, the set was sold for 7,534 euros, a modest price for a jewel carrying nearly 200 years of aristocratic history. The Louvre Museum in Paris has announced plans to restore the damaged crown of Empress Eugénie, a historic jewel that was severely deformed during a dramatic museum robbery, but has surprisingly remained almost entirely intact. The robbery took place on October 19, 2025, inside the famous Louvre Museum in Paris. Thieves targeted the prestigious Galerie d'Apollon, where some of France's most important imperial jewels are displayed. Among the stolen items were several historic pieces from the jewellery collection associated with Napoleon I and Empress Josephine, including a necklace, a brooch, and a diadem. During the robbery, the crown of Empress Eugénie, the wife of Napoleon III, was badly damaged. The broken crown was later discovered near the after the thieves fled. According to the museum, the criminals stole an astonishing number of gemstones – 8,482 diamonds, 35 emeralds, 34 sapphires, and 212 pearls. Despite the damage, museum experts say the crown preserved almost complete integrity, which makes restoration possible. A detailed examination carried out by specialists at the Louvre suggests that the crown was most likely bent while the thieves were forcing it through a relatively narrow opening in the display case. Originally, the crown was decorated with eight large ornamental elements, set with diamonds and emeralds, alternating with eight golden eagles, an imperial symbol of the French Empire. All decorative elements survived the incident, although four of them were torn from the frame and several others were deformed. One of the golden eagles, however, was lost during the robbery. Remarkably, almost all of the crown's gemstones remain in place. Of the 1,354 diamonds that originally adorned the piece, only about 10 very small stones from the lower rim are missing. The Louvre has announced that a certified restoration specialist will be selected through a competitive process. A special committee of experts has also been formed to supervise and advise on the restoration work. The crown itself was commissioned by Napoleon III in 1855 for the Great Exposition Universelle of 1855 in Paris. More than a century later, in 1988, the Louvre acquired the crown, where it has remained one of the museum's most remarkable imperial treasures. Now, after the dramatic events of 2025, experts hope to carefully restore the historic jewel and return it to public display. The magnificent Radziwiłł diamond tiara is a brilliant example of late 19th century aristocratic jewellery. Created around 1880 by the famous Parisian jewellery house Chaumet, the tiara features diamonds of various cuts, arranged in an elegant pattern of bows and delicate garlands. At the top, the design is crowned with seven large pear-shaped diamonds, giving the piece a graceful and sparkling silhouette worthy of Europe's highest nobility. In 1881, the tiara was presented as a gift to Princess Maria Dolores Radziwiłł, born in 1854 as Doña de Agramonte Isaias Samudio. She became the wife of Prince Dominic Maria Radziwiłł, a member of one of Poland's most prominent aristocratic families. The tiara soon became part of the family's tradition and was worn at important celebrations. In 1909, Princess Maria Dolores passed the jewel to the bride of her son. The tiara was given to Archduchess Renata of Austria, who wore it on her wedding day when she married Prince Jerome Radziwiłł. The glittering piece once again appeared at a grand European aristocratic wedding, symbolizing the union of two distinguished families. After Archduchess Renata's death in 1935, the tiara continued its journey through the Radziwiłł family. It was later presented as a wedding gift to Princess Eugenie of Greece and Denmark, who married Prince Dominic Rainer Radziwiłł, the eldest son of the princely couple. Like the bride before her, she also wore the tiara during her wedding ceremony. However, history soon took a dramatic turn. After World War II, the Radziwiłł family lost much of their property in Poland, and the marriage of Eugenie and Dominic eventually ended in divorce in 1946. Around that time, the tiara was sold for the first time. One of its later owners removed the seven large diamonds and replaced them with paste stones, altering the design. More than a century after it was first created, the historic tiara appeared at auction once again. In 2020, it was sold by the auction house Hindman Auctions for $68,750. The buyer was none other than the House of Chaumet itself. The jewelers carefully restored the tiara and later presented it to the public, bringing this remarkable piece of aristocratic history back into the spotlight. The Coburg Turquoise Tiara is a striking jewel that reflects the elegance and grandeur of European aristocratic jewellery. The tiara is set with large turquoise stones, each framed by sparkling diamonds and surrounded by delicate diamond scrolls that give the piece a graceful, flowing design. The vivid blue of the turquoise contrasts beautifully with the brilliance of the diamonds, creating a piece that is both colourful and refined. The tiara once belonged to Victoria Adelheid, Duchess of Saxe-Coburg and Gotha, who was born in 1885 as a princess of the House of Schleswig-Holstein-Sonderburg-Glücksburg. Through her marriage into the ducal family of Saxe-Coburg and Gotha, the tiara became part of the historic