The Most Beautiful Royal Jewels Ever Worn by Queens Princesses.

The Tiara of Princess Bagration is decorated with diamonds and spinels in pear, cushion, and round cuts, reflecting the refined craftsmanship of early 19th century European jewellery art. It formed part of an impressive perue that also included a necklace, earrings, and an ornamental comb. The magnificent set was created by the celebrated French jeweller Jean-Baptiste Fossin, whose works were admired among aristocratic circles of the era. The Tiara of Princess Von Pless features an elegant openwork design composed of intricate trefoil motifs that gradually increase in size toward the centre. The piece is richly decorated with stylised floral clusters and seven strawberry leaves, all lavishly set with cushion cut, round cut, and rose cut diamonds. Created in the 1890s, the Tiara reflects the refined aesthetics and delicate craftsmanship characteristic of late 19th century aristocratic jewellery. The jewel belonged to Mathilde von Pless, Countess von Hochberg, and Baroness zu Fürstenstein, Born-Berg-Ravine, and Countess von Dona Schlobitten. She became the second wife of Prince Hans Heinrich XI von Pless, and was regarded as one of the most distinguished noble women of her era. The topaz perue of Countess Castiglione consists of a necklace, earrings, bracelet, and ring, all adorned with richly coloured topazes set in gold. Dating to around 1830, the collection is a refined example of early 19th century jewellery, combining elegant proportions with the warm brilliance of topaz gemstones. The set belonged to Virginia Alduini, born Marcesa Alduini, and widely remembered as one of the most captivating and influential women of her time. The jewels were later inherited by Countess Martini Tugala, and remained in the possession of her descendants for many years. In 2000, the perue was displayed at an exhibition dedicated to Countess Castiglione, highlighting both her extraordinary life and her remarkable collection of jewellery. A decade later, in 2010, the set was sold at a Christie's auction for £32,450. The amethyst necklace of Countess Mantuffel is centred around three octagonal amethysts, framed by delicate openwork settings of cushion-cut and rose-cut diamonds. The gemstones are separated by ornate motifs shaped as intertwined serpents and leaves, creating a dramatic yet refined composition typical of early 19th century jewellery design. The necklace was presented in 1822 by Alexander I of Russia to Baroness Elizabeth Sophie von Löwenstein, born Countess von Mantuffel. The jewel later passed through several generations of her family, inherited first by her daughter Countess Sophie von Miedem, then by her granddaughter Countess Anna von Brey-Steinberg, followed by her great-grandson Count Wilhelm von Brey-Steinberg, and eventually by his daughter Ippolite Löbecker. In 2020, the historic necklace was sold for £40,320, drawing attention once again to its remarkable provenance and elegant craftsmanship. The sapphire tiara of Elizabeth II is distinguished by a remarkable central sapphire designed to imitate the shape of a diamond, complemented by smaller pear-shaped and cushion-cut sapphires framed with brilliant diamonds. The elegant composition combines royal grandeur with the restrained sophistication characteristic of mid-20th century court jewellery. The tiara was created from a necklace that had originally belonged to Princess Louise of Saxe-Coburg and Gotha, born Princess of Belgium, and produced in the second half of the 19th century. In 1963, the necklace was acquired by Queen Elizabeth II and later transformed into the celebrated tiara known today. The Queen first wore the piece publicly during a state visit to West Germany in 1965. Afterward, the tiara became one of her favoured sapphire jewels and appeared frequently throughout the 1990s, including during her historic visit to Russia. In the treasury of the Stockholm Palace is preserved the crown of Maria Eleonora of Brandenburg, one of the most important female royal regalia of Sweden. The crown was created in 1620 by the jeweller Ruprecht Miller specifically for the Queen of Sweden, the Goths, and the Wends, Maria Eleonora, born Princess of Brandenburg and wife of King Gustavus Adolphus. At that time, the King's mother, Dowager Queen Christina, still used the previous regalia, which led to the creation of a separate set of royal symbols for the new Queen, including a