A rare moment in the world of high jewelry electrified Christie’s London on Tuesday, when Fabergé’s 1913 Imperial Winter Egg achieved a staggering £22.9 million ($30.2 million) — setting a new world auction record for any Fabergé object. The dazzling result followed an intense three-minute bidding war that had collectors in the room and on the phones vying for one of the most celebrated Imperial Easter Eggs ever created.



Bidding opened at £17 million before vaulting upward in rapid increments. Multiple international bidders remained engaged as the price hit £19 million, prompting a brief but breathless pause. Then, a final flurry of competing bids culminated in a decisive £19.5 million offer from a collector seated in the saleroom. With the premium and fees, the price rose to £22.9 million. Christie’s confirmed that the successful buyer has elected to remain anonymous.

“This result sets a new world auction record for a work by Fabergé,” said Margo Oganesian, head of Christie’s Fabergé and Russian Works of Art. “It reaffirms the rarity, brilliance and enduring cultural significance of this masterpiece.”



The Imperial Winter Egg is widely regarded as Fabergé’s most artistically original creation. Commissioned by Tsar Nicholas II as an Easter gift for his mother, Dowager Empress Maria Feodorovna, the 1913 piece channels the ethereal fragility of a Russian winter.

Its design was conceived by Alma Theresia Pihl, one of the only female designers to work in Fabergé’s St. Petersburg workshops — and today recognized as one of the firm’s most innovative artists. Only 25 at the time, Pihl was inspired by frost patterns crystallizing across her workshop window. She translated these fleeting ice formations into a jewel-encrusted language of snowflakes and shimmer that still feels modern more than a century later.



Carved from rock crystal as thin and clear as glass, the egg is overlaid with 4,500 rose-cut diamonds set in platinum. It rests on a sculpted rock-crystal base that resembles a melting block of ice, its surface streaked with diamond-set rivulets that suggest spring’s first thaw. Inside lies the signature Fabergé “surprise”: a delicate basket of white quartz anemones, complete with demantoid garnet pistils and nephrite leaves.

Between 1885 and 1916, the House of Fabergé produced only 50 Imperial Easter Eggs for the Russian royal family. Today, just seven remain in private hands. Most are owned by museums, national collections or are missing entirely — a reality that makes any auction appearance of an Imperial Egg an event of global interest.

The 1913 Winter Egg has appeared at auction only twice before, and always at Christie’s. In 1994, it sold in Geneva for 7.3 million Swiss francs (about $9 million). In 2002, it broke its own record when it earned $9.6 million in New York. With this year’s landmark £22.9 million ($30.2 million) result, the egg has once again reset the Fabergé market.

Credits: Images courtesy of Christie’s Images Ltd 2025.

Visitors to Rockefeller Plaza will see a renewed holiday glow this year as the famous Prometheus statue — often billed as the fourth-most recognizable statue in the US and the most photographed artwork in New York City — has just emerged from an extensive regilding. The restoration, completed in time for the 2025 Rockefeller Center Christmas Tree Lighting Ceremony tonight (Dec. 3), returned the 18-foot, 8-ton bronze figure to its original brilliance using 23.75-karat gold leaf.



Hidden for weeks behind a massive dropcloth, Prometheus received what Marc Roussel, principal conservator on the project, described in The New York Times as “a lot of work” — and not merely a touch-up. The team from New York-based Roussel Art Conservation first stripped away the statue’s weathered coating, revealing the raw bronze beneath. They then brushed on a yellow-tinted epoxy primer that cures overnight. Only then did the delicate gilding begin: an astonishing 20,000 sheets of gold leaf, each just 0.0002 inches thick, applied meticulously by hand. Working section by section, gilders followed a subtle grid pattern to avoid a patchwork effect.

“You’re not just taking a leaf and putting it anywhere,” principal gilder Bill Gauthier explained to The Times.

After each panel was completed, the team gently buffed the surface with lamb’s-wool cloths dipped in ice water — an ancient technique that coaxes the whisper-thin sheets to adhere cleanly without tearing or dulling the finish. Amazingly, 20,000 sheets of gold leaf weigh less than a pound. At recent market prices, the gold value is approximately $60,000.



