CARTIER
Except otherwise stated, all results include the premium.
See also : Jewels II White diamond Jadeite Qianlong India Islam Ancient Spain
Chronology : 1570-1599 1620-1629 1912 1933 2016
See also : Jewels II White diamond Jadeite Qianlong India Islam Ancient Spain
Chronology : 1570-1599 1620-1629 1912 1933 2016
1912 Devant de Corsage Brooch
2014 SOLD for CHF 16M by Christie's
At the turn of the 20th century, Paris is the capital of luxury. Located in rue de la Paix, the Cartier brand develops its expertise in jewelry and watchmaking and organizes a network of subcontractors including Henri Picq. One of its main innovations is the use of platinum for the high end.
France does not produce diamonds. The Cartier brothers visit India. The Maharajas choose the most beautiful gems in their collections for Cartier to assemble magnificent jewels matching their taste. This practice inspires some exotic designs later offered to all customers.
This well managed international reputation includes Southern Africa. Solomon Barnato Joel, who made a fortune with his family in the gold and diamond mines, ships four beautiful diamonds for making a jewel.
Cartier assembles a brooch in platinum and white gold for use as a devant de corsage, whose 9.2 cm high pendant aligns the four diamonds. The pendant is surrounded by four hanging sprigs of lily of the valley whose flowers are small diamonds set on platinum, a specialty of Picq. This jewel dated 1912 was later expanded by a necklace with a similar 'serti muguet'.
The four main diamonds were certified by the GIA in 2013. The largest is a pear-shaped of 34.08 carats in E color. The best is an oval-shaped type IIa D color of 23.55 carats with a VVS2 clarity potentially Internally Flawless.
This brooch was sold by Christie's for CHF 16M on May 14, 2014, lot 259, and for $ 10.6M on June 19, 2019, lot 277.
The Belle Époque diamond devant-de-corsage brooch by Cartier, created in 1912 in Paris (rue de la Paix), is a spectacular example of early 20th-century high jewelry. It was made-to-order for Solomon Barnato Joel, a prominent South African diamond and gold magnate (associated with De Beers interests), who supplied the four exceptional central diamonds sourced from Southern African mines (though some auction descriptions and later references link the piece broadly to Golconda-type qualities due to their exceptional transparency and purity—Golconda diamonds are historically prized for being Type IIa with minimal nitrogen and remarkable "water," but GIA certifications here confirm high color/clarity without explicitly labeling all as Golconda origin).
Full Description and Composition
France does not produce diamonds. The Cartier brothers visit India. The Maharajas choose the most beautiful gems in their collections for Cartier to assemble magnificent jewels matching their taste. This practice inspires some exotic designs later offered to all customers.
This well managed international reputation includes Southern Africa. Solomon Barnato Joel, who made a fortune with his family in the gold and diamond mines, ships four beautiful diamonds for making a jewel.
Cartier assembles a brooch in platinum and white gold for use as a devant de corsage, whose 9.2 cm high pendant aligns the four diamonds. The pendant is surrounded by four hanging sprigs of lily of the valley whose flowers are small diamonds set on platinum, a specialty of Picq. This jewel dated 1912 was later expanded by a necklace with a similar 'serti muguet'.
The four main diamonds were certified by the GIA in 2013. The largest is a pear-shaped of 34.08 carats in E color. The best is an oval-shaped type IIa D color of 23.55 carats with a VVS2 clarity potentially Internally Flawless.
This brooch was sold by Christie's for CHF 16M on May 14, 2014, lot 259, and for $ 10.6M on June 19, 2019, lot 277.
The Belle Époque diamond devant-de-corsage brooch by Cartier, created in 1912 in Paris (rue de la Paix), is a spectacular example of early 20th-century high jewelry. It was made-to-order for Solomon Barnato Joel, a prominent South African diamond and gold magnate (associated with De Beers interests), who supplied the four exceptional central diamonds sourced from Southern African mines (though some auction descriptions and later references link the piece broadly to Golconda-type qualities due to their exceptional transparency and purity—Golconda diamonds are historically prized for being Type IIa with minimal nitrogen and remarkable "water," but GIA certifications here confirm high color/clarity without explicitly labeling all as Golconda origin).
Full Description and Composition
- The brooch/pendant measures approximately 9.2 cm (about 3.6 inches) high.
- Crafted in platinum and 18k white gold (with French marks), it centers on four major diamonds aligned vertically:
- Largest: Pear-shaped brilliant-cut, 34.08 carats (E color).
- Best quality: Oval brilliant-cut, 23.55 carats, D color, VVS2 clarity (Type IIa, potentially Internally Flawless per some assessments).
- Modified marquise brilliant-cut: 6.51 carats.
- Heart modified brilliant-cut: 3.54 carats (part of the lily-of-the-valley motif).
- Surrounding these are hanging sprigs of lily-of-the-valley ("muguet") with small old-cut diamonds set on platinum—a signature delicate technique by Cartier's subcontractor Henri Picq, exemplifying the "serti muguet" style.
- A later-added unsigned double-row lily-of-the-valley necklace (approximately 15.5 inches) complements it, allowing conversion to a pendant necklace.
- Overall, it embodies the extravagant, bow-like, cascading "devant-de-corsage" style worn directly on the bodice of evening gowns, popular in the Belle Époque era for dramatic effect.
- First major recorded auction: Christie's Geneva, Magnificent Jewels, May 14, 2014, lot 259. Sold for CHF 15,845,000 (approximately $17.58 million USD at the time, including buyer's premium; hammer around CHF 14 million+). Pre-sale estimate: CHF 6.5–11 million. It was offered from a private collection.
- Resold: Christie's New York, Maharajas & Mughal Magnificence sale, June 19, 2019, lot 277 (from the Al Thani Collection). Achieved $10,603,500 USD (including buyer's premium; hammer $9.1 million). Pre-sale estimate: $10–15 million. This was the top lot in a landmark 12-hour auction totaling $109.27 million, the highest for Indian/Mughal jeweled arts and second only to Elizabeth Taylor's collection for private jewelry sales.
- Platinum innovation: Cartier pioneered platinum's use for lightweight, durable settings that maximized diamond brilliance—crucial for large, high-clarity stones like these. Platinum allowed intricate, openwork designs impossible with gold alone.