crown, sceptre, and orb. Maria Eleonora's crown is considered the heaviest piece in the royal treasury collection, weighing more than 2.5 kilograms. Crafted from gold, it is richly decorated with white diamonds, red rubies, and black enamel. The colour scheme carried deep dynastic symbolism. Gold and black represented the House of Vasa, the dynasty of Gustavus Adolphus, while red and white reflected the colours of the Brandenburg House from which Maria Eleonora originated. From its creation in 1620 until 1751, the crown was used exclusively during the coronations of Swedish queens. Between 1751 and 1818, it was also employed for male coronations, before returning once again to its role as a purely female royal regalia from 1818 onward. The tiara of Anna Fulcivici is designed as a delicate row of intricate openwork ribbons, shaped like hearts, each suspending stylized floral buds. Additional blossom motifs are placed between the hearts, creating a graceful and highly decorative composition entirely set with diamonds. The tiara was crafted in the early 20th century by the renowned jewelers Carrington, celebrated for their refined aristocratic creations and exceptional diamond work. The tiara of the Princess Zu Schwarzenberg is designed in the form of three spreading feathers, enriched with floral motifs and delicate wirework decoration. Each feather-shaped element can be detached and worn separately as a brooch, reflecting the versatility and technical sophistication prized in aristocratic jewelry of the early 20th century. The piece is set with round-cut and rose-cut diamonds, although one floral element is now missing. The tiara originally belonged to Therese Zu Schwarzenberg, 1870 to 1945, born Countess von und zu Trautmannsdorf Weinsberg and wife of Prince Johann II Nepomuk Zu Schwarzenberg. A photograph from 1907 is known to depict the Princess wearing a remarkably similar tiara, though with the detachable sections arranged more widely across the headpiece. The Liechtenstein diamond tiara is set with impressive large diamonds mounted in silver, reflecting the refined elegance and grandeur of early 19th century aristocratic jewelry. Created during the first half of the 1800s, the tiara embodies the luxurious style favoured by European noble houses of the period. The jewel was presented by Karl Franz of Liechtenstein to his wife, Princess Franziska, born Countess von Wöbner-Freudenthal. The tiara remained within the family for generations, although the exact descendant who inherited it is unknown. In 1982, the historic piece appeared at a Sotheby's auction, where it was sold for 300,000 Swiss francs, attracting considerable attention among collectors and jewelry historians alike. Today, the tiara is often mistakenly associated online with members of the House of Romanov, likely due to its distinctly imperial appearance and the grandeur characteristic of Russian court jewelry traditions. The pearl tiara of Baroness Inchiquin features an elegant diamond-set band adorned with cushion-cut and round-cut diamonds, crowned by pink diamonds that support a row of pear-shaped and oval pearls. Each pearl is further accented with delicate pink diamond details, creating a refined composition that combines softness, brilliance, and aristocratic sophistication. The tiara dates to the late 19th century, a period celebrated for its elaborate and highly decorative jewelry design. The jewel belonged to Ethel O'Brien, born Foster, and married to Lucius O'Brien, the 13th Baron Inchiquin. As a member of the British aristocracy, she was associated with the elegant social culture of the Victorian and Edwardian eras, where such magnificent tiaras served as both symbols of status and personal refinement. In 2023, the tiara was offered for sale at a Sotheby's auction, once again drawing attention to its remarkable craftsmanship and noble provenance. The combination of luminous pearls, rare pink diamonds, and graceful late 19th century design makes the piece an exceptional example of classic aristocratic jewelry elegance. The Castelduino Sapphire Necklace is designed as a chain of 11 elaborate clusters, each centred around an oval sapphire framed by diamonds and supporting a delicate diamond garland. The front of the necklace is enhanced with three detachable drops, each featuring a sapphire surrounded by diamonds, topped with diamond ribbon bows, and suspending additional sapphire and diamond pendants. A matching pair of earrings