Prometheus has undergone several regildings during his 91-year tenure at Rockefeller Center, but the statue’s backstory is as fascinating as its modern upkeep. Created by sculptor Paul Manship and unveiled in 1934, the work depicts the Greek Titan who stole fire for humanity — a symbol that resonated with the Center’s guiding theme of “New Frontiers and the March of Civilization.” John D. Rockefeller Jr., reportedly dissatisfied with the original bronze patina, insisted on gilding to emphasize the figure’s dramatic motion.

The model who helped inspire that motion wasn’t an artist, dancer or actor, but a young New Rochelle lifeguard named Leonardo Nole. As reported by Talk of the Sound and recounted in Nole’s later writings, the 26-year-old was paid $1 an hour to hold a challenging, airborne pose for months — though he claimed he mostly worked with Manship’s assistants.

Encircled with zodiac signs and inscribed with the ancient Greek text “Prometheus, teacher in every art, brought fire to mankind,” the gilded Titan continues to embody human creativity, knowledge and aspiration.

According to nbc.com, Prometheus at Rockefeller Center is regarded as the fourth most recognizable statue in the United States after the Statue of Liberty, Lincoln Memorial and Mount Rushmore.

With his radiant new finish unveiled for the 2025 holiday season, Prometheus once again lights the way — both metaphorically and, now, more brilliantly — over Rockefeller Plaza’s iconic rink.

Credits: Close-up photo by Michael Slonecker, Public domain, via Wikimedia Commons. Night shot by Nan Palmero from San Antonio, TX, USA, CC BY 2.0, via Wikimedia Commons.

For thousands of years before diamonds or emeralds dazzled Europe, one of the most prized gemstones was a vivid green mineral called variscite. Ancient communities treasured it for its luminous color and carved it into beads, pendants, bracelets and rings. But while archaeologists have long uncovered variscite jewelry across Western Europe, one question remained stubbornly difficult to answer: Where did these eye-catching green stones actually come from, and how did they travel so far from their points of origin?



A team of archaeologists and artificial-intelligence specialists from Spain and Portugal has now brought modern technology to this ancient mystery. Their newly published study combines traditional fieldwork with advanced chemical analysis and machine-learning tools to trace variscite artifacts back to their geological sources. The result is a clearer picture of prehistoric trade networks — and an unexpected story of how these green gems moved across Europe thousands of years ago.



Variscite, whose vibrant green color can range from pale mint and seafoam to deeper emerald hues, is naturally rare and was especially valued between the sixth and second millennia BC. Its color made it a symbol of status and personal adornment. Until recently, researchers could only make educated guesses about where a particular bead or pendant had originated. Mines in Encinasola, Gavà, and Aliste on the Iberian Peninsula were all considered likely sources, but the relative importance of each site was unclear.

The new research changes that. The team began by gathering more than 1,800 geological samples from known variscite deposits and comparing them with 571 artifacts recovered from archaeological sites across modern-day Spain and beyond. Each sample was analyzed using portable X-ray fluorescence, a non-destructive technique that measures the tiny chemical variations locked inside the stone.

These chemical fingerprints — slight differences in elements such as aluminum, phosphorus, and trace minerals — turn out to be unique enough to identify the mine of origin. But because the dataset was so large, the researchers used a machine-learning method called a random forest algorithm to find patterns no human could easily spot.

In simple terms, the AI learns the “signature” of each mine and then predicts where an ancient bead came from. The system achieved 95% accuracy, a remarkable level of precision for artifacts thousands of years old.

With the origins finally mapped, a new trade picture emerged. The study shows that the Gavà and Aliste mines were far more important than previously believed, while Encinasola played a smaller role. Even more surprising, variscite beads found in northern France likely traveled overland from northern Spain, crossing the Pyrenees along long-distance routes. Earlier theories had emphasized maritime trade, but the AI-driven analysis suggests that land-based exchange networks were significant and highly organized.