- Exotic and Maharaja influences: The brooch reflects Cartier's engagement with Indian royalty and exotic tastes (inspired by trips to India and commissions from Maharajas). It blends European garland/bow motifs with opulent scale suited to princely display.
- Gem assembly and craftsmanship: Assembling ultra-fine diamonds from elite sources (via figures like Joel) into harmonious, wearable art showcased Cartier's expertise in sourcing, cutting evaluation, and precise mounting. The lily-of-the-valley motif highlights delicate pavé and old-cut diamond work, a hallmark of the house's poetic, nature-inspired jewelry.
- It underscores Cartier's position as "Jeweller of Kings," bridging European elegance with global luxury demands, influencing later high jewelry trends.
- Market context shifts: The 2014 sale occurred in a strong Geneva jewelry market with high Asian/collector demand for Belle Époque pieces. By 2019, the piece was part of the high-profile Al Thani Collection (focused on Indian/Mughal heritage), but broader diamond jewelry auctions saw softer demand for very large white diamond ensembles amid rising interest in colored gems, modern designs, or branded contemporary pieces.
- Provenance and thematic fit: In 2019, it was positioned within a Mughal/Indian royal-themed sale, which emphasized historical Indian connections over pure European Belle Époque appeal. While the diamonds' quality remained exceptional, the thematic framing may have narrowed the buyer pool compared to a general Magnificent Jewels sale.
- Estimate realism and bidding dynamics: The 2019 estimate ($10–15 million) was conservative relative to 2014, reflecting auction house caution after intervening market volatility (e.g., post-2015 diamond price corrections). It sold within estimate to a private collector in the room, but competition was not as aggressive.
- No inherent "loss" in value drivers: The diamonds (Type IIa, top color/clarity) retained rarity; the drop appears market-driven rather than quality depreciation. Such fluctuations are common in ultra-high-end jewelry, where sentiment, economic cycles, and auction timing play outsized roles.
Tutti Frutti Necklace
2024 SOLD for HK$ 68M by Christie's
Jacques Cartier first visited India in 1911. He acquired from his local agents Indian rubies, sapphires and emeralds.
The tutti frutti multi-colored multi-gem style was developed by Jeanne Toussaint at Cartier in the 1920s.
A tutti frutti necklace made of carved rubies, emeralds and sapphires along with diamonds was sold for HK $ 68M from a lower estimate of HK $ 28M by Christie's on May 27, 2024, lot 1903. This opulent piece is 37 cm in diameter with a gross weight of 330 g. Signed and certified by Cartier, it was offered in a Cartier red box.
The Duke and Duchess of Windsor especially appreciated for years the works created by Jeanne Toussaint, director of high jewelry at Cartier from 1933. She conceived the first three dimensional panther for the Duchess in 1948.
Executed in 1952, a panther bracelet, designed to undulate around the wrist, was sold for £ 4.5M on November 30, 2010 by Sotheby's. It had been included in the fabulous sale of the Windsor jewels in April 1987 at Sotheby's in Geneva
The tutti frutti multi-colored multi-gem style was developed by Jeanne Toussaint at Cartier in the 1920s.
A tutti frutti necklace made of carved rubies, emeralds and sapphires along with diamonds was sold for HK $ 68M from a lower estimate of HK $ 28M by Christie's on May 27, 2024, lot 1903. This opulent piece is 37 cm in diameter with a gross weight of 330 g. Signed and certified by Cartier, it was offered in a Cartier red box.
The Duke and Duchess of Windsor especially appreciated for years the works created by Jeanne Toussaint, director of high jewelry at Cartier from 1933. She conceived the first three dimensional panther for the Duchess in 1948.
Executed in 1952, a panther bracelet, designed to undulate around the wrist, was sold for £ 4.5M on November 30, 2010 by Sotheby's. It had been included in the fabulous sale of the Windsor jewels in April 1987 at Sotheby's in Geneva
Qing and 1933 Jadeite Necklace
2014 SOLD for HK$ 214M by Sotheby's
Jadeite exists in various colors. Green is a common color of jadeite when it contains chromium. The finest hues are Imperial green, intense green and vivid green. They come almost exclusively from Burma, currently Myanmar.
These green variants were the most precious jewels at the Qing imperial court, in the form of beads, cabochons and bangles, without superfluous embellishment. The history of the extraction of the stone is lost.
This mineral rock can be carved, which is not the case of the diamond which is cut. Shaping a jade bead requires an exceptional know-how and skill which culminated during the reign of Qianlong. In the 19th century the Empress Dowager Cixi was fond of them.
Despite the troubles in the China of the later Qing, the most important collections of jade beads were not mixed or separated. They have often been assembled, or re-assembled, into necklaces in the 20th century, with gently graduated bead sizes and with clasps in diamond or ruby. A perfect necklace must be uniform in color shade, in translucency and in texture, which requires that the elements have been carved from the same rough.
The prestige of jade reached the Western world. A lot of 27 highly reflective emerald green jadeite beads, between 15.4 and 19.2 mm in diameter, is included in 1933 in the inventory of Cartier.
It is mounted in the same year by Cartier as a necklace with a clasp in ruby and diamond, to be offered as a wedding gift to the wealthy Barbara Hutton by her father. As Christina Onassis later, Barbara Hutton had a difficult life. The husband's family kept the precious necklace.
Considered as the greatest jadeite necklace in existence, this jewel wins the highest auction price in its category each time it comes to auction : HK $ 15.6M in 1988 and HK $ 33M in 1994. It was sold for HK $ 214M by Sotheby's on April 7, 2014, lot 1847.
On April 7, 2010, Sotheby's sold for HK $ 43M as lot 1457 a necklace 53 cm long, assembled with 35 jadeite beads, selected for their homogeneous emerald green color and for their similar size, between 12.5 and 15 mm. This piece is equipped with a clasp in platinum and diamonds signed by Cartier.
History of the Hutton-Mdivani Jadeite Necklace
The Hutton-Mdivani jadeite necklace, often hailed as one of the most iconic and valuable pieces of jadeite jewelry in history, combines imperial Chinese origins with Western high society provenance and Cartier craftsmanship. Below is a detailed overview of its history, drawing from auction records, expert analyses, and historical accounts.
