Jewels - 2nd page
Not including White diamond, Pink diamond and fancy vivid and fancy intense Blue diamond
Except otherwise stated, all results include the premium.
See also : Jewels Cartier Jadeite Ancient Spain
Chronology : 1660-1679 18th century 1770-1779 1926 1933 2020 to now 2022
Except otherwise stated, all results include the premium.
See also : Jewels Cartier Jadeite Ancient Spain
Chronology : 1660-1679 18th century 1770-1779 1926 1933 2020 to now 2022
masterpiece
1660s The Hope
Smithsonian
The Hope Diamond is one of the most famous and iconic gemstones in the world, renowned for its rare deep blue color, legendary history, and persistent (though largely debunked) curse myth. It is often called the "most famous diamond in the world" due to its size, color, and dramatic provenance.
Key Features
The Hope Diamond's story begins in the mid-17th century in India.
A famous myth claims the diamond brings misfortune, death, or ruin to owners (linked to theft from a Hindu idol, owners' tragedies like Tavernier mauled by dogs, French royals guillotined, McLean's family losses). Historians attribute it to sensationalism (e.g., Cartier's sales tactic) and coincidence; no evidence supports a real curse. Many owners lived long, prosperous lives.As of February 2026, the Hope Diamond remains on permanent public display at the Smithsonian's National Museum of Natural History in Washington, D.C., attracting millions of visitors annually. No changes in ownership or major events reported; it continues as a top gem attraction.
Key Features
- Weight: 45.52 carats (9.104 grams).
- Shape: Antique cushion-cut (with 58 facets, modified over time for brilliance).
- Color: Fancy deep grayish-blue (GIA grade; the intense blue is due to trace boron impurities; it appears violet-blue under certain lighting).
- Clarity: Very high (no major inclusions visible; exceptional for its size and type).
- Type: Type IIb (extremely rare; boron causes the blue color and makes it semiconductive; it phosphoresces a vivid red under short-wave UV light, lasting seconds after exposure).
- Origin: Kollur Mine (Golconda region, Andhra Pradesh, India), like many legendary diamonds (e.g., Koh-i-Noor).
- Other Distinctions: Largest known blue diamond; its size has aided scientific understanding of diamond formation. Estimated value often cited around $250–350 million (though priceless as a cultural artifact).
The Hope Diamond's story begins in the mid-17th century in India.
- 1660s: French gem merchant Jean-Baptiste Tavernier acquired a large rough blue diamond (~112 3/16 old French carats, ~115 metric carats) in India (likely from Kollur Mine). He sold it to King Louis XIV of France in 1668.
- 1670s–1792: Louis XIV had it recut into a 69-carat heart-shaped "French Blue" (or "Bleu de France") for the French Crown Jewels. It passed to Louis XV and Louis XVI.
- 1792: Stolen during the French Revolution looting of the royal treasury; disappeared for ~20 years.
- Early 1800s: A recut blue diamond (~45.52 carats, matching the current Hope) resurfaced in London (likely the French Blue, reshaped to hide its origin and improve symmetry/brilliance).
- 1812–1839: Owned briefly by various parties (possibly including King George IV of England); acquired by wealthy British banker and gem collector Henry Philip Hope around 1839, giving it the name "Hope Diamond."
- 1839–1901: Stayed in the Hope family collection; cataloged and displayed.
- 1901–1910: Sold multiple times to settle debts; passed through jewelers.
- 1911: Sold by Pierre Cartier to American heiress Evalyn Walsh McLean (Washington, D.C. socialite). She wore it prominently (often as a pendant on a necklace), despite the emerging curse legend (which Cartier may have embellished to intrigue her). McLean owned it until her death in 1947; family tragedies fueled curse myths.
- 1949: Purchased by New York jeweler Harry Winston from McLean's estate.
- 1949–1958: Winston toured it worldwide in exhibitions (e.g., "Court of Jewels") to promote gems and charity.
- 1958: Donated to the Smithsonian Institution (mailed via U.S. Post for $2.44 insured for $1 million); became the centerpiece of the National Gem Collection.
- Post-1958: Displayed at the National Museum of Natural History, Washington, D.C. (Janet Annenberg Hooker Hall of Geology, Gems, and Minerals). It has left the museum rarely (e.g., Louvre exhibit in 1962). Setting updated over time (current "Embracing Hope" platinum necklace by Harry Winston, unveiled around 2010 for its anniversary).
A famous myth claims the diamond brings misfortune, death, or ruin to owners (linked to theft from a Hindu idol, owners' tragedies like Tavernier mauled by dogs, French royals guillotined, McLean's family losses). Historians attribute it to sensationalism (e.g., Cartier's sales tactic) and coincidence; no evidence supports a real curse. Many owners lived long, prosperous lives.As of February 2026, the Hope Diamond remains on permanent public display at the Smithsonian's National Museum of Natural History in Washington, D.C., attracting millions of visitors annually. No changes in ownership or major events reported; it continues as a top gem attraction.
Compare the color of The Hope with fancy vivid blue.
The Hope Diamond (45.52 carats) is graded by the Gemological Institute of America (GIA) as Fancy Deep grayish blue. This places it in the "Fancy Deep" intensity category, with a noticeable gray secondary modifier (often described as "grayish" or "steely/inky" in appearance).
Fancy Vivid blue represents the highest level of color intensity on the GIA fancy colored diamond scale for blues. The GIA fancy color grading system evaluates hue, tone (lightness/darkness), and saturation (strength/purity of color). The main intensity grades range from Faint → Very Light → Light → Fancy Light → Fancy → Fancy Intense → Fancy Vivid (with separate categories like Fancy Deep and Fancy Dark for darker tones).
Key Color Comparison
Summary
The Hope Diamond's color is exceptionally deep and historically legendary, but it is not as vividly saturated as Fancy Vivid blue diamonds. The gray modifier and darker tone give it a more subdued, steely intensity, while Fancy Vivid blues exhibit peak purity, boldness, and vibrancy — making them rarer in terms of top-tier saturation (though the Hope wins on sheer size and fame). In market terms, Fancy Vivid blues often fetch higher per-carat values due to their superior color purity.
The Hope Diamond (45.52 carats) is graded by the Gemological Institute of America (GIA) as Fancy Deep grayish blue. This places it in the "Fancy Deep" intensity category, with a noticeable gray secondary modifier (often described as "grayish" or "steely/inky" in appearance).
Fancy Vivid blue represents the highest level of color intensity on the GIA fancy colored diamond scale for blues. The GIA fancy color grading system evaluates hue, tone (lightness/darkness), and saturation (strength/purity of color). The main intensity grades range from Faint → Very Light → Light → Fancy Light → Fancy → Fancy Intense → Fancy Vivid (with separate categories like Fancy Deep and Fancy Dark for darker tones).
Key Color Comparison
- Hope Diamond (Fancy Deep grayish blue):
- Tone: Darker (deeper/more shadowed appearance).
- Saturation: High but moderated by the gray modifier, which reduces pure blue purity and adds a "steely," "inky," or slightly masked quality (appearing almost blackish-blue under certain lighting like incandescent).
- Overall appearance: Intense and dramatic deep blue with a grayish undertone; the gray makes it less "pure" or vibrant in saturation compared to top vivid examples. Blue diamonds naturally tend toward grayish modifiers, and the Hope's color is iconic but not the most saturated possible.
- It is one of the largest and most famous blues, but its gray component and deeper tone place it below the vivid threshold.
- Fancy Vivid blue (the top grade):
- Tone: Typically medium to dark (optimal for blues, avoiding overly pale or overly masked dark tones).
- Saturation: Extremely high — the purest, boldest, and most vibrant blue possible, with minimal to no grayish masking; the color appears exceptionally rich, electric, and "vivid" (bold and lively).
- Overall appearance: Brighter, more saturated, and purer blue hue without heavy gray dilution. Fancy Vivid is rarer and more desirable in the market for its unmatched intensity and "pop" — often commanding the highest prices per carat among blue diamonds.
- Examples include major auction stones like the Oppenheimer Blue (14.62 ct Fancy Vivid Blue, sold for ~$57.5 million), De Beers Blue (15.10 ct Fancy Vivid Blue), Blue Moon of Josephine (12.03 ct Fancy Vivid Blue), and others — these are smaller than the Hope but achieve superior saturation and purity.
Summary
The Hope Diamond's color is exceptionally deep and historically legendary, but it is not as vividly saturated as Fancy Vivid blue diamonds. The gray modifier and darker tone give it a more subdued, steely intensity, while Fancy Vivid blues exhibit peak purity, boldness, and vibrancy — making them rarer in terms of top-tier saturation (though the Hope wins on sheer size and fame). In market terms, Fancy Vivid blues often fetch higher per-carat values due to their superior color purity.
1664 The Wittelsbacher (later Wittelsbach-Graff)
2008 SOLD for £ 16.4M by Christie's
The Wittelsbacher is a diamond in an extremely rare color, an exceptional size and a royal provenance dating back to more than three centuries ago. This historic piece is contemporary with the Koh-I-Noor.
This Indian greyish-blue diamond weighing 35.56 carat of VS2 clarity is chosen in 1664 by King Philip IV of Spain to enter the dowry of his daughter, the Infanta Margarita Teresa. The princess is well known for being in 1656 the main character of the Meninas of Velazquez. So this diamond is a contemporary of the royal glory of the Koh-I-Noor, the Regent and the Orlov. Entered in the Bavarian royal family by a marriage in 1722, it was then known as Blaue Wittelsbacher.
It was sold by Christie's in 1931 with the crown jewelry of Bavaria, and for £ 16.4M on December 10, 2008, lot 212. It has been purchased at the latter sale by Graff Diamonds. Its image before being recut by Graff is shared by Wikimedia :
This Indian greyish-blue diamond weighing 35.56 carat of VS2 clarity is chosen in 1664 by King Philip IV of Spain to enter the dowry of his daughter, the Infanta Margarita Teresa. The princess is well known for being in 1656 the main character of the Meninas of Velazquez. So this diamond is a contemporary of the royal glory of the Koh-I-Noor, the Regent and the Orlov. Entered in the Bavarian royal family by a marriage in 1722, it was then known as Blaue Wittelsbacher.
It was sold by Christie's in 1931 with the crown jewelry of Bavaria, and for £ 16.4M on December 10, 2008, lot 212. It has been purchased at the latter sale by Graff Diamonds. Its image before being recut by Graff is shared by Wikimedia :
The Wittelsbach-Graff Diamond is one of the world's most famous and historically significant blue diamonds, renowned for its deep color, rarity as a Type IIb diamond, and a provenance spanning over 400 years from Indian mines to European royalty, private collections, and modern controversy.
Origins and Early History (Mid-1600s–1664)
The diamond was mined in the mid-1600s from the legendary Kollur Mine in the Golconda region (Guntur district, Andhra Pradesh, India), the same source as other historic gems like the Hope Diamond. It was likely discovered during the Golconda Sultanate era, with early ownership possibly linked to the Nawabs of Punjab. The rough crystal was cut into a 35.56-carat fancy deep grayish-blue diamond (VS2 clarity, Type IIb), with an unusual 82-facet pattern (including vertically split star facets on the crown and needle-like pavilion facets), measuring about 24.4 mm in diameter and 8.29 mm in depth.