The project’s open-science framework — making all data and code freely available — sets the stage for future work. Researchers hope to apply the same approach to other materials, from amber to early metals, building a richer understanding of how beauty, craftsmanship and commerce shaped prehistoric societies.

And while the ancestors who wore variscite couldn’t have imagined artificial intelligence, their cherished green gemstones are now helping scientists tell a very modern story: how technology can illuminate the human connections of the distant past.

Credits: Photo of Smithsonian specimen by Jstuby at en.wikipedia, Public domain, via Wikimedia Commons. Photo of gold and variscite 2nd century AD earrings by Metropolitan Museum of Art, CC0, via Wikimedia Commons.

When influencer and gaming superstar Pokimane buys herself a diamond engagement ring, the internet takes notice. With a combined following of more than 30 million across Twitch, TikTok, Instagram and YouTube, she’s one of the most visible creators in digital culture — and her latest jewelry purchase has sparked a lively debate about empowerment, self-expression and modern luxury buying behavior.



In a 73-second video shared across her social media channels, the Moroccan-Canadian creator — born Imane Anys — revealed a sparkling white gold and diamond bypass ring, sliding it onto her finger in a playful “self-proposal.” The tone is light, humorous and intentionally dramatic. Kneeling slightly toward the camera, she asks herself, “Will I be with me for the rest of my life?” before answering, “Yes, I have no choice.”



Pokimane explained that the idea emerged directly from her audience. After she mentioned admiring a ring in an earlier post, fans flooded her comments urging her to “just buy it” and not wait for someone else to make the moment happen.

Initially hesitant because the ring felt “like way too much to get for myself,” she came around to the decision while reflecting on a message that resonated with millions: “The person that you are engaged to the most in your entire lifetime is your damn self.”

But Pokimane also made it clear she hasn’t given up on romance. She hopes to be engaged one day — and is already planning to buy a “sick” diamond engagement ring for her future husband. “You guys know how much I love gift-giving,” she said, smiling.

The reaction from her community was immediate and mixed. Supporters called the move empowering, with many praising her for promoting emotional independence and self-care. “Promising that you’ll take care of yourself is HUGE,” one follower wrote. Others said they were inspired to buy their own milestone diamonds, with one user commenting, “You know what — you’re right. I’m gonna get myself one too.”

Not everyone approved. Skeptics questioned whether self-engagement crosses into self-indulgence.

Still, in the jewelry world, self-purchased diamond rings are far from new. The Diamond Producers Association’s “For Me, From Me” campaign, launched in 2019, formally embraced women as the natural diamond industry’s fastest-growing consumer segment. Research at the time showed that women buying for themselves accounted for one-third of US diamond jewelry sales — a share that has continued to rise as gifting norms evolve.

Pokimane’s video may be playful, but the cultural conversation it sparked is very real. Diamonds are no longer reserved for romantic milestones. Increasingly, they’re becoming symbols of achievement, autonomy and self-worth.

Credits: Screen captures via YouTube / pokimane.

Isidor and Ida Straus’s devotion to one another has echoed through more than a century of Titanic lore, survivor accounts and popular culture. Now, the pocket watch recovered from Isidor’s body — a symbol of both personal love and historic tragedy — has set a new world record for Titanic memorabilia, selling on Saturday for £1.78 million ($2.34 million) at Henry Aldridge & Son in Wiltshire, England.



The 18-karat gold Jules Jurgensen watch, engraved with Isidor’s initials, was far more than a gentleman’s accessory. It was a birthday gift from Ida to her husband on the occasion of his 43rd birthday in 1888, the same year he and his brother Nathan became full partners in New York’s now-iconic Macy’s department store. The watch reflected not only the couple’s prosperity but also their shared journey — from European immigrants to pillars of American commerce and philanthropy.

The timepiece was still in Isidor’s pocket when his body was recovered in the days following the sinking of the Titanic on April 14–15, 1912. When his personal effects were logged and returned, the watch remained with the Straus family for more than 110 years, lovingly preserved across generations. Before it crossed the auction block, it had never been publicly seen.