Origins and Creation
The necklace features 27 graduated natural Type A jadeite beads, measuring approximately 15.4 to 19.2 mm in diameter, known for their exceptional translucency, fine texture, and vivid "imperial" emerald green color. These beads are believed to originate from the late Qing Dynasty (likely the 18th or 19th century), possibly from a Chinese imperial court necklace or similar artifact. Speculation suggests the beads may have been part of treasures lost or looted during the turbulent late Qing era, including European interventions such as the Opium Wars, though exact details remain mysterious. The jadeite was mined from the Hpakan region in Myanmar (Burma), renowned for producing "old mine" jadeite with dense structure and high quality. Crafting such large, perfectly matched beads required an enormous boulder of top-grade rough jadeite, with significant material wasted to achieve uniformity in color, size, and translucency—qualities that make it a "true and rare treasure of nature." The beads surfaced in Europe in the early 1930s, reflecting Cartier's growing fascination with Chinese jade during that period.
In 1933, the beads were commissioned into a necklace by Franklyn Laws Hutton, the father of American heiress Barbara Hutton, as a wedding gift for her marriage to Georgian Prince Alexis Mdivani. Prince Mdivani (or his family) brought the 27 flawless beads to Cartier in Paris, where they were strung into a necklace with an initial simple clasp featuring a single navette-cut diamond. The following year, in 1934, Barbara Hutton returned to Cartier to redesign the clasp into an Art Deco style, incorporating calibre-cut rubies (of brilliant red color) and baguette-cut diamonds, set in platinum and 18k yellow gold. This red-and-green contrast enhanced the jade's vibrancy, symbolizing Cartier's blend of Eastern gemstones with Western design. Hutton also commissioned a matching jadeite, ruby, and diamond ring, now part of the Cartier Collection.
Ownership and Provenance
Auction History and Significance
The necklace has shattered records multiple times, reflecting the growing global demand for imperial jadeite:
These green variants were the most precious jewels at the Qing imperial court, in the form of beads, cabochons and bangles, without superfluous embellishment. The history of the extraction of the stone is lost.
This mineral rock can be carved, which is not the case of the diamond which is cut. Shaping a jade bead requires an exceptional know-how and skill which culminated during the reign of Qianlong. In the 19th century the Empress Dowager Cixi was fond of them.
Despite the troubles in the China of the later Qing, the most important collections of jade beads were not mixed or separated. They have often been assembled, or re-assembled, into necklaces in the 20th century, with gently graduated bead sizes and with clasps in diamond or ruby. A perfect necklace must be uniform in color shade, in translucency and in texture, which requires that the elements have been carved from the same rough.
The prestige of jade reached the Western world. A lot of 27 highly reflective emerald green jadeite beads, between 15.4 and 19.2 mm in diameter, is included in 1933 in the inventory of Cartier.
It is mounted in the same year by Cartier as a necklace with a clasp in ruby and diamond, to be offered as a wedding gift to the wealthy Barbara Hutton by her father. As Christina Onassis later, Barbara Hutton had a difficult life. The husband's family kept the precious necklace.
Considered as the greatest jadeite necklace in existence, this jewel wins the highest auction price in its category each time it comes to auction : HK $ 15.6M in 1988 and HK $ 33M in 1994. It was sold for HK $ 214M by Sotheby's on April 7, 2014, lot 1847.
On April 7, 2010, Sotheby's sold for HK $ 43M as lot 1457 a necklace 53 cm long, assembled with 35 jadeite beads, selected for their homogeneous emerald green color and for their similar size, between 12.5 and 15 mm. This piece is equipped with a clasp in platinum and diamonds signed by Cartier.
History of the Hutton-Mdivani Jadeite Necklace
The Hutton-Mdivani jadeite necklace, often hailed as one of the most iconic and valuable pieces of jadeite jewelry in history, combines imperial Chinese origins with Western high society provenance and Cartier craftsmanship. Below is a detailed overview of its history, drawing from auction records, expert analyses, and historical accounts.
Origins and Creation
The necklace features 27 graduated natural Type A jadeite beads, measuring approximately 15.4 to 19.2 mm in diameter, known for their exceptional translucency, fine texture, and vivid "imperial" emerald green color. These beads are believed to originate from the late Qing Dynasty (likely the 18th or 19th century), possibly from a Chinese imperial court necklace or similar artifact. Speculation suggests the beads may have been part of treasures lost or looted during the turbulent late Qing era, including European interventions such as the Opium Wars, though exact details remain mysterious. The jadeite was mined from the Hpakan region in Myanmar (Burma), renowned for producing "old mine" jadeite with dense structure and high quality. Crafting such large, perfectly matched beads required an enormous boulder of top-grade rough jadeite, with significant material wasted to achieve uniformity in color, size, and translucency—qualities that make it a "true and rare treasure of nature." The beads surfaced in Europe in the early 1930s, reflecting Cartier's growing fascination with Chinese jade during that period.
In 1933, the beads were commissioned into a necklace by Franklyn Laws Hutton, the father of American heiress Barbara Hutton, as a wedding gift for her marriage to Georgian Prince Alexis Mdivani. Prince Mdivani (or his family) brought the 27 flawless beads to Cartier in Paris, where they were strung into a necklace with an initial simple clasp featuring a single navette-cut diamond. The following year, in 1934, Barbara Hutton returned to Cartier to redesign the clasp into an Art Deco style, incorporating calibre-cut rubies (of brilliant red color) and baguette-cut diamonds, set in platinum and 18k yellow gold. This red-and-green contrast enhanced the jade's vibrancy, symbolizing Cartier's blend of Eastern gemstones with Western design. Hutton also commissioned a matching jadeite, ruby, and diamond ring, now part of the Cartier Collection.
Ownership and Provenance
- Barbara Hutton (1912–1979): Dubbed the "Million Dollar Baby," Hutton was the granddaughter of Woolworth founder Frank Winfield Woolworth and inherited a vast fortune. A passionate collector of exquisite jewels, she amassed pieces like the Pasha diamond ring, the Marie-Antoinette pearl necklace, and Romanov emeralds. The jadeite necklace complemented her refined yet opulent style, symbolizing understated elegance. She wore it during her glamorous but tumultuous life, which included seven marriages (the first to Mdivani ending in divorce in 1935).
- Post-Hutton Ownership: After Hutton, the necklace passed to her close friend Louise Van Alen, who married into the Mdivani family (specifically to Prince Serge Mdivani, Alexis's brother). It then went to Princess Nina Mdivani, Alexis's sister and a prominent socialite. The Mdivani family—Georgian nobility exiled after the Russian Revolution—held the necklace for over 50 years, adding to its aristocratic allure.