Its earliest documented record dates to 1664, when it entered the collection of King Philip IV of Spain (though some accounts of it as part of his daughter Infanta Margaret Teresa's dowry to Emperor Leopold I of Austria in her 1666 marriage are considered apocryphal or unproven, due to lost Spanish archives during the 1936–1939 Civil War).
Habsburg and Transition to Wittelsbach Ownership (Late 1600s–1722)
After passing through Habsburg hands (including to Empress Eleonore Magdalena and then Archduchess Maria Amalia), the diamond entered the House of Wittelsbach in 1722 when Maria Amalia married Bavarian Crown Prince Charles Albert (later Holy Roman Emperor Charles VII). It is depicted as the centerpiece in her hair ornament in a 1722 bridal portrait by Frans van Stampart.It became a key piece of the Bavarian Crown Jewels, set in various royal regalia:
Disappearance, Resurfacing, and Private Ownership (1931–2008)
In 1931, amid the Great Depression and Bavaria's republican status, the Wittelsbach family consigned it (with other crown jewels) to Christie's London for auction to support the deposed royals. Bids reached only £5,400 (below reserve), and in a mysterious incident, the diamond vanished before the sale—replaced by a worthless piece of blue cut glass. It disappeared from view for decades.
It resurfaced in Belgium around 1951. In 1958, it was anonymously displayed at the Brussels World Expo. In 1962, Belgian diamond expert Joseph Komkommer identified it, refused to recut it due to its historical value, and helped a group of dealers/investors acquire it to preserve it. From 1964, it stayed in private hands, including reportedly gifted by Helmut Horten to his wife Heidi.
The original Wittelsbach Diamond (pre-recut) is highlighting a deep grayish-blue hue and historic faceting.
2008 Auction and Recutting (2008–2010)
On December 10, 2008, Christie's sold the 35.56-carat Wittelsbach Diamond in London to jeweler Laurence Graff for £16.4 million (about US$24.3 million), a then-record for any diamond at auction.Graff recut it in secret (by three cutters) to remove girdle damage, chips, and flaws, reducing it by over 4.5 carats to 31.06 carats. The result: upgraded to fancy deep blue (intensified color, no grayish modifier) and internally flawless clarity (from VS2/VS1), in a modern antique oval stellar brilliant cut.
Renamed the Wittelsbach-Graff Diamond, this sparked major controversy—critics (including gem historians and cutters) decried it as destroying centuries of history and cultural heritage, likening it to vandalizing a Rembrandt or Leonardo da Vinci work. Graff defended it as enhancing beauty and perfection without sin.
The recut Wittelsbach-Graff Diamond is hoghlighting a deeper blue tone, flawless clarity, and brilliant modern faceting.
Later Ownership and Displays (2010–Present)
In 2010, Graff displayed it publicly (first time in over 50 years) at the Smithsonian's National Museum of Natural History alongside the Hope Diamond (January–September 2010), allowing GIA analysis confirming shared Indian origins and similar traits but not the same rough stone.Graff sold it privately in 2011 to Sheikh Hamad bin Khalifa Al Thani (former Emir of Qatar) for an estimated US$80 million or more.
As of recent records, it remains in private ownership (likely with the Qatari royal family), valued highly as one of the finest blue diamonds known. It has not been publicly auctioned or displayed since the 2010 Smithsonian exhibit.This storied gem bridges ancient mining, royal intrigue, mystery, and modern gem ethics—its journey reflecting both preservation and transformation of historical treasures.
Origins and Early History (Mid-1600s–1664)
The diamond was mined in the mid-1600s from the legendary Kollur Mine in the Golconda region (Guntur district, Andhra Pradesh, India), the same source as other historic gems like the Hope Diamond. It was likely discovered during the Golconda Sultanate era, with early ownership possibly linked to the Nawabs of Punjab. The rough crystal was cut into a 35.56-carat fancy deep grayish-blue diamond (VS2 clarity, Type IIb), with an unusual 82-facet pattern (including vertically split star facets on the crown and needle-like pavilion facets), measuring about 24.4 mm in diameter and 8.29 mm in depth.
Its earliest documented record dates to 1664, when it entered the collection of King Philip IV of Spain (though some accounts of it as part of his daughter Infanta Margaret Teresa's dowry to Emperor Leopold I of Austria in her 1666 marriage are considered apocryphal or unproven, due to lost Spanish archives during the 1936–1939 Civil War).
Habsburg and Transition to Wittelsbach Ownership (Late 1600s–1722)
After passing through Habsburg hands (including to Empress Eleonore Magdalena and then Archduchess Maria Amalia), the diamond entered the House of Wittelsbach in 1722 when Maria Amalia married Bavarian Crown Prince Charles Albert (later Holy Roman Emperor Charles VII). It is depicted as the centerpiece in her hair ornament in a 1722 bridal portrait by Frans van Stampart.It became a key piece of the Bavarian Crown Jewels, set in various royal regalia:
- In 1745, mounted on the Bavarian Elector's Order of the Golden Fleece.
- In 1806, placed prominently beneath the cross on the royal crown commissioned by Maximilian IV Joseph, Bavaria's first king.
- Featured in portraits, such as King Ludwig I's coronation robes (1826 painting by Joseph Stieler).
Disappearance, Resurfacing, and Private Ownership (1931–2008)
In 1931, amid the Great Depression and Bavaria's republican status, the Wittelsbach family consigned it (with other crown jewels) to Christie's London for auction to support the deposed royals. Bids reached only £5,400 (below reserve), and in a mysterious incident, the diamond vanished before the sale—replaced by a worthless piece of blue cut glass. It disappeared from view for decades.
It resurfaced in Belgium around 1951. In 1958, it was anonymously displayed at the Brussels World Expo. In 1962, Belgian diamond expert Joseph Komkommer identified it, refused to recut it due to its historical value, and helped a group of dealers/investors acquire it to preserve it. From 1964, it stayed in private hands, including reportedly gifted by Helmut Horten to his wife Heidi.
The original Wittelsbach Diamond (pre-recut) is highlighting a deep grayish-blue hue and historic faceting.
2008 Auction and Recutting (2008–2010)
On December 10, 2008, Christie's sold the 35.56-carat Wittelsbach Diamond in London to jeweler Laurence Graff for £16.4 million (about US$24.3 million), a then-record for any diamond at auction.Graff recut it in secret (by three cutters) to remove girdle damage, chips, and flaws, reducing it by over 4.5 carats to 31.06 carats. The result: upgraded to fancy deep blue (intensified color, no grayish modifier) and internally flawless clarity (from VS2/VS1), in a modern antique oval stellar brilliant cut.
Renamed the Wittelsbach-Graff Diamond, this sparked major controversy—critics (including gem historians and cutters) decried it as destroying centuries of history and cultural heritage, likening it to vandalizing a Rembrandt or Leonardo da Vinci work. Graff defended it as enhancing beauty and perfection without sin.
The recut Wittelsbach-Graff Diamond is hoghlighting a deeper blue tone, flawless clarity, and brilliant modern faceting.
Later Ownership and Displays (2010–Present)
In 2010, Graff displayed it publicly (first time in over 50 years) at the Smithsonian's National Museum of Natural History alongside the Hope Diamond (January–September 2010), allowing GIA analysis confirming shared Indian origins and similar traits but not the same rough stone.Graff sold it privately in 2011 to Sheikh Hamad bin Khalifa Al Thani (former Emir of Qatar) for an estimated US$80 million or more.
As of recent records, it remains in private ownership (likely with the Qatari royal family), valued highly as one of the finest blue diamonds known. It has not been publicly auctioned or displayed since the 2010 Smithsonian exhibit.This storied gem bridges ancient mining, royal intrigue, mystery, and modern gem ethics—its journey reflecting both preservation and transformation of historical treasures.
The Hope Diamond (45.52 carats) and the Wittelsbach-Graff Diamond (31.06 carats post-recut) are two of the most celebrated natural blue diamonds, both originating from India's legendary Kollur Mine (Golconda region) and classified as rare Type IIb (boron-impurities causing the blue color). They share similarities in deep blue hue and red phosphorescence under UV light, but their colors differ notably in purity and modifiers, per GIA grading.
The Hope Diamond is showing a characteristic deep, slightly grayish blue.The Wittelsbach-Graff Diamond is displaying a purer deep blue.
Color Grades (GIA)
The Hope Diamond's color is iconic and deeply blue but tempered by a grayish modifier, resulting in a more "steely" or subdued intensity. The Wittelsbach-Graff's post-recut color is purer and more saturated — a cleaner, richer deep blue — which is why the recut improved its grade from matching the Hope's to a superior Fancy Deep blue. This makes the Wittelsbach-Graff arguably more desirable in modern gemological terms for color purity, though the Hope's larger size and legendary status keep it unmatched in fame. Both remain extraordinary Type IIb blue diamonds from the same historic source.
The Hope Diamond is showing a characteristic deep, slightly grayish blue.The Wittelsbach-Graff Diamond is displaying a purer deep blue.
Color Grades (GIA)
- Hope Diamond: Fancy Deep grayish blue (also described in some reports as Fancy Dark grayish blue).
- Tone: Deep/dark (strong depth of color).
- Hue: Primarily blue, with a distinct grayish secondary modifier.
- Saturation: High but moderated/reduced by the gray component, giving a "steely," "inky," or slightly masked appearance (less pure/vibrant blue; often looks more shadowed or metallic under certain lights).
- Wittelsbach-Graff Diamond (after 2010 recut by Laurence Graff): Fancy Deep blue.
- Tone: Deep (similar depth to the Hope).
- Hue: Pure blue (no significant gray modifier reported post-recut).
- Saturation: Higher and purer than the Hope's — the recut enhanced color by removing impurities/chips around the girdle and optimizing proportions, shifting from the original Fancy Deep grayish blue (pre-recut, matching the Hope's grade) to a cleaner, more desirable Fancy Deep blue.
- Both are in the Fancy Deep intensity category (deep tone with strong color strength), making them dramatically blue and rare.
- The main difference is the gray modifier in the Hope, which dilutes saturation slightly and adds a "steely" or "grayish" undertone — the Hope appears more subdued, metallic, or less vividly blue compared to purer examples.
- The Wittelsbach-Graff, post-recut, has a purer, more saturated blue without the gray masking — often described as having greater "pop," richness, and intensity in the blue hue.
- In direct visual comparisons (e.g., side-by-side studies by GIA), the Wittelsbach-Graff's blue is noted as slightly less "steely" and more vividly saturated than the Hope's, despite similar overall depth.
- Neither reaches Fancy Vivid blue (the absolute top saturation level for blues, rarer still and even bolder/brighter); both stay in Fancy Deep, but the Wittelsbach-Graff edges closer to peak purity within that category.