Its sale captivated collectors and historians not simply because of its intrinsic beauty or rarity, but because of the extraordinary story tied to its owner.

Isidor and Ida Straus were among the wealthiest couples aboard Titanic and, as first-class passengers in their late sixties, were offered seats on a lifeboat once the scale of the disaster became clear. Isidor refused his seat, insisting that younger men deserved the chance to live. Ida, offered a place moments later, made a fateful and unforgettable choice to remain with her husband.

Witnesses later recounted her saying, “Where you go, I go.” Her maid was directed into a lifeboat and Ida handed her own fur coat to the young woman. Surviving passengers saw the Strauses last as they stood shoulder to shoulder on the sloping deck, arm in arm, choosing unity over survival.

Their story, one of the most poignant human moments of the tragedy, was dramatized in James Cameron’s Titanic (1997) and has remained an enduring symbol of commitment amid catastrophe. Auctioneer Andrew Aldridge, whose firm has handled numerous Titanic artifacts, called the Strauses “the ultimate love story.”

“The world-record price illustrates the enduring interest in the Titanic story,” Aldridge said.

The sale of the Straus watch surpassed the previous Titanic record — also achieved by Henry Aldridge & Son — set by the £1.56 million ($2.05 million) watch presented to the captain of the rescue ship RMS Carpathia. Saturday’s auction also included a rare letter written by Ida aboard the Titanic, which fetched £122,500 ($161,400), and several additional artifacts that brought the day’s total to approximately £3 million ($3.95 million).

Credits: Images courtesy of Henry Aldridge & Son Auctioneers.

Consumers and retailers are gearing up for one of the biggest holiday shopping seasons in US history. According to new data from the National Retail Federation (NRF), a record 186.9 million Americans are planning to shop between Thanksgiving Day and Cyber Monday, surpassing last year’s all-time high. And for the first time ever, holiday spending for November and December is expected to exceed $1 trillion, with sales forecast to grow 3.7% to 4.2% over 2024.



“The holidays are an important part of many consumers’ budgets, and that trend is especially true this season,” said Katherine Cullen, NRF’s Vice President of Industry and Consumer Insights. “Retailers are prepared to meet the needs of consumers with great value and convenience.”

This year, Black Friday continues to reign supreme, with 130.4 million shoppers — about 70% of holiday weekend participants — planning to shop that day. Cyber Monday follows as the second-most-popular event, attracting 73.9 million. Even Small Business Saturday is expected to shine, with 80% of Saturday shoppers saying they want to support local businesses.

Phil Rist, Executive Vice President of Strategy at Prosper Insights & Analytics, noted that shoppers are motivated by a combination of value and tradition. “Of those planning to take advantage of sales, over half say it’s because the deals are too good to pass up,” he said. “Others point to the tradition or simply say they like to start their holiday shopping during the long weekend.”

NRF’s broader 2025 holiday forecast paints an equally robust picture. Total holiday spending is projected to reach $1.01 trillion to $1.02 trillion, driven by solid wage growth, historically low unemployment levels and strong consumer balance sheets.

Consumers plan to spend an average of $890 on gifts and seasonal items, and gift cards remain one of the most popular choices, with total gift-card spending expected to top $29 billion.

Despite pockets of economic uncertainty, NRF analysts emphasize that consumer spending remains the strongest pillar of the U.S. economy. “This is an above-trend forecast,” NRF economists noted, “reflecting a consumer who continues to prioritize holiday spending for their loved ones.”

Credit: Image by BigStockPhoto.com

Welcome to Music Friday, when we spotlight great songs that sparkle with jewelry, gemstones or precious metals in their title or lyrics. Today, we revisit John Anderson’s joyful, self-deprecating 1981 hit, “I’m Just an Old Chunk of Coal (But I’m Gonna Be a Diamond Someday)” — a song that turns a famous gemological myth into a poignant metaphor for personal transformation.