jewellery collection of the Coburg dynasty. After the Duchess's death in 1970, the jewel passed through several generations of the family. It was inherited first by her son, Prince Friedrich Josias of Saxe-Coburg and Gotha, who was born in 1918. The tiara later went to his grandson, Prince Andreas of Saxe-Coburg and Gotha, and eventually to his son, Prince Hubertus of Saxe-Coburg and Gotha, born in 1975, who is the current head of the ducal house. In recent decades, the tiara has been most often seen worn by his wife, Princess Kelly of Saxe-Coburg and Gotha, who was born Kelly Rondestvet. She has appeared in the historic jewel at several royal weddings, where its bright turquoise stones stand out among more traditional diamond tiaras. One of its notable modern appearances took place in 2016 during the celebrations for the 70th birthday of Karl XVI Gustav, the King of Sweden. The event gathered members of royal families from across Europe, and the Coburg turquoise tiara once again shone as a symbol of dynastic heritage and continuity. The Austrian sapphire tiara is a remarkable jewel that reflects both imperial history and the elegance of 19th century European craftsmanship. The piece is designed as an open work diamond bandeau, decorated with graceful S-shaped motifs. It is set with old cut diamonds and topped with five clusters combining sapphires and diamonds of different sizes. Above the base sits a removable upper section with a scalloped pattern, also covered in old cut diamonds and finished with pear-shaped sapphire drops. The tiara originally formed part of a magnificent perue that also included a necklace, brooches, and a bracelet. The sapphires used in the tiara carry an even older imperial story. They once belonged to Marie Louise, Duchess of Parma, the former Empress of the French and second wife of Napoleon I. Born an Austrian Archduchess in 1791, Marie Louise brought many precious gems from the Habsburg treasury into her personal collection. In the second half of the 19th century, these historic stones were reused to create the tiara. It was most likely made for the wedding of Ferdinand IV, Grand Duke of Tuscany, in 1868. The jewel is believed to have been a wedding gift for his bride, Princess Alice of Bourbon-Parma, linking two important European dynasties. Nearly a century later, the tiara and the rest of the perue appeared on the art market for the first time. In 1961, the set was offered at auction by Christie's in London. Before the sale, it reportedly belonged to a Duchess of Habsburg-Lorraine, most likely Gertrude Tominek von Bayerfels-Monsi, the morganatic wife of Archduke Joseph Ferdinand, the second son of Ferdinand IV. Interestingly, their son married in London just two months after the auction, and it is often suggested that the sale helped finance the wedding. The jewels changed hands again in 1964, at an auction held by Stuka Auctions in Switzerland. This time, the buyer was the German collector August von Fink, who kept the historic perue until his death in 1980. Decades later, the tiara reappeared at auction once more. In 2012, it was sold by Sotheby's for 42,500 Swiss francs. It returned to the market again in 2016 at Christie's, where it was sold for 40,000 Swiss francs. Despite its relatively modest price, the tiara remains a fascinating jewel, one that carries the legacy of empires, royal marriages, and more than a century of European history. The exquisite chrysolite corsage brooch is a masterpiece of early 19th century jewellery, created by the renowned Viennese jewellers Küchert in the 1820s. Its centrepiece is a large cushion-cut chrysolite, set within a frame of old-cut diamonds arranged in a delicate floral motif. Three pear-shaped chrysolites, accented with diamonds, hang gracefully from the brooch, adding movement and sparkle. This brooch was originally part of a complete perue, which also included a tiara, earrings, and a necklace, making it a versatile and luxurious ensemble. The jewel belonged to Archduchess Henriette of Austria, 1797-1829, born Princess of Nassau-Weilburg. She was married to Archduke Charles, Duke of Teschen, linking the piece to the most influential branches of the Habsburg family. The brooch and the rest of the perue were inherited by her second son, Archduke Karl Ferdinand of Austria, and later passed to his son, Archduke Friedrich of Austria, 1856-1936. Friedrich gifted the set to his wife, Archduchess Isabella of Austria, née Princess von Kroy, who famously wore the perue during the Emperor Charles I's coronation as King of Hungary, Charles IV, in 1916. After Archduchess Isabella's death, the perue, including the brooch, appeared at auction and was acquired by Count Johann von Kevenhüller-Kalergi, 1893-1965. The jewels remained in the family until his daughter, Countess Marina, 1927-2000, placed them in a bank vault, where they were preserved for decades. In 2001, the perue resurfaced at Sotheby's, selling for approximately $400,000 to the antique jewellery house Fred Leighton. The company later sold the pieces to Brazilian Monegasque philanthropist Lily Safre, 1934-2022. In 2012, the earrings and brooch were auctioned at Christie's for 159,000 Swiss francs. The current whereabouts of these historic jewels remain unknown, leaving their next chapter a mystery. In August 1928, the world welcomed Marie-Françoise, a princess whose spirit has continued to shine with undimmed energy across decades. A Frenchwoman of