The Hope Diamond's color is iconic and deeply blue but tempered by a grayish modifier, resulting in a more "steely" or subdued intensity. The Wittelsbach-Graff's post-recut color is purer and more saturated — a cleaner, richer deep blue — which is why the recut improved its grade from matching the Hope's to a superior Fancy Deep blue. This makes the Wittelsbach-Graff arguably more desirable in modern gemological terms for color purity, though the Hope's larger size and legendary status keep it unmatched in fame. Both remain extraordinary Type IIb blue diamonds from the same historic source.
> 1770 Pearl Pendant of Queen Marie-Antoinette
2018 SOLD for CHF 36.4M by Sotheby's
For her marriage to the future King Louis XVI, Marie-Antoinette received an impressive quantity of diamonds, rubies and pearls from her mother, the Empress Marie Therese, and from her husband's grandfather, King Louis XV. She loved jewelry and kept improving her collection.
During early phase of the Revolution, Marie-Antoinette who is still the Queen plans to flee to Austria. In January 1791, helped by her chambermaid, she prepares a cassette with her favorite jewelry. The jewels reach Vienna but the king and queen are arrested in Varennes in June 1791.
In 1795 Madame Royale, the only survivor of the children of the royal couple, is freed from the revolutionary prisons and goes into exile in Vienna. The emperor Franz II returns the jewels to her while keeping the rubies in compensation for a pension granted to the princess. In Madame Royale's legacy in 1851, one third of the jewelry is attributed to her niece Louise, Duchess of Parma.
Around 1930 Marie-Anne of Austria, wife of the acting Duke of Parma, describes in an inventory four jewels in pearls and diamonds of which she attests that they come from Marie-Antoinette. These pieces, which had never been published or exhibited, were included in the auction of the royal jewelry from the Bourbon-Parma collection by Sotheby's on November 14, 2018.
Lot 97, a three-row pearl necklace with a diamond clasp, was sold for CHF 2.3M. The next two lots, a necklace and a pair of earrings, were sold for CHF 450K each.
Lot 100 was a 15.90 x 18.35 x 25.85mm drop shaped pearl assembled in a pendant with a large diamond clasp and a bow of small diamonds. This interesting souvenir of a queen who had desired to live in the utmost luxury was sold for CHF 36.4M from a lower estimate of CHF 1M.
The jewel in question is an exceptional 18th-century natural pearl and diamond pendant, featuring a slightly baroque drop-shaped natural saltwater pearl measuring approximately 15.90 x 18.35 x 25.85mm, suspended from a diamond bow motif, with an oval diamond surmount that originally served as a clasp. The pearl exhibits a slightly cream body color with rosé and green overtones, good skin, and luster, while the central cushion-shaped diamond weighs about 3.40 carats, accompanied by other bright and lively diamonds. It was part of a larger parure, including a three-strand natural pearl necklace (totaling 161 pearls) and matching earrings, from which the pendant could be detached and worn separately. The piece shows signs of age-appropriate wear, such as tarnish, but remains in very good condition, weighing approximately 13 grams.
Origins and Acquisition by Marie Antoinette (Pre-1770s to 1791)
The pendant dates to the 18th century and was part of the extensive jewelry collection of Marie Antoinette, Queen of France (1755-1793), likely acquired during her time as Dauphine or Queen, possibly as a gift or purchase from royal jewelers. Natural pearls of this size and quality were exceedingly rare, sourced primarily from the Persian Gulf or other oceanic regions before overharvesting depleted supplies. Marie Antoinette was known for her opulent taste in jewels, and this pendant was worn as part of her three-strand pearl necklace, as depicted in portraits from before the French Revolution.
During the French Revolution (1791-1793)
In February 1791, amid escalating turmoil, Marie Antoinette packed her most valuable jewels, including this pendant and the accompanying parure, into a wooden chest hidden in a mezzanine cabinet at the Tuileries Palace in Paris. As the royal family attempted to escape (the failed Flight to Varennes), the jewels were smuggled out of France by a loyal confidant, possibly her hairdresser or valet, first to Brussels under the protection of her sister, Archduchess Maria Christina, Governor of the Austrian Netherlands. From there, they were forwarded to Vienna via Count Mercy-Argenteau, the Austrian ambassador, and placed in the safekeeping of her nephew, Emperor Francis II of the Holy Roman Empire. Marie Antoinette was arrested in 1791 and executed by guillotine on October 16, 1793, never seeing her jewels again.
Inheritance by Marie-Thérèse de France (1795-1851)
After Marie Antoinette's death, the jewels were released in 1795 to her only surviving child, Marie-Thérèse-Charlotte de France (1778-1851), known as Madame Royale, who had been imprisoned in the Temple Tower but was exchanged for French prisoners and exiled to Vienna. Marie-Thérèse, who later became Duchess of Angoulême and Comtesse de Marnes upon marrying her cousin Louis Antoine, Duke of Angoulême, kept the pendant as part of her mother's legacy. Having no children, she treated it as a family heirloom.
Transfer to the Bourbon-Parma Family (1851 Onward)
Upon Marie-Thérèse's death in 1851, she bequeathed a portion of her jewelry collection, including the pearl parure and pendant, to her adoptive niece and goddaughter, Louise Marie Thérèse d'Artois (1819-1864), daughter of Charles Ferdinand, Duke of Berry. Louise, who married Ferdinand Charles III, Duke of Parma in 1845, became Duchess of Parma and integrated the jewels into the Bourbon-Parma family holdings. She is depicted wearing the pendant in a 1849 painting by Prosper Raffi, alongside her children. After Charles III's assassination in 1854, Louise served as regent for their son, Robert I, Duke of Parma (1848-1907). The pendant remained in the Bourbon-Parma family, passing through generations of descendants. Robert I had 24 children from two marriages, and the jewels were likely inherited by branches including Prince Elias of Bourbon-Parma (1880-1959), son of Robert I, and subsequent heirs such as Archduchess Maria Anna of Austria (1882-1940), who married Prince Elias and inventoried the parure. The exact path through all descendants is not fully public, but it stayed within the family for over 200 years, preserved in its original fitted case and documented in family inventories as directly from Marie Antoinette.
The 2018 Auction and Beyond
In 2018, a descendant of the Bourbon-Parma family consigned the pendant to Sotheby's Geneva as Lot 100 in the "Royal Jewels from the Bourbon Parma Family" auction on November 14. Estimated at CHF 1-2 million, it sold for a record-breaking CHF 36,427,000 (approximately $36.8 million USD), shattering the previous auction record for a natural pearl by more than 20 times and becoming the most expensive pearl ever sold. The buyer remains anonymous, and no public information is available on its location or ownership since the sale.
This pendant's history encapsulates royal opulence, revolutionary drama, and enduring family legacy, making it one of the most significant jewels to survive from the French monarchy.
During early phase of the Revolution, Marie-Antoinette who is still the Queen plans to flee to Austria. In January 1791, helped by her chambermaid, she prepares a cassette with her favorite jewelry. The jewels reach Vienna but the king and queen are arrested in Varennes in June 1791.
In 1795 Madame Royale, the only survivor of the children of the royal couple, is freed from the revolutionary prisons and goes into exile in Vienna. The emperor Franz II returns the jewels to her while keeping the rubies in compensation for a pension granted to the princess. In Madame Royale's legacy in 1851, one third of the jewelry is attributed to her niece Louise, Duchess of Parma.
Around 1930 Marie-Anne of Austria, wife of the acting Duke of Parma, describes in an inventory four jewels in pearls and diamonds of which she attests that they come from Marie-Antoinette. These pieces, which had never been published or exhibited, were included in the auction of the royal jewelry from the Bourbon-Parma collection by Sotheby's on November 14, 2018.
Lot 97, a three-row pearl necklace with a diamond clasp, was sold for CHF 2.3M. The next two lots, a necklace and a pair of earrings, were sold for CHF 450K each.
Lot 100 was a 15.90 x 18.35 x 25.85mm drop shaped pearl assembled in a pendant with a large diamond clasp and a bow of small diamonds. This interesting souvenir of a queen who had desired to live in the utmost luxury was sold for CHF 36.4M from a lower estimate of CHF 1M.
- Featuring a 17.39-carat drop-shaped natural pearl suspended from a diamond bow, the pendant's provenance traces to the queen's collection, smuggled to safety during the French Revolution via a loyal valet.
- Natural pearls like this one, formed organically without human intervention, are exceptionally rare today due to overharvesting, driving collector demand and values far beyond cultured alternatives, as evidenced by peer-reviewed gemology studies on pearl scarcity.
The jewel in question is an exceptional 18th-century natural pearl and diamond pendant, featuring a slightly baroque drop-shaped natural saltwater pearl measuring approximately 15.90 x 18.35 x 25.85mm, suspended from a diamond bow motif, with an oval diamond surmount that originally served as a clasp. The pearl exhibits a slightly cream body color with rosé and green overtones, good skin, and luster, while the central cushion-shaped diamond weighs about 3.40 carats, accompanied by other bright and lively diamonds. It was part of a larger parure, including a three-strand natural pearl necklace (totaling 161 pearls) and matching earrings, from which the pendant could be detached and worn separately. The piece shows signs of age-appropriate wear, such as tarnish, but remains in very good condition, weighing approximately 13 grams.
Origins and Acquisition by Marie Antoinette (Pre-1770s to 1791)
The pendant dates to the 18th century and was part of the extensive jewelry collection of Marie Antoinette, Queen of France (1755-1793), likely acquired during her time as Dauphine or Queen, possibly as a gift or purchase from royal jewelers. Natural pearls of this size and quality were exceedingly rare, sourced primarily from the Persian Gulf or other oceanic regions before overharvesting depleted supplies. Marie Antoinette was known for her opulent taste in jewels, and this pendant was worn as part of her three-strand pearl necklace, as depicted in portraits from before the French Revolution.
During the French Revolution (1791-1793)
In February 1791, amid escalating turmoil, Marie Antoinette packed her most valuable jewels, including this pendant and the accompanying parure, into a wooden chest hidden in a mezzanine cabinet at the Tuileries Palace in Paris. As the royal family attempted to escape (the failed Flight to Varennes), the jewels were smuggled out of France by a loyal confidant, possibly her hairdresser or valet, first to Brussels under the protection of her sister, Archduchess Maria Christina, Governor of the Austrian Netherlands. From there, they were forwarded to Vienna via Count Mercy-Argenteau, the Austrian ambassador, and placed in the safekeeping of her nephew, Emperor Francis II of the Holy Roman Empire. Marie Antoinette was arrested in 1791 and executed by guillotine on October 16, 1793, never seeing her jewels again.
Inheritance by Marie-Thérèse de France (1795-1851)
After Marie Antoinette's death, the jewels were released in 1795 to her only surviving child, Marie-Thérèse-Charlotte de France (1778-1851), known as Madame Royale, who had been imprisoned in the Temple Tower but was exchanged for French prisoners and exiled to Vienna. Marie-Thérèse, who later became Duchess of Angoulême and Comtesse de Marnes upon marrying her cousin Louis Antoine, Duke of Angoulême, kept the pendant as part of her mother's legacy. Having no children, she treated it as a family heirloom.