Auction History and Significance
The necklace has shattered records multiple times, reflecting the growing global demand for imperial jadeite:
- 1988: Debuted at auction (likely Sotheby's or Christie's), selling for $2 million—the highest price ever for jadeite jewelry at the time, sparking international interest.
- 1994: Sold at Christie's Hong Kong for $4.2 million, doubling the previous record and cementing its status as a legendary piece.
- 2014: Auctioned at Sotheby's Hong Kong Magnificent Jewels and Jadeite sale for HK$214,040,000 (approximately $27.44 million), far exceeding its $12.8 million estimate after a 20-minute bidding war involving six bidders. Purchased by the Cartier Collection, it set world records for any jadeite jewel and any Cartier jewel.
Cartier Jadeite Mountings: A History of East-West Fusion
Cartier's engagement with jadeite (fei cui) in jewelry mountings represents a pioneering blend of Chinese imperial heritage with Western luxury craftsmanship, peaking during the Art Deco era and continuing as a hallmark of the maison's innovative approach to exotic materials.
Early Interest (Late 19th–Early 20th Century)
Cartier's fascination with jade dates to the late 19th century, amid Europe's growing chinoiserie and Orientalism trends. Archival records show jade items in stock inventories as early as 1898 (e.g., jade flasks). By the early 1900s, the house began incorporating jade—both nephrite and emerging jadeite—into decorative objects like clocks, vanity cases, and boxes. The fall of the Qing dynasty (1911–1912) flooded European markets with imperial treasures, including high-quality carved jadeite beads, plaques, and carvings from Myanmar-sourced material. This provided Cartier access to exceptional pieces, often from noble or court origins.
The Art Deco Zenith (1920s–1930s)
The 1920s marked Cartier's most creative period with jadeite, aligning with the Art Deco movement's geometric modernism and exotic influences. Influenced by Orientalism, Cartier reimagined Qing-era jadeite elements—prized for vivid imperial green, translucency, and luminous texture—into striking jewels that juxtaposed Eastern stone with Western gems (rubies, diamonds, onyx) and metals (platinum, gold). Jadeite appeared in sautoirs, pendants, bracelets, brooches, and especially bead necklaces, often framed for sharp Parisian silhouettes. This era saw Cartier treat jadeite as both a color block (emerald green against black/white contrasts) and a carrier of Chinese symbolism, while adding contemporary flair through innovative clasps and settings.
The most iconic example is the Hutton-Mdivani jadeite necklace (commissioned/mounted by Cartier in 1933):
Post-War to Modern Era
While jadeite mountings were most prolific in the interwar years, Cartier continued using the material in high jewelry, often in contemporary collections contrasting polished jade cabochons or beads with diamonds. The maison's reverence for jadeite endures, as seen in exhibitions (e.g., collaborations with Beijing's Palace Museum showcasing jade alongside diamonds/emeralds) and acquisitions.
In 2014, the Hutton-Mdivani necklace achieved a world record for jadeite jewelry (and Cartier jewelry) at Sotheby's Hong Kong, selling for HK$214 million (~US$27.44 million). After competitive bidding, the Cartier Collection itself purchased it—bringing this emblematic piece "home" and underscoring the enduring patrimonial value of their early 20th-century jadeite innovations.Overall, Cartier's jadeite mountings transformed an imperial Asian gem into a symbol of cross-cultural luxury: Qing-era beads restrung or enhanced with Art Deco elegance, creating timeless hybrids that elevated jadeite's global prestige beyond its traditional confines.
Cartier's engagement with jadeite (fei cui) in jewelry mountings represents a pioneering blend of Chinese imperial heritage with Western luxury craftsmanship, peaking during the Art Deco era and continuing as a hallmark of the maison's innovative approach to exotic materials.
Early Interest (Late 19th–Early 20th Century)
Cartier's fascination with jade dates to the late 19th century, amid Europe's growing chinoiserie and Orientalism trends. Archival records show jade items in stock inventories as early as 1898 (e.g., jade flasks). By the early 1900s, the house began incorporating jade—both nephrite and emerging jadeite—into decorative objects like clocks, vanity cases, and boxes. The fall of the Qing dynasty (1911–1912) flooded European markets with imperial treasures, including high-quality carved jadeite beads, plaques, and carvings from Myanmar-sourced material. This provided Cartier access to exceptional pieces, often from noble or court origins.
The Art Deco Zenith (1920s–1930s)
The 1920s marked Cartier's most creative period with jadeite, aligning with the Art Deco movement's geometric modernism and exotic influences. Influenced by Orientalism, Cartier reimagined Qing-era jadeite elements—prized for vivid imperial green, translucency, and luminous texture—into striking jewels that juxtaposed Eastern stone with Western gems (rubies, diamonds, onyx) and metals (platinum, gold). Jadeite appeared in sautoirs, pendants, bracelets, brooches, and especially bead necklaces, often framed for sharp Parisian silhouettes. This era saw Cartier treat jadeite as both a color block (emerald green against black/white contrasts) and a carrier of Chinese symbolism, while adding contemporary flair through innovative clasps and settings.
The most iconic example is the Hutton-Mdivani jadeite necklace (commissioned/mounted by Cartier in 1933):
- Composed of 27 perfectly graduated, highly translucent bright emerald green beads (15.4–19.2 mm), likely carved in the late Qing or earlier (possibly 18th century) from a single boulder for unmatched homogeneity.
- Originally gifted to American heiress Barbara Hutton by her father Franklyn Laws Hutton for her 1933 wedding to Prince Alexis Mdivani.
- Cartier initially provided a simple navette-cut diamond clasp; in 1934, Hutton commissioned a redesign with calibré-cut rubies and baguette-cut diamonds in platinum and 18k yellow gold to enhance the green hue via color contrast.
- This piece exemplifies Cartier's role in bridging imperial Chinese craftsmanship with Western glamour—preserving bead purity while adding luxurious, bold accents.
Post-War to Modern Era
While jadeite mountings were most prolific in the interwar years, Cartier continued using the material in high jewelry, often in contemporary collections contrasting polished jade cabochons or beads with diamonds. The maison's reverence for jadeite endures, as seen in exhibitions (e.g., collaborations with Beijing's Palace Museum showcasing jade alongside diamonds/emeralds) and acquisitions.