Written by iconic Texas songwriter Billy Joe Shaver and delivered in Anderson’s unmistakable Southern style, the tune uses coal-to-diamond imagery to describe a man committed to improving himself until he shines “blue pure perfect.”

Anderson sings, “Now I’m just an old chunk of coal / But I’m gonna be a diamond someday / I’m gonna grow and glow till I’m so blue pure perfect / I’m gonna put a smile on everybody’s face.”

Aspirational? Absolutely. Gemologically accurate? Not even close — though that’s part of the fun.

For generations, popular culture has repeated the idea that diamonds are made from coal. Superman famously squeezed a lump in his bare hands to produce a sparkling gem. And you’ve probably heard the expression, “a diamond is just a chunk of coal that handled pressure really well.” It’s a great metaphor, but scientifically it doesn’t hold water — er, carbon.

While coal and diamond are both carbon-based, coal is a messy mixture of carbon plus hydrogen, oxygen, nitrogen, sulfur, and a rogue’s gallery of trace elements. Diamonds, on the other hand, form as pure carbon crystals under extraordinary heat and pressure approximately 100 miles beneath Earth’s surface, in geologic conditions completely unrelated to coal beds. No matter how heroically Superman squeezed — or how deeply metaphorical the song may be — a lump of coal will never become a diamond. Still, the phrase endures because it captures something hopeful, humble and human: the desire to make ourselves better.

And that brings new depth to Anderson’s performance, especially with the perspective of recent years. The country legend quietly battled a life-threatening health crisis in 2017–2018, with his future as a singer far from certain. Astonishingly, he recovered — crediting his faith, his family, and the healing power of music. That hard-won resilience lends fresh resonance to a song about polishing rough edges, finding purpose and believing in brighter days.

In 2024, Anderson was inducted into the Country Music Hall of Fame, a milestone that recognizes a career spanning more than four decades, 40-plus charting singles, and unforgettable hits such as “Swingin’,” “Wild and Blue,” and “Straight Tequila Night.” Last year also saw him embark on a celebratory tour and release a new musical project — the kind of gift artists give when they know fans have walked the long road with them.

“I’m Just an Old Chunk of Coal” soared to #4 on the Billboard Hot Country Songs chart in 1981 and earned Anderson a Grammy nomination for Best Male Country Vocal Performance. More than 40 years later, its earnest charm and self-effacing humor continue to resonate. And yes — pop culture footnote — the song even turns up in the animated film Jimmy Neutron: Boy Genius (2001).

So please enjoy the audio track of Anderson performing “I’m Just an Old Chunk of Coal (But I’m Gonna Be a Diamond Someday).” The lyrics are below if you’d like to sing along…

“I’m Just An Old Chunk Of Coal (But I’m Gonna Be A Diamond Someday)”
Written by Billy Shaver. Performed by John Anderson.

Hey, I’m just an old chunk of coal
But I’m gonna be a diamond someday
I’m gonna grow and glow till I’m so blue pure perfect
I’m gonna put a smile on everybody’s face

I’m gonna kneel and pray every day
Lest I should become vain along the way
I’m just an old chunk of coal, now Lord
But I’m gonna be a diamond someday

I’m gonna learn the best way to walk
I’m gonna search and find a better way to talk
I’m gonna spit and polish my old rough edged self
Till I get rid of every single flaw

I’m gonna be the world’s best friend
I’m gonna go ’round shaking everybody’s hand
Hey, I’m gonna be the cotton pickin’ rage of the age
I’m gonna be a diamond someday

Now I’m just an old chunk of coal
But I’m gonna be a diamond someday
I’m gonna grow and glow till I’m so blue pure perfect
I’m gonna put a smile on everybody’s face

I’m gonna kneel and pray every day
Lest I should become vain along the way
Hey, I’m just an old chunk of coal, now Lord
But I’m gonna be a diamond someday



Credit: Photo by eagle102.net, CC BY 2.0, via Wikimedia Commons.

We just got our first peek at The Black Falcon, a 612.34-carat carbonado diamond now being billed as the largest cut diamond on Earth.