Transfer to the Bourbon-Parma Family (1851 Onward)
Upon Marie-Thérèse's death in 1851, she bequeathed a portion of her jewelry collection, including the pearl parure and pendant, to her adoptive niece and goddaughter, Louise Marie Thérèse d'Artois (1819-1864), daughter of Charles Ferdinand, Duke of Berry. Louise, who married Ferdinand Charles III, Duke of Parma in 1845, became Duchess of Parma and integrated the jewels into the Bourbon-Parma family holdings. She is depicted wearing the pendant in a 1849 painting by Prosper Raffi, alongside her children. After Charles III's assassination in 1854, Louise served as regent for their son, Robert I, Duke of Parma (1848-1907). The pendant remained in the Bourbon-Parma family, passing through generations of descendants. Robert I had 24 children from two marriages, and the jewels were likely inherited by branches including Prince Elias of Bourbon-Parma (1880-1959), son of Robert I, and subsequent heirs such as Archduchess Maria Anna of Austria (1882-1940), who married Prince Elias and inventoried the parure. The exact path through all descendants is not fully public, but it stayed within the family for over 200 years, preserved in its original fitted case and documented in family inventories as directly from Marie Antoinette.
The 2018 Auction and Beyond
In 2018, a descendant of the Bourbon-Parma family consigned the pendant to Sotheby's Geneva as Lot 100 in the "Royal Jewels from the Bourbon Parma Family" auction on November 14. Estimated at CHF 1-2 million, it sold for a record-breaking CHF 36,427,000 (approximately $36.8 million USD), shattering the previous auction record for a natural pearl by more than 20 times and becoming the most expensive pearl ever sold. The buyer remains anonymous, and no public information is available on its location or ownership since the sale.
This pendant's history encapsulates royal opulence, revolutionary drama, and enduring family legacy, making it one of the most significant jewels to survive from the French monarchy.
Marie Antoinette’s pendant sets auction record for a natural pearl at @Sothebys in Geneva:https://t.co/1glDvfpi3w pic.twitter.com/5z2iNTmd8a
— AntiquesTradeGazette (@ATG_Editorial) November 15, 2018
Jadeite Necklace
ex Hutton-Mdivani
2014 SOLD for HK$ 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 a rough is lost. Keeping the homogeneity in a set of beads generated much waste, so that the necklaces of round beads are the most appreciated.
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.
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 a rough is lost. Keeping the homogeneity in a set of beads generated much waste, so that the necklaces of round beads are the most appreciated.
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.
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 $12.8 million estimate after a 20-minute bidding war involving six bidders. Purchased by the Cartier Collection, it set world records for any jadeite jewel and any Cartier jewel.
The Ethereal
2026 SOLD for HK$ 200M by Christie's
The Ethereal Jadeite Necklace (Christie's lot 1923, Magnificent Jewels auction, Hong Kong, May 26, 2026) is a standout piece: 61 graduated jadeite (fei cui) beads (13.7–8.8 mm), plus one jadeite cabochon (11.7 × 15.0 × 7.1 mm), set with round yellow diamonds in gold. Length ~74.1 cm, gross weight 157.7 g. It has a 2026 HK Jade & Stone Lab report confirming natural color Burma (Myanmar) jadeite without resin. Christie's calls it "The Ethereal Jadeite Necklace" and offers it with an estimate of HK$110–200 million (US$14–26 million). It is positioned as the most valuable jadeite jewel to hit the market in over a decade and the top jewel of the season. It realized HK $ 200M. The video is shared by Christie's.
Key Comparison Points with Top Historical Jadeite Auction Lots
Top jadeite prices are dominated by imperial green bead necklaces from Burmese material, prized for uniformity, translucency ("glassy" or "aqueous"), vivid emerald/imperial green color, and minimal treatment. Larger beads or exceptional provenance (e.g., Cartier, imperial links) drive premiums.
How the Ethereal Necklace Compares
The Ethereal Jadeite Necklace Grading Report (Christie's Hong Kong, May 2026)
Physical Specifications
Exceptional contemporary imperial green jadeite necklace emphasizing quantity, uniformity, glassy translucency, and natural treatment. It ranks among the elite due to bead count and quality but trades off larger individual bead size and historic provenance for volume and modern appeal. Christie's estimates HK$110–200 million, positioning it as the strongest jadeite offering in over a decade. Its success will hinge on how bidders weigh the superior bead count and translucency against the Hutton-Mdivani's larger, more majestic per-bead grandeur and legendary status. Direct viewing is essential for final connoisseur judgment of glow and color depth.
The Hutton-Mdivani and the Ethereal represent different ideals in jadeite: the Hutton-Mdivani excels in per-bead majesty and history, while the Ethereal shines in harmonious volume and glassy modernity. Both exemplify top-tier zhong shui and natural imperial green material.
Key Comparison Points with Top Historical Jadeite Auction Lots
Top jadeite prices are dominated by imperial green bead necklaces from Burmese material, prized for uniformity, translucency ("glassy" or "aqueous"), vivid emerald/imperial green color, and minimal treatment. Larger beads or exceptional provenance (e.g., Cartier, imperial links) drive premiums.
How the Ethereal Necklace Compares
- Bead count and graduation: Exceptional with 61 beads (plus cabochon) — significantly more than most record holders (typically 25–40 beads). This allows for a longer necklace (~74 cm) with fine graduation from larger central beads downward, a highly desirable trait requiring matched rough from the same boulder.
- Bead size: Smaller average size (max ~13.7 mm) vs. top lots like Hutton-Mdivani (up to 19+ mm) or the 2012 Tiancheng (up to 20+ mm). Larger, perfectly matched beads are rarer and more prestigious, but the high count here compensates with overall volume and harmony.
- Quality descriptors: Vivid green with "glassy translucency" (per reports/press). Natural, untreated Type A-equivalent. Matches the imperial green ideal but lacks the ultra-large bead scale or famous provenance of the absolute top tier.
- Mounting: Yellow diamond and gold elements (diamonds untested for natural color) — attractive but less iconic than Cartier ruby/diamond clasps on many record pieces.
- Estimate vs. history: The HK$110–200M pre-sale range positions it aggressively near or above several #2–#5 lots and as a serious challenger to the Hutton-Mdivani record (adjusted for inflation/market growth in jadeite). Christie's highlights it as their strongest jadeite offering in years, reflecting strong recent demand for top imperial green material.
The Ethereal Jadeite Necklace Grading Report (Christie's Hong Kong, May 2026)
Physical Specifications
- 61 graduated jadeite (fei cui) beads, approx. 13.7 mm to 8.8 mm.
- One jadeite cabochon (11.7 × 15.0 × 7.1 mm).
- Set with round yellow diamonds in gold.
- Length ~74.1 cm. Gross weight 157.7 g.
- HK Jade & Stone Lab 2026 report: Burma (Myanmar) origin, natural color, without resin (Type A equivalent). Yellow diamonds untested for natural color.
- Natural color, no resin (confirmed Type A-equivalent). Highest natural category.
- Vivid green, described as high-quality vivid green. Positioned as imperial green category by Christie's marketing, though specific hue saturation details emphasize "vivid" over "intense emerald." Evenness appears strong based on auction descriptions.
- Glassy translucency. Strong light penetration and internal glow, a key selling point. High shui quality.
- Remarkable/fine texture supporting the glassy appearance. High luster implied by "glassy" descriptor. Excellent zhong shui overall, though finer details (e.g., exact crystal size) are not as extensively published as for the Hutton-Mdivani.
- Presumably clean with minimal visible inclusions (standard for auction-top lots; no major issues reported).
- Craftsmanship: Exceptionally high bead count (61 + cabochon) with fine graduation and perfect matching — a major achievement requiring substantial matched rough. Longer necklace format.
- Size/Volume: Smaller average bead size than Hutton-Mdivani but far higher quantity and total volume, creating harmonious flow.
- Mounting/Provenance: Modern yellow diamond/gold setting (attractive but less iconic than Cartier ruby/diamond). No ancient/imperial provenance mentioned.
Exceptional contemporary imperial green jadeite necklace emphasizing quantity, uniformity, glassy translucency, and natural treatment. It ranks among the elite due to bead count and quality but trades off larger individual bead size and historic provenance for volume and modern appeal. Christie's estimates HK$110–200 million, positioning it as the strongest jadeite offering in over a decade. Its success will hinge on how bidders weigh the superior bead count and translucency against the Hutton-Mdivani's larger, more majestic per-bead grandeur and legendary status. Direct viewing is essential for final connoisseur judgment of glow and color depth.
The Hutton-Mdivani and the Ethereal represent different ideals in jadeite: the Hutton-Mdivani excels in per-bead majesty and history, while the Ethereal shines in harmonious volume and glassy modernity. Both exemplify top-tier zhong shui and natural imperial green material.
The Graff Vivid Yellow
2014 SOLD for CHF 14.5M by Sotheby's
Yellow diamond : compare the Graff Vivid yellow vs the Lady Dalal (previously Sun Drop)
Both are exceptional Fancy Vivid Yellow diamonds, with the Lady Dalal (Sun Drop) holding the size advantage and the Graff Vivid Yellow achieving a higher auction record.
Key Specifications
Shape: The Graff's cushion modified brilliant cut typically offers superior fire, scintillation, and brilliance due to its facet pattern. The Lady Dalal's pear shape provides a more elongated, elegant silhouette that can appear larger visually.
Color Intensity: Both are graded Fancy Vivid Yellow, representing the highest saturation level with rich, vibrant golden-yellow hues caused by nitrogen impurities.
Clarity: The Graff has a documented VS2 clarity. The Lady Dalal is described as having exceptional clarity for its size and color grade (top-tier, though not always specified exactly in auction notes).
Cut and Brilliance: The Graff excels in light performance and sparkle from its modified brilliant cut. The Lady Dalal is noted for its strong saturation and commanding presence.
Provenance and History:
Other Factors
Both are exceptional Fancy Vivid Yellow diamonds, with the Lady Dalal (Sun Drop) holding the size advantage and the Graff Vivid Yellow achieving a higher auction record.
Key Specifications
- Graff Vivid Yellow (Sotheby's Geneva, 13 May 2014, Lot 507):
- Weight: 100.09 carats
- Shape: Cushion modified brilliant
- Color: Fancy Vivid Yellow (GIA)
- Clarity: VS2
- Rough: Reportedly purchased by Graff as a ~190-carat rough in South Africa (exact discovery date not publicly detailed in major sources; cut and polished by Graff).
- Setting: Ring by Graff (detachable as pendant) with diamond shoulders
- Auction result: The Graff Vivid Yellow was sold for CHF 14.5M worth US $ 13.3M at that time by Sotheby's on May 13, 2014, lot 507.
- Its clarity is only VS2, but it is highlighted by a rare daffodil shade which creates a sensational brilliance. The shoulders are embellished with brilliant-cut diamonds. It is signed by Graff.