In 2014, the Hutton-Mdivani necklace achieved a world record for jadeite jewelry (and Cartier jewelry) at Sotheby's Hong Kong, selling for HK$214 million (~US$27.44 million). After competitive bidding, the Cartier Collection itself purchased it—bringing this emblematic piece "home" and underscoring the enduring patrimonial value of their early 20th-century jadeite innovations.Overall, Cartier's jadeite mountings transformed an imperial Asian gem into a symbol of cross-cultural luxury: Qing-era beads restrung or enhanced with Art Deco elegance, creating timeless hybrids that elevated jadeite's global prestige beyond its traditional confines.
1937 The Queen of Burma
2014 SOLD for CHF 5.9M by Christie's
On November 11, 2014, Christie's sold for CHF 5.9M the Queen of Burma, lot 337. This large oval ruby weighing 23.66 carats was set on a ring by Cartier and sold by Cartier London in 1937 to a Maharajah. Its color is a saturated pink-red due to a combination of elements that exist nowhere else than in the mines of Mogok.
On November 12, 2014, Sotheby's sold for CHF 8.3M the Graff Ruby, lot 470. Weighing 8.62 carats, this cushion-shaped ruby is exceptional for its vivid red color named pigeon's blood, a great rarity in its weight range. Its purity and brilliance are excellent. It also can come only from Mogok. Laurence Graff, who mounted it on a ring, regarded it as the most beautiful ruby he had ever seen. There cannot be a better recommendation for this wonderful gem.
On November 12, 2014, Sotheby's sold for CHF 8.3M the Graff Ruby, lot 470. Weighing 8.62 carats, this cushion-shaped ruby is exceptional for its vivid red color named pigeon's blood, a great rarity in its weight range. Its purity and brilliance are excellent. It also can come only from Mogok. Laurence Graff, who mounted it on a ring, regarded it as the most beautiful ruby he had ever seen. There cannot be a better recommendation for this wonderful gem.
1960 The Aga Khan Emerald
2024 SOLD for CHF 7.8M by Christie's
In August 1957, six weeks after the death of his father the imam Aga Khan III, Prince Sadruddin married the Anglo-Indian fashion model, socialite and taste maker Nina Dyer just divorced from Baron Thyssen, another one of the wealthiest men in the world. She was highly eccentric and a great lover of jewels.
In 1960 Prince Sadruddin commissioned to Cartier in Paris a special brooch for the use of his wife. It is made of an exceptional 23 mm square cut Colombian emerald weighing 37 carats in a surrounding of 20 navette diamonds with a total weight of 12 carats. The green color is even despite a great flatness of 8.25 mm and features a medium strong saturation. It has no identification of clarity enhancement.
Sadruddin and Nina divorced in 1962. She committed suicide three years later, aged 35. From her deceased estate, the Aga Khan brooch was sold for CHF 580K to Van Cleef et Arpels on May 1, 1969 by Christie, Manson & Woods in Geneva and was later acquired by Harry Winston.
The Aga Khan emerald brooch was sold for CHF 7.8M from a lower estimate of CHF 5.2M by Christie's on November 12, 2024, lot 100. Please watch the video shared by the auction house.
Prince Sadruddin Aga Khan was instrumental in the UN Refugee Agency.
In 1960 Prince Sadruddin commissioned to Cartier in Paris a special brooch for the use of his wife. It is made of an exceptional 23 mm square cut Colombian emerald weighing 37 carats in a surrounding of 20 navette diamonds with a total weight of 12 carats. The green color is even despite a great flatness of 8.25 mm and features a medium strong saturation. It has no identification of clarity enhancement.
Sadruddin and Nina divorced in 1962. She committed suicide three years later, aged 35. From her deceased estate, the Aga Khan brooch was sold for CHF 580K to Van Cleef et Arpels on May 1, 1969 by Christie, Manson & Woods in Geneva and was later acquired by Harry Winston.
The Aga Khan emerald brooch was sold for CHF 7.8M from a lower estimate of CHF 5.2M by Christie's on November 12, 2024, lot 100. Please watch the video shared by the auction house.
Prince Sadruddin Aga Khan was instrumental in the UN Refugee Agency.
1582-1972 La Peregrina
2011 SOLD for $ 11.8M by Christie's
A pearl made five hundred years ago by an anonymous mollusk in the Gulf of Panama got a fabulous destiny. Used in jewelry of all kinds to meet the changes of fashion, it demonstrates that not only diamonds are forever.
It entered in 1582 into the Spanish royal collection, where it was considered as the biggest pearl in the world. Pear-shaped, it was then weighing 223 grains.
Mary I of England, wife of Philip II of Spain, used it very elegantly as a pendant to a brooch. Philip IV of Spain preferred it as a hat pin. It went to France during the Spanish war of Joseph Bonaparte, and Napoleon III sold it to the English aristocracy.
This wandering pearl has been known for two centuries under the name La Peregrina. It lost twenty grains when it was reworked to improve the security of its setting.
Richard Burton bought it in 1969 at Sotheby's auction as a gift to Elizabeth Taylor.
It was mounted as pendant in a pearl necklace that did not please its new owners. Burton and Taylor then made designed by Cartier in 1972 the magnificent necklace of pearls, rubies and diamonds, where it is again hanging as pendant.
This necklace was sold for $ 11.8M from a lower estimate of $ 2M by Christie's on December 13, 2011, lot 12.
It entered in 1582 into the Spanish royal collection, where it was considered as the biggest pearl in the world. Pear-shaped, it was then weighing 223 grains.
Mary I of England, wife of Philip II of Spain, used it very elegantly as a pendant to a brooch. Philip IV of Spain preferred it as a hat pin. It went to France during the Spanish war of Joseph Bonaparte, and Napoleon III sold it to the English aristocracy.
This wandering pearl has been known for two centuries under the name La Peregrina. It lost twenty grains when it was reworked to improve the security of its setting.
Richard Burton bought it in 1969 at Sotheby's auction as a gift to Elizabeth Taylor.
It was mounted as pendant in a pearl necklace that did not please its new owners. Burton and Taylor then made designed by Cartier in 1972 the magnificent necklace of pearls, rubies and diamonds, where it is again hanging as pendant.
This necklace was sold for $ 11.8M from a lower estimate of $ 2M by Christie's on December 13, 2011, lot 12.