accompanies the set. The jewel was created around 1870 by the prestigious jewelry house Malerio, renowned for crafting pieces for European royalty and aristocracy. The necklace was acquired by Louis Deligne as a wedding gift for his daughter, Princess Maria Susanna, who married Prince Alexander von Thurn under taxes in 1906. Alexander would later become the first Duke of Castelduino in Italy. Their eldest son, Prince Raymond, later presented the necklace to his wife, Princess Eugenie of Greece and Denmark. Princess Eugenie famously wore the necklace during the coronation of Elizabeth II in 1953, where its exceptional brilliance attracted considerable admiration. She continued to wear the piece at numerous high society events throughout the following years. After her divorce from Prince Raymond in 1965, the necklace returned to the Ducal family and was eventually inherited by their only son, Prince Carlo Alessandro. In 2010, the historic jewel was offered at a Sotheby's auction, where it sold for 482,500 Swiss francs. The aquamarine necklace of Princess Victoria Louise is composed of large cabochon cut aquamarines set among brilliant cut diamonds in platinum mountings over a gold base. The creator of the piece remains unknown, though it is widely believed to have been produced within the workshops associated with Peter Carl Fabergé, known for their exceptional craftsmanship and imperial commissions. The necklace was presented as a wedding gift in 1913 by Nicholas II of Russia and Empress Alexandra Feodorovna to Princess Victoria Louise of Prussia, marking one of the most notable dynastic marriages of early 20th century Europe. The jewel first appeared on the market in 1996, and was later offered again in 2016 at the Italian auction house Il Ponte, where it was estimated at 55,000 to 85,000 euros. Its appearance on the market highlighted both its historical significance and the enduring appeal of imperial era jewelry. The necklace stands out for its striking contrast between cool aquamarines and the brilliance of diamonds, reflecting the refined aesthetic of late imperial European design and the opulence of royal gift traditions. The Portland Sapphire Tiara is composed of a series of 12 clusters, each centered on a cushion-cut sapphire surrounded by old cut diamonds. The design is enriched with an elaborate openwork structure featuring diamond-set motifs of garlands and shell-like forms, further accented by bud-shaped pearls, diamond bands on pear-shaped pearl finials, and sapphire highlights at the prong settings. The piece is mounted in a combination of gold and silver, reflecting the opulent yet technically sophisticated jewelry style of the late 19th century. The tiara was created around 1890 for William Cavendish Bentinck, 6th Duke of Portland, who commissioned it for his wife, Winifred Cavendish Bentinck, born Dallas, York. In its creation, several family jewels were dismantled and repurposed specifically to form this new and highly elaborate composition. The tiara was later gifted to the couple's daughter-in-law, Ivy Cavendish Bentinck, born Gordon Lennox, who is known to have been portrayed wearing the jewel in a formal portrait. It was subsequently inherited by their granddaughter, Lady Anne Cavendish Bentinck, who had no children. After her death, the tiara passed to her nephew, Don William Parente, 6th Prince of Castel Viscado. In 2010, the tiara was offered at Christie's, where it achieved a remarkable result of £763,650, reflecting both its historical provenance and exceptional craftsmanship. With its complex construction, layered symbolism, and aristocratic lineage, the Portland Sapphire Tiara remains one of the most sophisticated examples of late Victorian haute joaillerie. Princess Astrid of Sweden, later Queen of the Belgians, is often remembered as a figure who combined elegance, modern sensibility, and a strong sense of public duty. Her image in the Tiara of the Nine Provinces reflects both royal authority and a remarkable adaptability to changing times. The Tiara of the Nine Provinces was created by the jeweller Van Beever in platinum and diamonds. Its design was particularly innovative for its time, allowing the piece to be dismantled and reconfigured into bracelets, rings, necklaces, or brooches. This modular structure made the jewel not only a symbol of royal prestige, but also a reflection of the evolving aesthetics of the early 20th century. In portraits, Princess Astrid