- Weight: 110.03 carats
- Shape: Pear-shaped
- Color: Fancy Vivid Yellow (GIA)
- Clarity: Very high (top-tier for its size and color; GIA monograph available)
- Rough: Discovered in South Africa in 2010 (exact rough weight and date within the year not specified in primary sources; cut by Cora International).
- Setting: Mounted in yellow gold as a ring for presentation
- Auction result: It was sold for CHF 11.3M worth US $ 12.4M at that time by Sotheby's on November 15, 2011, lot 506. It was named the Sun Drop diamond before the sale and the Lady Dalal afterwards. Previous record for a yellow diamond.
Shape: The Graff's cushion modified brilliant cut typically offers superior fire, scintillation, and brilliance due to its facet pattern. The Lady Dalal's pear shape provides a more elongated, elegant silhouette that can appear larger visually.
Color Intensity: Both are graded Fancy Vivid Yellow, representing the highest saturation level with rich, vibrant golden-yellow hues caused by nitrogen impurities.
Clarity: The Graff has a documented VS2 clarity. The Lady Dalal is described as having exceptional clarity for its size and color grade (top-tier, though not always specified exactly in auction notes).
Cut and Brilliance: The Graff excels in light performance and sparkle from its modified brilliant cut. The Lady Dalal is noted for its strong saturation and commanding presence.
Provenance and History:
- The Lady Dalal has a well-documented recent discovery in 2010 in South Africa, exhibition at the Natural History Museum in London, and a detailed GIA monograph. It was renamed after its buyer.
- The Graff Vivid Yellow is listed in the reference book Famous Diamonds and benefits from Graff's renowned cutting and branding. Its rough origin ties back to South Africa but lacks the same "fresh discovery" narrative.
Other Factors
- Rarity: Both are ultra-rare; Fancy Vivid Yellows over 100 carats are exceptional due to the difficulties in finding and cutting large rough with intense color and high clarity.
- Appearance: Viewers often note the Graff's intense sparkle versus the Lady Dalal's graceful pear form and deep color saturation.
- Market Impact: The Lady Dalal set the benchmark in 2011; the Graff surpassed it in 2014, confirming the premium for top vivid yellows in the collector market.
1926 The Blue Belle of Asia
2014 SOLD for CHF 17M by Christie's
The Blue Belle is a cushion mounted sapphire of unheated Ceylon provenance assembled with diamonds in a necklace. It was sold by Christie's for CHF 17M on November 11, 2014, lot 348 and for $ 11.3M on June 17, 2025, lot 140.
Asking Grok its history :
Grok thought :
Discovery and Early History
The Blue Belle of Asia is a legendary 392.52-carat, cushion-modified mixed-cut blue sapphire, renowned for its vivid cornflower blue hue (often described as "peacock blue"), exceptional clarity, and untreated status—no evidence of heat or clarity enhancement. It ranks as the fourth-largest faceted blue sapphire in the world, following the Blue Giant of the Orient (486.52 ct), the Queen of Romania's Sapphire (478.68 ct), and the Logan Sapphire (423 ct).
The sapphire was discovered in 1926 in the alluvial gem gravels of Pelmadula, Ratnapura—the "City of Gems"—in Ceylon (modern-day Sri Lanka), a premier source for high-quality blue sapphires. It was acquired shortly after by the esteemed Colombo-based firm O.L.M. Macan Markar & Co., founded in 1860, which catered to elite clientele including British royals like King Edward VII and King George V. Markar prized the stone for its "highly prized peacock blue color and excellent clarity." Between 1926 and 1928, it was cut and polished to its current form, weighing approximately 400 carats initially before final refinement to 392.52 carats.
Ownership by Lord Nuffield and Royal Connections
In 1937, the sapphire was sold to William Richard Morris, 1st Viscount Nuffield (1877–1963), the British automotive magnate and founder of Morris Motors (later part of British Leyland). A noted philanthropist who donated over £32 million to charities by his death, Nuffield's motives for the purchase remain enigmatic. Rumors persisted that he intended to gift the gem to Queen Elizabeth (later the Queen Mother) for her coronation on May 12, 1937, as a symbol of imperial grandeur. However, the presentation never occurred, and the sapphire "disappeared" into private hands, its whereabouts unknown for the next 35 years.
During the 1970s, Swiss gem dealer Theodor Horovitz examined the stone, documenting its shape, weight, and quality in detailed notes and sketches—valuable records that later authenticated its provenance. Beyond this, its path remained shrouded in secrecy, circulating among private collectors without public trace.
Record-Breaking Auction at Christie's Geneva (2014)
The Blue Belle of Asia resurfaced dramatically in 2014, mounted as the centerpiece of a spectacular 44.4 cm (17½ in.) sapphire and diamond necklace in 18k white gold. The design featured the massive sapphire suspended from a brilliant-cut diamond tassel pendant with oval-shaped diamond terminals, connected to a diamond neckchain (gross weight: 234.5 grams). Accompanied by gemmological reports from Gübelin (2014, no heating indications) and SSEF (2014, Ceylon origin, unheated), it was offered as Lot 348 at Christie's Geneva "Magnificent Jewels" sale on November 11, 2014 (internal reference 5844924).
Estimated at CHF 6,650,000–9,500,000 (approx. $6.9–9.9 million), bidding escalated fiercely among over 600 participants from 30 countries. It sold to an anonymous private collector in the room for CHF 16,965,000 (approx. $17.3 million, or $44,063 per carat), shattering the world auction record for any sapphire—more than double its high estimate. Rahul Kadakia, Christie's International Head of Jewelry, declared: "The private collector, seated in this room, is now the new owner of the most valuable sapphire in the world." The sale contributed to the auction's record total of $150.2 million, the highest ever for a jewelry sale at the time. The necklace was reportedly consigned from the estate of a prominent Saudi collector.
Reappearance and Upcoming Auction at Christie's New York (2025)
After a decade in private ownership, the necklace—now simply titled "The Blue Belle"—returns to auction as Lot 140 at Christie's New York "Magnificent Jewels" sale on June 17, 2025 (internal reference 6539534). It carries an updated estimate of $8–12 million, reflecting market dynamics while underscoring its enduring prestige. The lot includes a fresh AGL report (2025, no. 1147856: Classic Ceylon, unheated and unenhanced), reaffirming its authenticity. This reoffering marks a rare opportunity, as gems of this caliber seldom reemerge so soon, highlighting the sapphire's status as a benchmark for rarity and investment value.
Key Milestone
Discovery 1926 Mined in Ratnapura, Ceylon (Sri Lanka)
Acquisition & Cutting 1926–1928 Sold to O.L.M. Macan Markar & Co.; cut to ~400 ct
Sale to Lord Nuffield 1937Purchased by British motor magnate; rumored royal gift
Private Circulation 1937–1970sDisappeared into private hands; examined by Theodor Horovitz
Christie's Geneva (Lot 348, Ref. 5844924) Nov 11, 2014 Record sapphire auction; diamond necklace setting$17.3 million (est. $6.9–9.9M)
Christie's New York (Lot 140, Ref. 6539534) Jun 17, 2025 Reoffered after 10+ yearsEst. $8–12 million
Full text of the tweet :
The most expensive sapphire in the world is the #Blue Belle of #Asia, a stunning 392.52-carat #Ceylon sapphire. It was sold at a @ChristiesInc #auction in 2014 for $17.3 million, making it the most expensive sapphire ever sold. This sapphire, originally discovered in Sri Lanka in 1926, is famous for its deep blue color, exceptional clarity, and cushion cut. It was set in a diamond necklace and remains one of the most legendary gemstones in history. Other notable expensive sapphires include the #Rockefeller #Sapphire, a 62.02-carat #Burmese sapphire, which sold for $3 million, and the Star of Adam, a 1,404-carat star sapphire valued at over $100 million, though it has not been sold at auction.
@diamtrader
Asking Grok its history :
Grok thought :
Discovery and Early History
The Blue Belle of Asia is a legendary 392.52-carat, cushion-modified mixed-cut blue sapphire, renowned for its vivid cornflower blue hue (often described as "peacock blue"), exceptional clarity, and untreated status—no evidence of heat or clarity enhancement. It ranks as the fourth-largest faceted blue sapphire in the world, following the Blue Giant of the Orient (486.52 ct), the Queen of Romania's Sapphire (478.68 ct), and the Logan Sapphire (423 ct).
The sapphire was discovered in 1926 in the alluvial gem gravels of Pelmadula, Ratnapura—the "City of Gems"—in Ceylon (modern-day Sri Lanka), a premier source for high-quality blue sapphires. It was acquired shortly after by the esteemed Colombo-based firm O.L.M. Macan Markar & Co., founded in 1860, which catered to elite clientele including British royals like King Edward VII and King George V. Markar prized the stone for its "highly prized peacock blue color and excellent clarity." Between 1926 and 1928, it was cut and polished to its current form, weighing approximately 400 carats initially before final refinement to 392.52 carats.
Ownership by Lord Nuffield and Royal Connections
In 1937, the sapphire was sold to William Richard Morris, 1st Viscount Nuffield (1877–1963), the British automotive magnate and founder of Morris Motors (later part of British Leyland). A noted philanthropist who donated over £32 million to charities by his death, Nuffield's motives for the purchase remain enigmatic. Rumors persisted that he intended to gift the gem to Queen Elizabeth (later the Queen Mother) for her coronation on May 12, 1937, as a symbol of imperial grandeur. However, the presentation never occurred, and the sapphire "disappeared" into private hands, its whereabouts unknown for the next 35 years.
During the 1970s, Swiss gem dealer Theodor Horovitz examined the stone, documenting its shape, weight, and quality in detailed notes and sketches—valuable records that later authenticated its provenance. Beyond this, its path remained shrouded in secrecy, circulating among private collectors without public trace.
Record-Breaking Auction at Christie's Geneva (2014)
The Blue Belle of Asia resurfaced dramatically in 2014, mounted as the centerpiece of a spectacular 44.4 cm (17½ in.) sapphire and diamond necklace in 18k white gold. The design featured the massive sapphire suspended from a brilliant-cut diamond tassel pendant with oval-shaped diamond terminals, connected to a diamond neckchain (gross weight: 234.5 grams). Accompanied by gemmological reports from Gübelin (2014, no heating indications) and SSEF (2014, Ceylon origin, unheated), it was offered as Lot 348 at Christie's Geneva "Magnificent Jewels" sale on November 11, 2014 (internal reference 5844924).
Estimated at CHF 6,650,000–9,500,000 (approx. $6.9–9.9 million), bidding escalated fiercely among over 600 participants from 30 countries. It sold to an anonymous private collector in the room for CHF 16,965,000 (approx. $17.3 million, or $44,063 per carat), shattering the world auction record for any sapphire—more than double its high estimate. Rahul Kadakia, Christie's International Head of Jewelry, declared: "The private collector, seated in this room, is now the new owner of the most valuable sapphire in the world." The sale contributed to the auction's record total of $150.2 million, the highest ever for a jewelry sale at the time. The necklace was reportedly consigned from the estate of a prominent Saudi collector.