1627-1972 The Taj Mahal of Elizabeth Taylor
2011 SOLD for $ 8.8M by Christie's
The ideal art, which makes the whole world dream, must evoke love, death and wealth at the same time. Adding elegance and monumentality, I described the Taj Mahal, the mausoleum of the beloved wife of Shah Jahan.
In 1972, for Elizabeth Taylor's 40th birthday, Richard Burton humorously declares that he would have liked to offer her the Taj Mahal but that the monument was not transportable. The real gift is an evocation of it : a Mughal piece of jewelry, which Burton had bought for around £ 350K.
This jewel is centered with a large heart-shaped diamond inserted in a surrounding of same shape in red stones, jade and small diamonds. The diamond is inscribed in Persian : Nur Jahan Baygum Padshah, 23, 1037. The ribbon for using it as a pendant is faded. Liz Taylor has it replaced by Cartier with a gold chain terminated by a fraying of gold threads bearing rubies.
In the Hegira calendar, 1037, corresponding to 1627 CE, is the year of Jahangir's death in the 23rd year of his reign and thus marks the end of the long recency of his wife Nur Jahan. Shah Jahan is the son and successor of Jahangir.
This jewel designated as the Taj Mahal was sold on December 13, 2011 for $ 8.8M from a lower estimate of $ 300K, lot 56 in the auction by Christie's of Elizabeth Taylor's estate.
After the sale, the buyer, who remained anonymous, understands that there is no evidence that the Taj Mahal jewel was ever in the hands of Jahangir or Shah Jahan. He is an important customer and Christie's is attempting to cancel the sale of this lot. The trust in charge of the actress's estate opposed it in 2015 and 2017 by legal complaints, arguing the absence of irregularity. The end of the story is not known.
In 1972, for Elizabeth Taylor's 40th birthday, Richard Burton humorously declares that he would have liked to offer her the Taj Mahal but that the monument was not transportable. The real gift is an evocation of it : a Mughal piece of jewelry, which Burton had bought for around £ 350K.
This jewel is centered with a large heart-shaped diamond inserted in a surrounding of same shape in red stones, jade and small diamonds. The diamond is inscribed in Persian : Nur Jahan Baygum Padshah, 23, 1037. The ribbon for using it as a pendant is faded. Liz Taylor has it replaced by Cartier with a gold chain terminated by a fraying of gold threads bearing rubies.
In the Hegira calendar, 1037, corresponding to 1627 CE, is the year of Jahangir's death in the 23rd year of his reign and thus marks the end of the long recency of his wife Nur Jahan. Shah Jahan is the son and successor of Jahangir.
This jewel designated as the Taj Mahal was sold on December 13, 2011 for $ 8.8M from a lower estimate of $ 300K, lot 56 in the auction by Christie's of Elizabeth Taylor's estate.
After the sale, the buyer, who remained anonymous, understands that there is no evidence that the Taj Mahal jewel was ever in the hands of Jahangir or Shah Jahan. He is an important customer and Christie's is attempting to cancel the sale of this lot. The trust in charge of the actress's estate opposed it in 2015 and 2017 by legal complaints, arguing the absence of irregularity. The end of the story is not known.
2016 The Sky Blue Diamond
2016 SOLD for CHF 17M by Sotheby's
Diamonds are eternal but their assembly within a jewel may change. The same gem can therefore be the star lot of two auctions a few years apart with a different mounting.
The GIA report dated 8 June 2010, applied to a Type IIb diamond weighing 8.01 carat, guaranteeing its natural, Fancy Vivid Blue color and VVS1 clarity.
This gem is close to the best, in the most prestigious color and a clarity which is second only to Internally Flawless. Fancy vivid blue diamonds rarely exceed that weight. Mounted on a platinum ring between two small white diamonds, it was sold for HK $ 100M by Sotheby's on 3 April 2012.
Its emerald cut is the most prestigious for colored diamonds. It guarantees the natural qualities of the diamond and does not alter the color.
Later identified as the Sky Blue Diamond, it is more accurately described as square cut which better stresses its great shape achievement, and assembled on a more exuberant Cartier ring set with brilliant cut and baguette diamonds. It was sold for CHF 17M by Sotheby's on November 16, 2016, lot 337. Please watch the video shared by WSJ.
The GIA report dated 8 June 2010, applied to a Type IIb diamond weighing 8.01 carat, guaranteeing its natural, Fancy Vivid Blue color and VVS1 clarity.
This gem is close to the best, in the most prestigious color and a clarity which is second only to Internally Flawless. Fancy vivid blue diamonds rarely exceed that weight. Mounted on a platinum ring between two small white diamonds, it was sold for HK $ 100M by Sotheby's on 3 April 2012.
Its emerald cut is the most prestigious for colored diamonds. It guarantees the natural qualities of the diamond and does not alter the color.
Later identified as the Sky Blue Diamond, it is more accurately described as square cut which better stresses its great shape achievement, and assembled on a more exuberant Cartier ring set with brilliant cut and baguette diamonds. It was sold for CHF 17M by Sotheby's on November 16, 2016, lot 337. Please watch the video shared by WSJ.
The Sunrise Ruby
2015 SOLD for CHF 28M by Sotheby's
The best rubies in the world are extracted from the Burmese valley of Mogok in Myanmar. They are the only ones to exhibit a vivid and saturated crimson red pigeon blood color. The cushion cut is perfect for them.
The beauty of a ruby is also closely linked to its internal structure that enhances the dispersion of light. Considered as exceptional by Graff, the Graff ruby was sold for CHF 8.3M by Sotheby's on November 12, 2014, lot 470, a great price for a stone which weighs only 8.62 carats. Its price per carat, CHF 960K, is almost competing with the best pink or blue diamonds.
The Sunrise ruby was sold for CHF 28M from a lower estimate of CHF 11.7M by Sotheby's on May 12, 2015, lot 502. That price per carat, CHF 1.1M, exceeds the Graff. It was sold for CHF 13M by Christie's on May 10, 2023, lot 96 from the collection of the late billionaire art collector Heidi Horten.
This cushion shaped brilliant cut ruby is weighing 25.59 carats, measuring 17.66 x 15.07 x 10.47 mm, It is pigeon blood red with rich saturation and high clarity. The shape and the finely proportioned cut provides vivid internal color reflections as commented by Gübelin. It is mounted on a platinum ring by Cartier between two shield shaped diamonds of 2.70 and 2.47 carats.