Italian descent, princess of both France and the Czech lands by marriage, she graced balls and ceremonies for over 60 years, often wearing a dazzling diamond tiara, a symbol of power, heritage and timeless elegance. The tiara itself is more than jewellery. It is a gleaming emblem of status and family legacy, a bridge between generations. On wedding days, daughters often wear the very tiara that once adorned their mother, passing on history in precious metal and stone. The first to wear this magnificent tiara was Madeleine de Bourbon-Busset, Duchess of Parma, immortalised in a portrait from the 1930s. It appeared again in 1955 for her daughter Princess Cécile's coming of age, and once more for her wedding in 1960. Later, Princess Margaret of Denmark wore it at the 1935 wedding of Frederick of Denmark and Princess Ingrid of Sweden, and again for King Christian X's silver jubilee in 1937, radiating unmatched brilliance. Archduchess Elizabeth of Austria, niece of the Duchess of Parma, also wore it for her wedding in 1949, while Marie-Françoise herself first donned the tiara on her wedding day in 1960 at Notre-Dame de Paris. Beyond aristocratic pageantry, Marie-Françoise forged her own path. She opened a souvenir shop in Paris's Saint-Germain-des-Prés, launched a fashion boutique, Maria de Bourbon, and even created a perfume line in 1995. While her royal name opened doors, it was her talent, determination, and entrepreneurial instinct that transformed opportunities into enduring achievements. In a post-war Europe undergoing profound change, Marie-Françoise emerged not only as a designer and businesswoman, but as a symbol of possibility, showing that women, regardless of origin, could reach the heights of creativity and enterprise. Her legacy reflects the perfect harmony of heritage, personal ambition, and historical context, proving that true achievement is never merely inherited. Marie Antoinette's Girandol earrings. When even queens buy on credit. Even queens sometimes live on credit. When Marie Antoinette first spotted a pair of dazzling diamond earrings, she didn't have enough cash to buy them outright. She had to ask her jeweler for an installment plan, a surprisingly human moment from the life of a French queen. Two centuries later, Elizabeth Taylor famously begged her husband Mike Todd to buy her a similar pair, repeating please please please until he relented. What was so captivating about Girandol earrings that women lost their heads and men their fortunes? Picture an 18th century evening, no electricity, candlelight flickering across ornate salons. Jewelers faced a unique challenge, to make every lady's face sparkle, catching the rare light and reflecting it on her skin. The solution, the Girandol. Invented in 17th century France, these earrings were carefully designed with three pear-shaped drops hanging from a central motif. The lengths and angles were calculated to catch candlelight and cast luminous reflections on cheeks and necks, essentially the first highlighter made of pure diamonds. The term Girandole is used both in French and English, though it also describes candelabras, fireworks and chandeliers. True jewelry Girandoles always follow the three drop rule, sometimes appearing in brooches or pendants with the same structure. Their rise coincided with the diamond boom in 18th century Brazil, when previously rare stones became symbols of aristocratic status. Portraits of Princess Isabella of Palma, for instance, show her wearing classic Girandoles gifted by her husband Jewels that have witnessed passion, intrigue and history. From Marie Antoinette to Elizabeth Taylor and even modern designers like Miuccia Prada, Girandoles continue to capture light and imagination. The sources of light may have changed, but the desire to shine remains timeless. A stunning demi-perue from the 1920s, once owned by the late Queen Fabiola of Belgium 1928-2014, will be offered at auction by Ann Serena in Madrid in January 2026, with an opening price of 40,000 euros. The set includes a diamond necklace, an aquamarine pendant and matching aquamarine earrings. A true example of art deco elegance in platinum, the centrepiece is a detachable necklace that can be transformed into three separate bracelets. Each piece features intricate geometric openwork adorned with diamonds of old European, Dutch and eight eighths cuts, totalling approximately 38.62 carats. This versatile design allowed the wearer to adapt the jewellery for different occasions, reflecting both luxury and ingenuity. Accompanying the necklace is a pendant with a large natural aquamarine, cut in a fanciful briolette style and weighing roughly 120 carats. The sparkling gem could be attached to the necklace or worn separately, creating a striking focal point. The set also includes a pair of long earrings crafted from yellow gold and platinum. Each earring is set with onyx cabochons, pentagon cut sapphires, diamonds and briolette cut aquamarines, totalling approximately 24 carats. The earrings feature screw-back fastenings and are preserved in their original A Vega jewellery box, lined with velvet and natural silk. The complete set weighs 126 grams. This exceptional demi-parure represents the refined taste of the 1920s, blending technical mastery with the glamour befitting a queen. The combination of platinum, diamonds and rare aquamarines ensures that this ensemble will capture the attention of collectors and connoisseurs alike.