Reappearance and Upcoming Auction at Christie's New York (2025)
After a decade in private ownership, the necklace—now simply titled "The Blue Belle"—returns to auction as Lot 140 at Christie's New York "Magnificent Jewels" sale on June 17, 2025 (internal reference 6539534). It carries an updated estimate of $8–12 million, reflecting market dynamics while underscoring its enduring prestige. The lot includes a fresh AGL report (2025, no. 1147856: Classic Ceylon, unheated and unenhanced), reaffirming its authenticity. This reoffering marks a rare opportunity, as gems of this caliber seldom reemerge so soon, highlighting the sapphire's status as a benchmark for rarity and investment value.
Key Milestone
Discovery 1926 Mined in Ratnapura, Ceylon (Sri Lanka)
Acquisition & Cutting 1926–1928 Sold to O.L.M. Macan Markar & Co.; cut to ~400 ct
Sale to Lord Nuffield 1937Purchased by British motor magnate; rumored royal gift
Private Circulation 1937–1970sDisappeared into private hands; examined by Theodor Horovitz
Christie's Geneva (Lot 348, Ref. 5844924) Nov 11, 2014 Record sapphire auction; diamond necklace setting$17.3 million (est. $6.9–9.9M)
Christie's New York (Lot 140, Ref. 6539534) Jun 17, 2025 Reoffered after 10+ yearsEst. $8–12 million
Full text of the tweet :
The most expensive sapphire in the world is the #Blue Belle of #Asia, a stunning 392.52-carat #Ceylon sapphire. It was sold at a @ChristiesInc #auction in 2014 for $17.3 million, making it the most expensive sapphire ever sold. This sapphire, originally discovered in Sri Lanka in 1926, is famous for its deep blue color, exceptional clarity, and cushion cut. It was set in a diamond necklace and remains one of the most legendary gemstones in history. Other notable expensive sapphires include the #Rockefeller #Sapphire, a 62.02-carat #Burmese sapphire, which sold for $3 million, and the Star of Adam, a 1,404-carat star sapphire valued at over $100 million, though it has not been sold at auction.
@diamtrader
The most expensive sapphire in the world is the #Blue Belle of #Asia, a stunning 392.52-carat #Ceylon sapphire. It was sold at a @ChristiesInc #auction in 2014 for $17.3 million, making it the most expensive sapphire ever sold.
— Diamtrader (@diamtrader) February 19, 2025
This sapphire, originally discovered in Sri Lanka… pic.twitter.com/5F2r762V3D
Ruby
Intro
Explain pigeon's blood color
"Pigeon's blood" is a prestigious term in gemology used to describe the most coveted color in high-quality rubies, referring to a vivid, intense red hue that evokes the fresh arterial blood of a pigeon, as historically noted in trade descriptions. The phrase originated in ancient Burmese ruby mining regions, where locals compared the finest stones' color to the bright red blood from a freshly killed pigeon, symbolizing purity and vibrancy without brownish or orangish overtones. This color is prized for its rarity and is often associated with unheated rubies from classic sources like Myanmar's Mogok Valley, though exceptional examples from Mozambique and other locales can also qualify.
Gemologically, pigeon's blood rubies exhibit a rich, saturated red primary hue with high chroma (intensity) and a balanced tone—neither too light nor overly dark—to allow optimal light transmission and brilliance. Subtle secondary undertones are key: typically a slight bluish or purplish cast that enhances depth without dominating, distinguishing it from other ruby shades like "cherry red" (brighter, more orangish) or "raspberry red" (pinkish). A hallmark is strong red fluorescence under long-wave ultraviolet light, creating a soft, glowing effect that amplifies the color's allure, often described as an inner "fire" or silkiness due to fine rutile inclusions. The color must appear homogeneous and eye-clean, with no visible zoning or inclusions detracting from its purity.
Certification standards vary slightly among labs, but major ones like the Swiss Gemmological Institute (SSEF), Gübelin, and GemResearch Swisslab (GRS) define it rigorously. For instance, SSEF requires a carmine to rose-red with violet play, emphasizing vividness and fluorescence, while GRS specifies high intensity, low tone, and absence of brown/orange modifiers. The Gemological Institute of America (GIA) describes it as red to slightly purplish/pinkish red with glowing fluorescence. Guild Gem Lab uses terms like "Vivid Red*" to denote pigeon's blood quality. Only a tiny fraction of rubies—often less than 1%—meet these criteria, making them exponentially more valuable, with prices per carat soaring for larger, unheated specimens.
In the market, this color commands premiums because it represents the apex of ruby aesthetics, blending historical romance with scientific precision. For example, iconic gems like the Sunrise Ruby and Estrela de Fura are certified as pigeon's blood, underscoring their record-breaking auction values.
"Pigeon's blood" is a prestigious term in gemology used to describe the most coveted color in high-quality rubies, referring to a vivid, intense red hue that evokes the fresh arterial blood of a pigeon, as historically noted in trade descriptions. The phrase originated in ancient Burmese ruby mining regions, where locals compared the finest stones' color to the bright red blood from a freshly killed pigeon, symbolizing purity and vibrancy without brownish or orangish overtones. This color is prized for its rarity and is often associated with unheated rubies from classic sources like Myanmar's Mogok Valley, though exceptional examples from Mozambique and other locales can also qualify.
Gemologically, pigeon's blood rubies exhibit a rich, saturated red primary hue with high chroma (intensity) and a balanced tone—neither too light nor overly dark—to allow optimal light transmission and brilliance. Subtle secondary undertones are key: typically a slight bluish or purplish cast that enhances depth without dominating, distinguishing it from other ruby shades like "cherry red" (brighter, more orangish) or "raspberry red" (pinkish). A hallmark is strong red fluorescence under long-wave ultraviolet light, creating a soft, glowing effect that amplifies the color's allure, often described as an inner "fire" or silkiness due to fine rutile inclusions. The color must appear homogeneous and eye-clean, with no visible zoning or inclusions detracting from its purity.
Certification standards vary slightly among labs, but major ones like the Swiss Gemmological Institute (SSEF), Gübelin, and GemResearch Swisslab (GRS) define it rigorously. For instance, SSEF requires a carmine to rose-red with violet play, emphasizing vividness and fluorescence, while GRS specifies high intensity, low tone, and absence of brown/orange modifiers. The Gemological Institute of America (GIA) describes it as red to slightly purplish/pinkish red with glowing fluorescence. Guild Gem Lab uses terms like "Vivid Red*" to denote pigeon's blood quality. Only a tiny fraction of rubies—often less than 1%—meet these criteria, making them exponentially more valuable, with prices per carat soaring for larger, unheated specimens.
In the market, this color commands premiums because it represents the apex of ruby aesthetics, blending historical romance with scientific precision. For example, iconic gems like the Sunrise Ruby and Estrela de Fura are certified as pigeon's blood, underscoring their record-breaking auction values.
1
2022 Estrela de Fura
2023 SOLD for $ 35M by Sotheby's
Fura Gems, a company established in Dubai in 2017, unearthed in July 2022 in one of their mines in Mozambique the largest ever gem-quality ruby rough, weighing 101 carats. Its vivid red is comparable with the Burmese pigeon's blood rubies.
Cut and polished from that gem in 2023 in Bangkok by a master gem cutter under Fura's supervision, Estrela de Fura 55.22 is a cushion ruby weighing 55.22 carats, with a beautifully saturated vivid red color. Its fine and homogeneous clarity is unprecedented in unheated rubies of similar size. Its fluorescence under ultraviolet light is exceptional for African rubies.
Set as a ring, it was sold for $ 35M by Sotheby's on June 8, 2023, lot 59. Please watch the short and long videos shared by the auction house.
Tell more about that ruby.
The Estrela de Fura, often hailed as a groundbreaking gem in the world of rubies, represents a milestone in gem mining and auction history due to its size, quality, and origin. Discovered on July 21, 2022, in the Jamwai East Pit within Fura Gems' Montepuez ruby mine in Cabo Delgado province, Mozambique, the rough stone weighed an impressive 101 carats—making it one of the largest gem-quality ruby roughs ever found. This discovery came from deposits in the Mozambique Belt, a geological formation dating back about 550 million years, where tectonic processes in the ancient supercontinent Gondwana created conditions for ruby formation at depths of around 30 km, under extreme temperatures (up to 600°C) and pressures (11,000 bar). The stone's journey involved erosion and river transport over millions of years before it was exposed.
Fura Gems, founded in Dubai in 2017 by Dev Shetty with a focus on ethical mining of colored gemstones across continents (including rubies, emeralds, and sapphires), holds 11 ruby licenses in Montepuez covering over 58,000 hectares. The company unveiled the rough ruby on September 4, 2022, at the Dubai Diamond Exchange, where experts like Daniel Nyfeler of Gübelin Gem Lab praised its vivid red hue, relative lack of visible inclusions, and potential to become one of the finest large faceted rubies ever.
The cutting process was meticulous and collaborative. In January 2023, Fura consulted international experts, including French gem firm Garaude SAS and 3D engineers from Bellerophon Gemlab, to simulate and optimize the cut for maximum color, transparency, light return, and weight retention. Master cutter Chirapat Yingthawiphiphat from Garaude handled the polishing in Bangkok over seven steps, removing a small mica inclusion and achieving a classic cushion shape while retaining over 50% of the rough's weight (far above the typical 30% for colored gems). The final gem, weighing 55.22 carats, was revealed by Sotheby's in Hong Kong on April 5, 2023, followed by a global tour through Taipei, Singapore, Geneva, and Dubai. Gemologically, the Estrela de Fura stands out for its vivid "pigeon's blood" red color—caused by chromium and confirmed via photoluminescence and spectroscopy—combined with exceptional fluorescence (rare in African rubies due to typically higher iron content, but lower in Fura's deposits). It shows homogeneous saturation, fine clarity without eye-visible inclusions (unprecedented for unheated rubies of this size), and a "fluorescent red afterglow." Multiple prestigious labs certified it as natural, unheated, and of Mozambican origin:
The sale has had a ripple effect on the gem market, boosting Mozambique's reputation as a source of high-quality rubies and increasing demand. Dealers note that unheated Mozambican rubies, often undervalued at one-tenth the price of similar Burmese ones, could see 20-30% price hikes, especially with the U.S. ban on Burmese imports shifting consumer preferences. It has also encouraged acceptance of Mozambican stones among elite buyers previously fixated on Burmese origins, though supply tightness could further drive values up if no comparable large rubies emerge. In interviews, Dev Shetty emphasized the ruby's role in elevating ethical, traceable gem sourcing and Mozambique's rapid rise in the ruby world. Overall, the Estrela de Fura isn't just a gem—it's a symbol of modern gemology blending ancient geology with cutting-edge analysis and market innovation.