The Hope ruby is still bigger. This cushion shaped pigeon blood from the Lily Safra collection, weighing 32.08 carats, is mounted on a ring by Chaumet. It was sold for CHF 6.2M by Christie's on May 14, 2012, lot 66.
Sunrise Ruby details
The Sunrise Ruby, renowned as one of the finest Burmese rubies ever discovered, set auction records in 2015 and remains a benchmark for unheated pigeon's blood rubies from Myanmar due to its exceptional color, clarity, and size. This cushion-shaped gem weighs 25.59 carats and originates from the historic Mogok Valley in Myanmar (formerly Burma), a region famed for producing top-tier rubies for centuries, with geological conditions involving metamorphic rock formations under high pressure and temperature creating its vivid chromium-induced red hue. The stone was reportedly mined in the early 20th century, though exact discovery details are sparse, and it entered the market through traditional Burmese ruby trade channels before being acquired and certified by prominent Swiss gem labs.
The ruby was cut into its classic cushion brilliant shape to maximize its color saturation and brilliance, then set by Cartier in a platinum ring flanked by two shield-shaped diamonds weighing 2.47 and 2.70 carats, creating a balanced, elegant design with French assay marks and a partially erased maker's mark from Cartier Joaillerie International. The ring measures US size 5¼ and has a gross weight of 16.6 grams. Its name, "Sunrise Ruby," draws inspiration from a poem by the 13th-century Persian poet Rumi: "The morning wind has secrets to tell you. Do not go back to sleep," evoking the gem's radiant, dawn-like glow.
Gemologically, the Sunrise Ruby exemplifies the pinnacle of Burmese rubies with its vivid pigeon's blood red color—a deep, pure crimson with subtle blue undertones and strong fluorescence under UV light, rare even among Mogok stones. It displays exceptional purity and transparency, with minimal inclusions visible to the naked eye, and no signs of heat treatment, preserving its natural properties—a key factor in its value, as heating is common in ruby enhancement but can diminish rarity. Certifications from leading labs confirm its attributes:
The Sunrise Ruby's 2015 sale elevated the profile of Burmese rubies in the global market, reinforcing Myanmar's dominance in premium unheated stones despite U.S. import bans since 2008 due to political sanctions. While its overall price record was surpassed in 2023 by the 55.22-carat Mozambican Estrela de Fura ($34.8 million), the Sunrise Ruby still holds the auction record for a Burmese ruby and remains a symbol of timeless gemological excellence, often cited as the archetype for pigeon's blood quality in educational and market contexts
The beauty of a ruby is also closely linked to its internal structure that enhances the dispersion of light. Considered as exceptional by Graff, the Graff ruby was sold for CHF 8.3M by Sotheby's on November 12, 2014, lot 470, a great price for a stone which weighs only 8.62 carats. Its price per carat, CHF 960K, is almost competing with the best pink or blue diamonds.
The Sunrise ruby was sold for CHF 28M from a lower estimate of CHF 11.7M by Sotheby's on May 12, 2015, lot 502. That price per carat, CHF 1.1M, exceeds the Graff. It was sold for CHF 13M by Christie's on May 10, 2023, lot 96 from the collection of the late billionaire art collector Heidi Horten.
This cushion shaped brilliant cut ruby is weighing 25.59 carats, measuring 17.66 x 15.07 x 10.47 mm, It is pigeon blood red with rich saturation and high clarity. The shape and the finely proportioned cut provides vivid internal color reflections as commented by Gübelin. It is mounted on a platinum ring by Cartier between two shield shaped diamonds of 2.70 and 2.47 carats.
The Hope ruby is still bigger. This cushion shaped pigeon blood from the Lily Safra collection, weighing 32.08 carats, is mounted on a ring by Chaumet. It was sold for CHF 6.2M by Christie's on May 14, 2012, lot 66.
Sunrise Ruby details
The Sunrise Ruby, renowned as one of the finest Burmese rubies ever discovered, set auction records in 2015 and remains a benchmark for unheated pigeon's blood rubies from Myanmar due to its exceptional color, clarity, and size. This cushion-shaped gem weighs 25.59 carats and originates from the historic Mogok Valley in Myanmar (formerly Burma), a region famed for producing top-tier rubies for centuries, with geological conditions involving metamorphic rock formations under high pressure and temperature creating its vivid chromium-induced red hue. The stone was reportedly mined in the early 20th century, though exact discovery details are sparse, and it entered the market through traditional Burmese ruby trade channels before being acquired and certified by prominent Swiss gem labs.
The ruby was cut into its classic cushion brilliant shape to maximize its color saturation and brilliance, then set by Cartier in a platinum ring flanked by two shield-shaped diamonds weighing 2.47 and 2.70 carats, creating a balanced, elegant design with French assay marks and a partially erased maker's mark from Cartier Joaillerie International. The ring measures US size 5¼ and has a gross weight of 16.6 grams. Its name, "Sunrise Ruby," draws inspiration from a poem by the 13th-century Persian poet Rumi: "The morning wind has secrets to tell you. Do not go back to sleep," evoking the gem's radiant, dawn-like glow.
Gemologically, the Sunrise Ruby exemplifies the pinnacle of Burmese rubies with its vivid pigeon's blood red color—a deep, pure crimson with subtle blue undertones and strong fluorescence under UV light, rare even among Mogok stones. It displays exceptional purity and transparency, with minimal inclusions visible to the naked eye, and no signs of heat treatment, preserving its natural properties—a key factor in its value, as heating is common in ruby enhancement but can diminish rarity. Certifications from leading labs confirm its attributes:
- Swiss Gemmological Institute SSEF: Reports No. 128111 (2023) and No. 78414 (2015), classifying it as unheated Burmese origin with pigeon's blood color and appendices highlighting its "exceptional quality" and "rarity."
- Gübelin Gem Lab: Report No. 23030197 (2023), affirming natural, unheated status from Mogok, with information sheets on unheated rubies and Burmese origins emphasizing its unique high quality.