of Sweden appears wearing the Tiara as a statement of refined elegance and modern royal identity. Astrid's public image was closely tied to her warmth and accessibility, qualities that contributed significantly to her popularity. As the wife of Leopold III of Belgium, she became Queen of the Belgians and was widely admired for balancing her royal role with a genuine connection to her family and the public. Beyond her appearance and style, Astrid was also engaged in humanitarian and social causes. During a period of growing women's rights movements across Europe and the United States, she showed support for influential figures such as Marta Boel, reflecting a progressive outlook that resonated with broader societal change. Although her time as Queen was tragically brief, Astrid left a lasting legacy in Belgian history. Her portrayal in the Tiara of the Nine Provinces continues to symbolise a rare combination of grace, modernity, and sincere public devotion, securing her place as one of the most beloved royal figures of her era. The Pearl Tiara of Stéphanie de Beauharnais is composed of pearls and diamonds in an elegant arrangement that reflects the restrained opulence of early 19th century court jewellery. Created around 1830, the tiara was made for the Dowager Grand Duchess Stéphanie of Baden, born Stéphanie de Beauharnais, a member of the Beauharnais family adopted by Napoleon's circle. The tiara was later passed to her granddaughter Princess Carola of Varsa, who married King Albert I of Saxony. With no direct heirs, the jewel subsequently went to Princess Maria of Belgium, Countess of Flanders, born Princess of Hohenzollern. After her death, it was inherited by her granddaughter Marie-José of Belgium, who later married King Umberto II of Italy. Their daughter, Princess Maria Gabriella of Savoy, eventually consigned the tiara to where it was sold for £43,200. The piece was acquired by the Federal State of Baden-Württemberg and is now preserved in the Mannheim Palace Museum, where it remains part of the public historical collection. The tiara's journey through multiple European royal houses reflects not only its artistic value, but also the interconnected dynastic history of 19th and 20th century Europe, making it a remarkable witness to shifting royal alliances and heritage. The Amethyst Tiara of Baroness Hamilton is set with richly coloured amethysts, mounted in gilded silver, designed in a refined early 19th century style. The piece is notable for its versatility, as it can also be worn as a necklace. The set is completed by matching earrings and a bracelet, forming a cohesive perue that reflects the elegant practicality often found in aristocratic jewellery of the period. The tiara belonged to Margarita Ribbings, who inherited the jewels from her father, Axel Ribbings, an aide-de-camp to King Oscar II of Sweden. Her marriage remained without children, and after her death the collection passed to her cousin Eva Rader, Baroness Essen. In 2022, the jewels were sold at Stockholm's Auktionsverk for 7,534 euros, marking the final public appearance of the historic set. The tiara stands out for its understated elegance and functional design, embodying the Swedish aristocratic tradition where beauty and adaptability often went hand in hand. The set of six buttons is composed of richly detailed pieces, each set with a central garnet surrounded by several rose-cut diamonds. The gemstones are mounted in an elegant combination of platinum and gold, reflecting the refined craftsmanship of the early 20th century. The design is attributed to the workshops associated with Peter Carl Fabergé, active around 1900 and renowned for their exquisite imperial commissions and decorative objects. The buttons were presented as a gift from Maria Feodorovna to her brother, Crown Prince Frederick of Denmark, who later became King Frederick VIII. This exchange reflects the close dynastic and personal ties between European royal families at the turn of the century, often expressed through finely crafted personal adornments rather than large ceremonial jewels. In 2013, the set was sold at Brun Rasmussen Auctioneers for 250,000 Danish kroner, drawing attention from collectors of imperial and Fabergé-related works. Beyond their decorative function, the buttons represent a quieter but highly refined aspect of aristocratic jewellery culture, where even small accessories carried imperial provenance and exceptional artistic value.