Cut and polished from that gem in 2023 in Bangkok by a master gem cutter under Fura's supervision, Estrela de Fura 55.22 is a cushion ruby weighing 55.22 carats, with a beautifully saturated vivid red color. Its fine and homogeneous clarity is unprecedented in unheated rubies of similar size. Its fluorescence under ultraviolet light is exceptional for African rubies.
Set as a ring, it was sold for $ 35M by Sotheby's on June 8, 2023, lot 59. Please watch the short and long videos shared by the auction house.
Tell more about that ruby.
The Estrela de Fura, often hailed as a groundbreaking gem in the world of rubies, represents a milestone in gem mining and auction history due to its size, quality, and origin. Discovered on July 21, 2022, in the Jamwai East Pit within Fura Gems' Montepuez ruby mine in Cabo Delgado province, Mozambique, the rough stone weighed an impressive 101 carats—making it one of the largest gem-quality ruby roughs ever found. This discovery came from deposits in the Mozambique Belt, a geological formation dating back about 550 million years, where tectonic processes in the ancient supercontinent Gondwana created conditions for ruby formation at depths of around 30 km, under extreme temperatures (up to 600°C) and pressures (11,000 bar). The stone's journey involved erosion and river transport over millions of years before it was exposed.
Fura Gems, founded in Dubai in 2017 by Dev Shetty with a focus on ethical mining of colored gemstones across continents (including rubies, emeralds, and sapphires), holds 11 ruby licenses in Montepuez covering over 58,000 hectares. The company unveiled the rough ruby on September 4, 2022, at the Dubai Diamond Exchange, where experts like Daniel Nyfeler of Gübelin Gem Lab praised its vivid red hue, relative lack of visible inclusions, and potential to become one of the finest large faceted rubies ever.
The cutting process was meticulous and collaborative. In January 2023, Fura consulted international experts, including French gem firm Garaude SAS and 3D engineers from Bellerophon Gemlab, to simulate and optimize the cut for maximum color, transparency, light return, and weight retention. Master cutter Chirapat Yingthawiphiphat from Garaude handled the polishing in Bangkok over seven steps, removing a small mica inclusion and achieving a classic cushion shape while retaining over 50% of the rough's weight (far above the typical 30% for colored gems). The final gem, weighing 55.22 carats, was revealed by Sotheby's in Hong Kong on April 5, 2023, followed by a global tour through Taipei, Singapore, Geneva, and Dubai. Gemologically, the Estrela de Fura stands out for its vivid "pigeon's blood" red color—caused by chromium and confirmed via photoluminescence and spectroscopy—combined with exceptional fluorescence (rare in African rubies due to typically higher iron content, but lower in Fura's deposits). It shows homogeneous saturation, fine clarity without eye-visible inclusions (unprecedented for unheated rubies of this size), and a "fluorescent red afterglow." Multiple prestigious labs certified it as natural, unheated, and of Mozambican origin:
- American Gemological Laboratories (AGL): Classic Mozambique, no heat, "unequalled uniqueness."
- Swiss Gemmological Institute (SSEF): Saturated red, no heat, "fine purity."
- Gübelin Gem Lab: Homogeneous red, no heat, exceptional clarity.
- Gem Research Swisslab (GRS): "Pigeon's blood" with vibrant brilliancy, no heat.
- Bellerophon Gemlab: Vivid "pigeon blood," no heat, with detailed 3D inclusion mapping. These traits make it comparable to top Burmese rubies, though from a younger mining region (Mozambique's ruby boom started around 2009, versus Burma's centuries-long history).
The sale has had a ripple effect on the gem market, boosting Mozambique's reputation as a source of high-quality rubies and increasing demand. Dealers note that unheated Mozambican rubies, often undervalued at one-tenth the price of similar Burmese ones, could see 20-30% price hikes, especially with the U.S. ban on Burmese imports shifting consumer preferences. It has also encouraged acceptance of Mozambican stones among elite buyers previously fixated on Burmese origins, though supply tightness could further drive values up if no comparable large rubies emerge. In interviews, Dev Shetty emphasized the ruby's role in elevating ethical, traceable gem sourcing and Mozambique's rapid rise in the ruby world. Overall, the Estrela de Fura isn't just a gem—it's a symbol of modern gemology blending ancient geology with cutting-edge analysis and market innovation.
The largest and most valuable ruby to ever appear at auction comes to #SothebysNewYork: The Estrela de FURA 55.22.
— Sotheby's (@Sothebys) April 5, 2023
Carrying an estimate in excess of $30M, the ruby is set to break auction records and will appear in our Magnificent Jewels sale this June. pic.twitter.com/o4S9LJJVNn
2
The Sunrise
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, 2015Special Report
Burmese Ruby Mining History
The history of ruby mining in Burma (now Myanmar) spans millennia, centered primarily on the Mogok Valley in the Mandalay Region, often called the "Valley of Rubies" for its prolific output of high-quality gems. This region, part of the Mogok Stone Tract, has produced some of the world's finest rubies, prized for their vivid "pigeon's blood" color, and has been intertwined with legends, royal monopolies, colonial exploitation, and modern geopolitical challenges. Rubies from Myanmar account for a significant portion of the global supply, though production has fluctuated due to political instability and trade restrictions.
Prehistoric and Ancient Origins
Evidence suggests ruby mining in Myanmar dates back to prehistoric times, with Stone Age, Bronze Age, and Neolithic tools discovered in alluvial diggings and caves in the Mogok area, indicating human activity as early as the Middle Pleistocene (around 3000 BC or earlier). Early settlers, possibly Mongolian migrants, likely collected well-formed red spinel crystals (known locally as anyan-nat-thwe, or "spirit polished") from rivers and streams, mistaking them for or associating them with rubies. The karst topography, with its caves, lakes, and abundant game, provided ideal habitation, and gems were probably gathered incidentally during hunting or foraging.
Legends abound regarding the discovery of rubies. One popular tale from ancient times describes hunters shooting down a bird (or in some versions, a naga—a mythical serpent) that clutched a ruby in its talons, leading locals to scour the hillsides and find rubies scattered on the ground. Another myth from the first century AD involves a naga laying three eggs, one of which hatches into Pyusawti, a king whose dropped egg at Kyatpyin (near Mogok) produces rubies mixed with iron. These stories underscore the cultural reverence for rubies, which were seen as symbols of power, wealth, and even invulnerability—ancient Burmese warriors reportedly implanted rubies into their flesh to protect against harm in battle.
By the 6th century AD, historical records mention a Shan dynasty ruler near the ruby mines paying tribute in rubies, indicating organized extraction and trade with neighboring regions like India, China, and Southeast Asia. The gems reached ancient markets, and by the 1200s, Talaing chronicles referenced ruby sources in the area.
Medieval and Monarchical Era (15th–19th Centuries)
European explorers in the 15th and 16th centuries provided the first Western accounts of Burmese rubies. Italian traveler Nicolò di Conti visited Ava (near modern Mandalay) around 1419–1444 and noted the abundance of precious stones. Others, like Hieronimo di Santo Stefano (1495–1496), Duarte Barbosa (1500–1517), and Ralph Fitch (1586), described rubies "growing" in the hills of Capelam or Caplan (Kyatpyin), traded in Pegu (Bago), and sourced from areas six to 30 days' journey inland. In 1597, Burmese king Nuha-Thura Maha Dhama-Yaza forced the Momeik sawbwa (local ruler) to cede Mogok and Kyatpyin in exchange for another territory, consolidating royal control.
Under Burmese monarchs, ruby mines were a royal monopoly for centuries, with kings like Pindale (1648–1661) decreeing that crystals above a certain size and value belonged to the crown, punishable by death if concealed. King Bodawpaya (1782–1819) expanded boundaries to include Mogok and used war captives as penal laborers in the mines. The first eyewitness account by a Westerner came in 1833 from Italian Jesuit Père Giuseppe d'Amato, who described square wells dug 15–20 cubits deep, manual extraction, and duties paid in gems to local princes, with Chinese and Tartar merchants bartering for stones.
Despotic rule under kings like Mindon Min (1853–1878) and Thebaw (1878–1885) led to production declines, miner persecution, and depopulation, as heavy taxes and forced labor drove people away. Famous legends from this era include the Nga Mauk Ruby, a massive stone reportedly found by a miner who secretly sold half, leading to a royal massacre of his village when discovered. Mining methods remained artisanal: pit excavation, river panning, and twinlon (tunnels into hillsides), with gems found in alluvial deposits under marble boulders.
Colonial Period (Late 19th–Mid-20th Century)
Following the Anglo-Burmese Wars (1824–1826, 1852–1853, and 1885), Britain annexed Upper Burma in 1885, occupying Mogok in 1886 amid reports of royal massacres. The interim period was a "golden age" of free mining before regulations. In 1889, the British-formed Burma Ruby Mines Ltd. (backed by the Rothschilds) secured a lease for mechanized operations, introducing water cannons, washing plants, and drainage tunnels, though challenges like flooding and the advent of synthetic rubies led to its abandonment in 1931. Native miners reverted to traditional methods until 1947.
During World War II, Japanese occupation (1942–1945) halted organized mining, though small-scale efforts continued. Post-war, Mogok remained a gem hub, with visitors like gem dealer Martin Ehrmann (1955–1962) describing perilous jeep travels through insurgent areas, bargaining with locals in stilt huts, and a tight-knit community of 20,000 reliant on mining. The area, geographically in Burma but administratively in Shan State, featured a central lake formed from syndicate diggings.
Modern Era (Post-Independence to Present)
Myanmar gained independence in 1948, but a 1962 military coup under Ne Win led to isolation and a 1969 ban on private gem mining, nationalizing operations and revoking licenses. Smuggling boomed in the 1970s–1980s, with most output funneled to Bangkok. Economic liberalization in 1989 allowed joint ventures from 1990, though the government took a 51.4% share, and smuggling persisted. A major development was the 1991 discovery of rubies at Mong Hsu (also spelled Möng Hsu), a new deposit that quickly became a key source, though stones often required heat treatment due to fractures.
Modern mining blends traditional and mechanized techniques, including excavators, water cannons for blasting overburden, and operations in limestone caves, open trenches, tunnels, and alluvial fields. Infrastructure improved with the first paved road to Mandalay in 1990, reducing travel from two days to six hours. However, political instability, including 1988 riots, the 2021 coup, and ongoing conflicts, has disrupted the industry. U.S. sanctions (imposed in 2008, lifted in 2016, and partially reinstated) and ethical concerns have made Burmese rubies scarcer in Western markets, driving up prices and shifting trade to Thailand. Foreign access remains restricted, and some companies have ceased sourcing from Myanmar since 2018 to ensure conflict-free gems. Despite challenges, Mogok's 70-square-mile gem-bearing area continues to yield exceptional rubies, cementing Myanmar's legacy as the premier source for over 800 years.