The Sunrise Ruby's 2015 sale elevated the profile of Burmese rubies in the global market, reinforcing Myanmar's dominance in premium unheated stones despite U.S. import bans since 2008 due to political sanctions. While its overall price record was surpassed in 2023 by the 55.22-carat Mozambican Estrela de Fura ($34.8 million), the Sunrise Ruby still holds the auction record for a Burmese ruby and remains a symbol of timeless gemological excellence, often cited as the archetype for pigeon's blood quality in educational and market contexts
The most valuable ruby ever sold at auction: The Sunrise Ruby sells for US$ 30.3m in Geneva #SothebysJewels pic.twitter.com/s5ezt5Qah8
— Sotheby's (@Sothebys) May 12, 2015
The Rock
2022 SOLD for CHF 21.7M by Christie's
The Rock is the largest white diamond ever offered at auction. It was sold for CHF 21.7M by Christie's on May 11, 2022, lot 26.
Mined in South Africa more than 20 years earlier, it is brilliant cut in pear shape. Its characteristics are 228.31 carats, G color, VS1 clarity, excellent polish and symmetry, 61.3 grams.
G is the highest grade in the near-colorless range. displaying a very faint yellow tint. If the cut is perfect, a G diamond looks identical to a colorless D when viewed with the naked eye.
The Rock has been mounted by Cartier with a round diamond and platinum pendant, for an overall size of 5.4 x 3.1 cm.
Christie's @ChristiesInc May 12, 2022
#AuctionUpdate 'The Rock,' the largest white diamond ever auctioned, sold for CHF21,681,000 / $21,894,082 at Christie's Magnificent Jewels sale on 11 May 2022.
Thoughts
The diamond known as "The Rock" is a remarkable 228.31-carat pear-shaped white diamond, recognized as the largest white (D-Z color range) diamond ever to appear at auction and the largest pear-shaped diamond ever graded by the Gemological Institute of America (GIA).
History of The Rock
The Rock's connection to Cartier stems from its mounting rather than its creation or long-term ownership by the house. The diamond was set as a dramatic pendant in a platinum and diamond necklace/pendant signed by Cartier. This custom setting transformed the monumental loose stone into wearable high jewelry, with the platinum mount complementing the pear shape and allowing it to hang elegantly.
Mined in South Africa more than 20 years earlier, it is brilliant cut in pear shape. Its characteristics are 228.31 carats, G color, VS1 clarity, excellent polish and symmetry, 61.3 grams.
G is the highest grade in the near-colorless range. displaying a very faint yellow tint. If the cut is perfect, a G diamond looks identical to a colorless D when viewed with the naked eye.
The Rock has been mounted by Cartier with a round diamond and platinum pendant, for an overall size of 5.4 x 3.1 cm.
Christie's @ChristiesInc May 12, 2022
#AuctionUpdate 'The Rock,' the largest white diamond ever auctioned, sold for CHF21,681,000 / $21,894,082 at Christie's Magnificent Jewels sale on 11 May 2022.
Thoughts
- Christie's post highlights the record-breaking auction of "The Rock," a 228.31-carat pear-shaped white diamond that sold for $21.9 million on May 11, 2022, in Geneva, surpassing the previous largest white diamond at auction by over 90 carats.
- Graded G-color and VS1 clarity by GIA with excellent polish and symmetry, the stone—mounted in a Cartier platinum pendant—was the largest such pear shape in the D-Z color range ever certified by the institute.
- The sale price equated to roughly $96,000 per carat, lower than the prior record's $116,000 per carat, underscoring how rarity in top colors often drives higher premiums in ultra-large diamonds.
The diamond known as "The Rock" is a remarkable 228.31-carat pear-shaped white diamond, recognized as the largest white (D-Z color range) diamond ever to appear at auction and the largest pear-shaped diamond ever graded by the Gemological Institute of America (GIA).
History of The Rock
- Origin and Early Life: It was mined in South Africa more than 20 years before its 2022 auction (likely around 2000 or earlier). The rough stone was polished there into its final pear shape over an extended period, reflecting the exceptional skill required to preserve size, symmetry, and quality in such a massive gem.
- Grading and Certification: The GIA graded it as G-color (near-colorless) and VS1 clarity, with excellent polish and symmetry. A special GIA letter confirmed it as the largest pear-shaped diamond in the D-Z color range ever certified by the lab—highlighting its rarity, as ultra-large white diamonds in high color grades are extraordinarily uncommon.
- Pre-Auction Display: Before the sale, it toured major markets including Dubai, Taipei, and New York City to showcase it to potential buyers.
- Auction at Christie's: It led Christie's Magnificent Jewels sale in Geneva on May 11, 2022, with a pre-sale estimate of $20–30 million. The stone sold for $21.9 million (approximately CHF 21.68 million), equating to about $96,000 per carat. This was within the estimate but at the lower end. The seller was an anonymous North American family of jewelry collectors. The buyer was also not publicly disclosed.
- Post-Auction: As of February 2026, no major subsequent public sales, exhibitions, or ownership changes have been widely reported for this specific stone. It remains a benchmark in diamond auction history for its sheer scale in the white/colorless category.
The Rock's connection to Cartier stems from its mounting rather than its creation or long-term ownership by the house. The diamond was set as a dramatic pendant in a platinum and diamond necklace/pendant signed by Cartier. This custom setting transformed the monumental loose stone into wearable high jewelry, with the platinum mount complementing the pear shape and allowing it to hang elegantly.
- Cartier's Role: Cartier crafted the pendant mounting for the previous owners (the North American collector family), demonstrating the maison's expertise in handling exceptional, oversized gems. Cartier has a storied legacy of setting historically significant or record-breaking diamonds (e.g., pieces for royalty, celebrities like Elizabeth Taylor's large pear-shaped stones, or iconic designs like the Panthère motif), but The Rock stands out due to the stone's auction-record size.
- Symbolic and Market Impact: The Cartier signature added prestige and desirability at auction, as it turned a raw (albeit polished) collector's gem into a finished piece of haute joaillerie. It underscored Cartier's position in the ultra-high-end market for mounting mega-diamonds—where craftsmanship elevates rarity into wearable art. While not one of Cartier's own "historic" house-owned stones (like some in their archives or high jewelry collections), its association reinforced the brand's reputation for bold, innovative settings of exceptional diamonds.
#AuctionUpdate 'The Rock,' the largest white diamond ever auctioned, sold for CHF21,681,000 / $21,894,082 at Christie's Magnificent Jewels sale on 11 May 2022. □ pic.twitter.com/39hRUU1E0u
— Christie's (@ChristiesInc) May 12, 2022