The dramatic, falcon-headed gem represents a once-unthinkable triumph in lapidary science — one that required seven years of experimentation, custom toolmaking and, at times, sheer stubbornness from master cutter Peter Herbosch of Antwerp.

The story begins in Guinea, where the rough stone was discovered in 2008. Weighing an extraordinary 887.22 carats, the black diamond confounded cutters for years. Carbonado diamonds — also known as black diamonds — are significantly tougher than conventional mined diamonds because they possess no cleavage planes, the structural “guidelines” cutters rely on to shape a diamond without shattering it.

Herbosch summarized the challenge bluntly in an interview with The Times of London: “You could grind it on traditional grinding wheels for years and wouldn’t even be able to tell.”

Unlike single-crystal diamonds, carbonados are polycrystalline aggregates — a microscopic mosaic of diamond, graphite and amorphous carbon. This structure makes them extraordinarily tough and nearly impossible to shape using conventional means.

To tackle the stone, Herbosch engineered his own diamond-edged grinding system and employed highly controlled laser techniques, slowly coaxing the gem into its final sculptural form. Its natural outline resembled a bird's profile, inspiring Herbosch to embrace the shape; the final result is a polished falcon’s head, part jewelry, part objet d’art, and wholly unprecedented.

The Black Falcon’s debut dethrones The Enigma, the 555.55-carat cut carbonado that held a Guinness World Record and sold for $4.3 million at Sotheby’s in 2022. It also surpasses the largest yellow-brown polished diamond, the 545.67-carat Golden Jubilee, and even the world-famous 530.2-carat Cullinan I, the largest colorless cut diamond. Yet none share the Black Falcon’s geological mystery.

Scientists believe carbonado diamonds are between 2.6 and 3.2 billion years old. They've been found mainly in Brazil and the Central African Republic — regions once connected on the prehistoric supercontinent — and their origin remains hotly debated. One theory proposes formation deep within Earth’s mantle under extreme conditions; another suggests they arrived via meteorites, formed in supernova shock waves before falling to Earth billions of years ago.

Their characteristic black color does not come from trace chemical impurities as with other fancy-colored diamonds, but from myriad internal inclusions — primarily graphite — and their light-absorbing polycrystalline structure.

Herbosch told The Times of London that he expects the stone could fetch €8 - €12 million ($9.2 - $13.8 million) given its scale, sculptural identity and scientific intrigue. Only time will tell.

Credit: Conceptual rendering of The Black Falcon diamond by The Jeweler Blog using ChatGPT and DALL·E 3.

The Aldi supermarket chain in the UK is sprinkling a little extra romance — and plenty of whimsy — over the holiday season with its “More carrot and a little less carat” promotional giveaway, a light-hearted campaign marking the 10th anniversary of Kevin the Carrot. For a decade, Kevin has charmed British viewers as the supermarket’s festive mascot, starring in annual holiday ads that parody everything from Home Alone to Love Actually. This year, the beloved root vegetable took his storyline to the next level: He got down on one knee and proposed to his long-time love, Katie the Carrot.



To mark the proposal and Kevin’s milestone anniversary, Aldi unveiled a cheeky giveaway: four limited-edition “Carrot” gold engagement rings, crafted in collaboration with a British jeweler. Designed more for smiles than status, the ring is a playful wink at traditional bridal jewelry — and a reminder that a holiday proposal doesn’t always require a 10-carat diamond.

The ring itself is surprisingly charming. Its centerpiece is a pear-shaped orange cubic zirconia cut and set to resemble a carrot. At the top, two marquise-cut peridot accents represent leafy greens, adding a fresh pop of chartreuse. The jewels are mounted on a yellow gold-plated sterling silver band, bringing just enough polish to make the piece feel like a proper (if unconventional) engagement ring. It’s adorable, quirky and unmistakably Kevin.



To win one, UK shoppers were invited to email their holiday proposal plans and explain why their partner deserved a carrot-shaped engagement ring — an application process nearly as amusing as the prize itself. The competition, which began in early November and runs through midnight tonight (11/19), quickly became a feel-good talking point on social media.