Prehistoric and Ancient Origins
Evidence suggests ruby mining in Myanmar dates back to prehistoric times, with Stone Age, Bronze Age, and Neolithic tools discovered in alluvial diggings and caves in the Mogok area, indicating human activity as early as the Middle Pleistocene (around 3000 BC or earlier). Early settlers, possibly Mongolian migrants, likely collected well-formed red spinel crystals (known locally as anyan-nat-thwe, or "spirit polished") from rivers and streams, mistaking them for or associating them with rubies. The karst topography, with its caves, lakes, and abundant game, provided ideal habitation, and gems were probably gathered incidentally during hunting or foraging.
Legends abound regarding the discovery of rubies. One popular tale from ancient times describes hunters shooting down a bird (or in some versions, a naga—a mythical serpent) that clutched a ruby in its talons, leading locals to scour the hillsides and find rubies scattered on the ground. Another myth from the first century AD involves a naga laying three eggs, one of which hatches into Pyusawti, a king whose dropped egg at Kyatpyin (near Mogok) produces rubies mixed with iron. These stories underscore the cultural reverence for rubies, which were seen as symbols of power, wealth, and even invulnerability—ancient Burmese warriors reportedly implanted rubies into their flesh to protect against harm in battle.
By the 6th century AD, historical records mention a Shan dynasty ruler near the ruby mines paying tribute in rubies, indicating organized extraction and trade with neighboring regions like India, China, and Southeast Asia. The gems reached ancient markets, and by the 1200s, Talaing chronicles referenced ruby sources in the area.
Medieval and Monarchical Era (15th–19th Centuries)
European explorers in the 15th and 16th centuries provided the first Western accounts of Burmese rubies. Italian traveler Nicolò di Conti visited Ava (near modern Mandalay) around 1419–1444 and noted the abundance of precious stones. Others, like Hieronimo di Santo Stefano (1495–1496), Duarte Barbosa (1500–1517), and Ralph Fitch (1586), described rubies "growing" in the hills of Capelam or Caplan (Kyatpyin), traded in Pegu (Bago), and sourced from areas six to 30 days' journey inland. In 1597, Burmese king Nuha-Thura Maha Dhama-Yaza forced the Momeik sawbwa (local ruler) to cede Mogok and Kyatpyin in exchange for another territory, consolidating royal control.
Under Burmese monarchs, ruby mines were a royal monopoly for centuries, with kings like Pindale (1648–1661) decreeing that crystals above a certain size and value belonged to the crown, punishable by death if concealed. King Bodawpaya (1782–1819) expanded boundaries to include Mogok and used war captives as penal laborers in the mines. The first eyewitness account by a Westerner came in 1833 from Italian Jesuit Père Giuseppe d'Amato, who described square wells dug 15–20 cubits deep, manual extraction, and duties paid in gems to local princes, with Chinese and Tartar merchants bartering for stones.
Despotic rule under kings like Mindon Min (1853–1878) and Thebaw (1878–1885) led to production declines, miner persecution, and depopulation, as heavy taxes and forced labor drove people away. Famous legends from this era include the Nga Mauk Ruby, a massive stone reportedly found by a miner who secretly sold half, leading to a royal massacre of his village when discovered. Mining methods remained artisanal: pit excavation, river panning, and twinlon (tunnels into hillsides), with gems found in alluvial deposits under marble boulders.
Colonial Period (Late 19th–Mid-20th Century)
Following the Anglo-Burmese Wars (1824–1826, 1852–1853, and 1885), Britain annexed Upper Burma in 1885, occupying Mogok in 1886 amid reports of royal massacres. The interim period was a "golden age" of free mining before regulations. In 1889, the British-formed Burma Ruby Mines Ltd. (backed by the Rothschilds) secured a lease for mechanized operations, introducing water cannons, washing plants, and drainage tunnels, though challenges like flooding and the advent of synthetic rubies led to its abandonment in 1931. Native miners reverted to traditional methods until 1947.
During World War II, Japanese occupation (1942–1945) halted organized mining, though small-scale efforts continued. Post-war, Mogok remained a gem hub, with visitors like gem dealer Martin Ehrmann (1955–1962) describing perilous jeep travels through insurgent areas, bargaining with locals in stilt huts, and a tight-knit community of 20,000 reliant on mining. The area, geographically in Burma but administratively in Shan State, featured a central lake formed from syndicate diggings.
Modern Era (Post-Independence to Present)
Myanmar gained independence in 1948, but a 1962 military coup under Ne Win led to isolation and a 1969 ban on private gem mining, nationalizing operations and revoking licenses. Smuggling boomed in the 1970s–1980s, with most output funneled to Bangkok. Economic liberalization in 1989 allowed joint ventures from 1990, though the government took a 51.4% share, and smuggling persisted. A major development was the 1991 discovery of rubies at Mong Hsu (also spelled Möng Hsu), a new deposit that quickly became a key source, though stones often required heat treatment due to fractures.
Modern mining blends traditional and mechanized techniques, including excavators, water cannons for blasting overburden, and operations in limestone caves, open trenches, tunnels, and alluvial fields. Infrastructure improved with the first paved road to Mandalay in 1990, reducing travel from two days to six hours. However, political instability, including 1988 riots, the 2021 coup, and ongoing conflicts, has disrupted the industry. U.S. sanctions (imposed in 2008, lifted in 2016, and partially reinstated) and ethical concerns have made Burmese rubies scarcer in Western markets, driving up prices and shifting trade to Thailand. Foreign access remains restricted, and some companies have ceased sourcing from Myanmar since 2018 to ensure conflict-free gems. Despite challenges, Mogok's 70-square-mile gem-bearing area continues to yield exceptional rubies, cementing Myanmar's legacy as the premier source for over 800 years.
3
The Crimson Flame
2015 SOLD for HK$ 142M by Christie's
The rubies extracted in the small valley of Mogok in northern Burma are second to none thanks to a significant content of chromium in the ground. Their pigeon blood color, a vivid and saturated red, is exclusive from that provenance. Their magnificent brightness reaches the fluorescence and the best gems have a perfect clarity within a high saturation.
The rubies of Mogok with the top quality reach $ 1M per carat. The cushion cut is the most prestigious.
On 12 November 12, 2014, Sotheby's sold the Graff Ruby for CHF 8.3M. This cushion cut ruby was considered exceptional by its weight, 8.62 carats.
The sale at Christie's on December 1, 2015 included three jewels with pigeon blood rubies.
The Crimson Flame was sold for HK $ 142M from a lower estimate of HK $ 78M, lot 2121. Also cushion cut, it weighs 15.04 carats. The Gübelin GemLab observed its high clarity and brilliance and the SSEF Swiss Gemological Institute stated that it can be considered an exceptional treasure. It is mounted on a ring in a pretty surrounding of cushion diamonds.
Lot 2120, sold for HK $ 55M, is a necklace by Faidee named The Mogok's Fiery Red. It consists of 32 rubies alternating with diamonds. The biggest of its rubies is weighing 5.05 carats.
Also signed by Faidee, a pair of ear pendants in rubies and diamonds was sold for HK $ 24M at lot 2119. Its rubies are weighing 5.08, 5.03, 2.51 and 2.49 carats.
Faidee is also the creator of the Red Emperor, sold for HK $ 77M by Sotheby's on April 7, 2014. This necklace of pigeon's blood rubies was assembled in 2013 amidst diamonds after being collected by a specialized company created in 1905. The utmost care had been taken in the homogeneity of the prestigious color.
An oval cut, when it is feasible, further accentuates the beauty of a ruby. The Jubilee Ruby weighing 15.99 carats is almost circular and has all the other characteristics of a perfect ruby. Mounted on a ring by Verdura within a circle of diamonds, it was sold for $ 14.2M by Christie's on April 20, 2016, lot 255. I invite you to admire the Jubilee Ruby in the video shared by Christie's. Its name is possibly by reference to the 250th anniversary of the auction house.
The rubies of Mogok with the top quality reach $ 1M per carat. The cushion cut is the most prestigious.
On 12 November 12, 2014, Sotheby's sold the Graff Ruby for CHF 8.3M. This cushion cut ruby was considered exceptional by its weight, 8.62 carats.
The sale at Christie's on December 1, 2015 included three jewels with pigeon blood rubies.
The Crimson Flame was sold for HK $ 142M from a lower estimate of HK $ 78M, lot 2121. Also cushion cut, it weighs 15.04 carats. The Gübelin GemLab observed its high clarity and brilliance and the SSEF Swiss Gemological Institute stated that it can be considered an exceptional treasure. It is mounted on a ring in a pretty surrounding of cushion diamonds.
Lot 2120, sold for HK $ 55M, is a necklace by Faidee named The Mogok's Fiery Red. It consists of 32 rubies alternating with diamonds. The biggest of its rubies is weighing 5.05 carats.
Also signed by Faidee, a pair of ear pendants in rubies and diamonds was sold for HK $ 24M at lot 2119. Its rubies are weighing 5.08, 5.03, 2.51 and 2.49 carats.
Faidee is also the creator of the Red Emperor, sold for HK $ 77M by Sotheby's on April 7, 2014. This necklace of pigeon's blood rubies was assembled in 2013 amidst diamonds after being collected by a specialized company created in 1905. The utmost care had been taken in the homogeneity of the prestigious color.
An oval cut, when it is feasible, further accentuates the beauty of a ruby. The Jubilee Ruby weighing 15.99 carats is almost circular and has all the other characteristics of a perfect ruby. Mounted on a ring by Verdura within a circle of diamonds, it was sold for $ 14.2M by Christie's on April 20, 2016, lot 255. I invite you to admire the Jubilee Ruby in the video shared by Christie's. Its name is possibly by reference to the 250th anniversary of the auction house.
Christie’s Hong Kong’s Fall Sales Total $340.7M: https://t.co/6d8mWicq8Q pic.twitter.com/Gzehx9b9rN
— ARTINFO HongKong (@ARTINFOHongKong) December 2, 2015The Orange
2013 SOLD for CHF 32.6M by Christie's
It is rare to have a wonder of nature, in a beautiful color, more than two times heavier than the largest other known diamond of same color and clarity : on November 12, 2013, Christie's sold a Fancy Vivid Orange diamond weighing 14.82 carats, VS1 clarity, pear shaped.
A wide range of colors of diamonds is possible in nature between yellow and pure orange. However pure orange is extremely rare, and it is certainly more striking than other mythical colors such as dark red. An old classification designated the Fancy Vivid Orange as the fire diamond.
All great diamonds have a name. It was not difficult to create it for this one. It has no competitors in its class. It is The Orange, simply. Here is the link to the catalog.
This exceptional diamond was sold for CHF 32.6M which is $ 2.4 million per carat, from a lower estimate of CHF 16M. Please watch the video shared by On Demand News.
A wide range of colors of diamonds is possible in nature between yellow and pure orange. However pure orange is extremely rare, and it is certainly more striking than other mythical colors such as dark red. An old classification designated the Fancy Vivid Orange as the fire diamond.
All great diamonds have a name. It was not difficult to create it for this one. It has no competitors in its class. It is The Orange, simply. Here is the link to the catalog.
This exceptional diamond was sold for CHF 32.6M which is $ 2.4 million per carat, from a lower estimate of CHF 16M. Please watch the video shared by On Demand News.