Aldi’s motivation for leaning into a romantic theme this year wasn’t random. According to new research commissioned by the retailer, Brits still have a soft spot for heartfelt proposals: a third said Christmas engagements feel “magical,” and nearly half would happily say "yes" to a ring costing £10 if the moment felt meaningful. Many even admitted they enjoy novelty designs. In other words, the perfect conditions for a promotion centered on vegetable-themed jewelry.

For Aldi, the campaign also underscores what the company has long stood for. Founded in Germany and now operating 13,400 stores globally — including 2,400 in the US — the supermarket is known for its no-frills approach, delivering quality without the high price tag. So why not apply the same philosophy to engagements? Less carat, more carrot.

Of course, most newly engaged couples will still prefer their gemstones mined, but as a festive joke, a collector’s item or a bit of holiday sparkle inspired by the UK’s most famous carrot couple, Aldi’s novelty ring hits the spot. And with Kevin and Katie officially engaged, shoppers can expect even more romance — and likely more puns — as their animated love story continues through the season.

Credits: Close-up conceptual rendering of Aldi's "carrot" engagement ring by The Jeweler Blog using ChatGPT and DALL·E 3. "Carrot" engagement ring in jewelry box photo via aldipresscentre.co.uk.

At Sotheby’s Geneva this past week, a long-lost treasure of Napoleonic history inspired one of the most electrifying jewelry auctions of the year. A diamond-encrusted hat ornament once owned by Emperor Napoleon Bonaparte — and believed to have been lost as he fled the Battle of Waterloo in 1815 — achieved a remarkable 3.5 million Swiss francs ($4.4 million).



Fueled by nearly 10 minutes of intense bidding among collectors on the phone, online and in the room, the jewel soared to more than 30 times its pre-sale low estimate. The result underscored not only the rarity of imperial French jewels, but also the unmatched power of provenance in today’s global jewelry market.



The circular ornament, crafted circa 1810, centers on a 13.04-carat oval diamond framed by nearly 100 old mine–cut diamonds in two concentric rings. Originally designed as a “hat button,” it would have adorned Napoleon’s iconic bicorne hat for court appearances, military pageantry and other highly visible occasions. Its brilliance and scale made it ideal for the emperor’s taste: opulent, symbolic and intended to project an unshakable aura of command.



But the jewel’s mystique comes from the chaos of its disappearance. As Napoleon’s forces retreated from Waterloo, several of his carriages became bogged down on muddy roads near Genappe, a town in current-day Belgium. Inside were not just uniforms and silverware, but a trove of jewels Napoleon had brought to the battlefield, including gifts from his siblings and items he famously carried everywhere — even into war. Prussian troops intercepted at least two of these carriages, claiming their contents as battle trophies.

According to historical accounts outlined by Sotheby’s, Lieutenant von Pless of the Prussian army presented the hat ornament to King Friedrich Wilhelm III just three days after the battle, declaring that such a rare object belonged with the Prussian crown. The jewel remained in the hands of the Prussian royal family, the House of Hohenzollern, for more than two centuries. Over time, it was photographed, cataloged and studied, its original hat-fitting replaced with a brooch mechanism and pendant loop, but its imperial identity remained unmistakable.

Its first appearance on the open market was enough to set collectors alight. Six determined bidders drove the price far beyond expectations, with a distinguished international collector, according to Sotheby's, ultimately claiming the piece. The strong result is part of a wider surge of interest in objects tied to Napoleon, especially following recent museum thefts that have reignited public fascination with French imperial jewels.



That momentum was reinforced by the sale of another Napoleonic treasure at the same auction: a 132.66-carat green beryl said to have been worn on Napoleon’s coronation robe in 1804. The gem achieved more than 25 times its low estimate when a US museum secured the stone for just over $1 million.

Together, the two sales delivered a powerful message: When exceptional craftsmanship meets extraordinary provenance, the market responds decisively.

Credits: Jewelry images courtesy of Sotheby's. Napoleon portrait by Peace Palace Library, Public domain, via Wikimedia Commons.