23 April to 14 August 2016

with the participation of theFrench National Museum of Natural History ©

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www.artscienceofgems.vancleefarpels.comDownload the audio guide Application

THE ART &

SCIENCE OF

GEMS

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Van Cleef & Arpels: The Art and Science of Gems

is a unique exhibition which explores both the artistic skills required for the creation of exquisite jewellery, and the Earth processes involved in the formation of minerals and gemstones.

ArtScience Museum is an institution which explores the links between art, science, culture and technology. All of its exhibitions and programs show how subjects can be understood both through the emotional connections created through art, and the understanding generated by science.

At the heart of this exhibition are over four hundred pieces of jewellery, carefully selected from the Van Cleef & Arpels Collection and those of private collectors, reflecting the poetry, skill and unique expertise of the Maison. Sitting alongside these stunning pieces are important natural treasures and scientific artifacts from the world-renowned Minerals and Gems Collection of the French National Museum of Natural History in Paris, invited by L’École Van Cleef & Arpels.

This exhibition blends art, craft, history and geoscience in a highly distinctive manner. Visitors are taken on a dramatic journey through the origin of minerals, that continues with their evolution from the deep Earth to its surface. At the same time, they explore the extraordinary craftsmanship that transfigures these rare minerals into works of art.

Executive Director, ArtScience Museum, Singapore.

Honor Harger

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Van Cleef & Arpels, since 1906…

The history of Van Cleef & Arpels began with a love story: in 1895, Estelle Arpels – the daughter of a dealer in precious stones – married Alfred Van Cleef, the son of a lapidary and diamond broker. In 1906, they went into business with Estelle’s brothers – Charles, followed by Julien and later Louis – to open the first Van Cleef & Arpels boutique at 22 Place Vendôme, Paris, in an area renowned for its elegance. The Maison’s legendary address remains unchanged to this day.

Its reputation grew, aided by an international clientele and Van Cleef & Arpels’ presence at prestigious international events such as the “Exposition internationale des Arts décoratifs et industriels modernes”, held in Paris in 1925. A second generation took over in the 1930s, under the artistic guidance of Estelle and Alfred’s daughter, Renée Puissant. Creative director from 1926 to 1942, her unique and original style left its mark on the Maison’s collections – in collaboration with the designer René-Sim Lacaze.

Julien Arpels’ sons Claude, Jacques and Pierre also joined the family business. Jacques took over the management in Paris in 1938 while Claude settled in New York, where he opened a Van Cleef & Arpels boutique at 744 Fifth Avenue in 1942. Pierre, their younger brother, joined the Maison in 1944 and oversaw its jewellery design.

During the first half of the century, Van Cleef & Arpels developed skills that would become its signatures: the Mystery Set™ technique (patented in 1933), in which metal disappears to better reveal the precious stones, the ingenious vanity case named the Minaudière™ or the innovative Zip necklace, inspired by the zip fastener.

The elegance and inventiveness of its creations, along with its use of the rarest and most precious materials, enabled Van Cleef & Arpels to win over royal and princely families, personalities of the cinema and a cosmopolitan clientele of discerning taste.Over the decades, the High Jewellery Maison has established its reputation throughout the world. Its emblematic creations, such as the Alhambra® long necklace created in 1968, its selection of Pierres de Caractère™ – gems that instill emotion – and the savoir-faire of its Mains d’Or™, the craftsmen of Van Cleef & Arpels’ workshops, have given birth to enchanting jewellery and watchmaking collections.

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Chronolog y

1895

1896

1906

1908

1909 to 1919

1912

1920

1925

1926

1931

1932

1933

1935

Esther (Estelle) Arpels, daughter of Léon Salomon Arpels, a dealer in precious stones, marries Alfred Van Cleef, son of Salomon Van Cleef, a stone-cutter.

Alfred Van Cleef goes into business as a goldsmith in Paris. Birth of Rachel Renée Van Cleef.

Alfred Van Cleef and his brother-in-law Salomon (Charles) Arpels, a diamond broker, together found the Maison Alfred Van Cleef et Salomon Arpels at 22 Place Vendôme (Paris).

Julien Arpels joins his brother Charles and brother-in-law Alfred Van Cleef.

Boutiques open in resort locations such as Dinard, Nice, Deauville and Vichy.

Louis Arpels (brother of Esther and Charles) joins the Maison.

The craze for jewellery and fashion accessories of Indian, Egyptian, Chinese, Japanese and Persian inspiration begins. First orders commissioned by the Maharajahs of Nepal, Hyderabad, Nawanagar, Indore and Kapurthala.

The Maison takes part in the “Exposition internationale des Arts décoratifs et industriels modernes” in Paris, where it is awarded the Grand Prix for the Red and White Roses bracelet and brooch.

Renée Van Cleef, under her married name Puissant, becomes Creative Director. Beginning of a fruitful partnership with the advertising artist and designer René-Sim Lacaze.Daisy Fellowes (Paris editor of Harper’s Bazaar in the 1930s) orders an Indian-inspired Manchette cuff with emeralds and diamonds.

The Maison takes part in the “Exposition coloniale internationale” in Paris and is awarded the Grand Prix for its Chapeau Chinois set.

Claude Arpels, eldest son of Julien Arpels, joins the Maison.

A patent is registered for the “boîte nécessaire,” known as the Minaudière. Another patent is registered for a stone-setting technique, called the Mystery Set in 1936.

The Maison takes part in the “Exposition universelle et internationale” in Brussels: a collaret set on display – with emeralds and diamonds – is purchased by HRH Princess Faiza of Egypt.A boutique opens in Monte Carlo, in the Casino-Opéra. The Ludo Hexagone bracelet and the Cadenas™ watch are created.

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1936

1938

1939

1941

1942

1944

1950

1951

1953

1954

1956

1960

1967

1968

1969

Jacques Arpels, second son of Julien Arpels, joins the Maison.King Edward VIII offers Wallis Simpson a ruby and diamond Hold Tight bracelet, a ruby and diamond Cravate necklace and a Mystery Set ruby Two Holly Leaf clip.

A patent is registered for the transformable jewel known as the Passe Partout. A patent is registered for the “embellished zip fastener” necklace, later known as Zip, inspired by the Duchess of Windsor.

Marriage of Princess Fawzia of Egypt with Mohammed Reza Pahlavi: creation of jewellery to be worn by the bride and her mother, Her Majesty Queen Nazli of Egypt.The Maison takes part in the New York World’s Fair and opens an office in Rockefeller Center.

Creation of the first Ballerina and Fairy clips.

A boutique opens at 744 Fifth Avenue in New York (current address). Pierre Arpels, youngest son of Julien Arpels, joins the Maison. The three brothers Claude, Jacques, and Pierre Arpels run the Maison.Creation of the first Lovebirds clips.

From the early 1950s, the Maharani of Baroda (India) commissions important special orders, including the diamond and emerald Lotus necklace and matching earrings.

Creation of the Zip necklace, which can be transformed into a bracelet.

Acquisition of the Blue Heart, a 30.82-carat blue diamond.

Creation of the Boutique collection, featuring affordable pieces such as the Chat malicieux clip.

Prince Rainier III of Monaco offers Grace Kelly a set of pearl and diamond jewellery as a wedding present. Van Cleef & Arpels becomes the “Patented supplier of the Principality of Monaco.”Acquisition of the Blue Princess, a 114-carat sapphire.

Jacques Arpels acquires a 34.64-carat pink diamond, which he later called the “Princie Diamond” in honour of the son of the Maharani of Baroda.

New York premiere of Jewels, a ballet in three acts choreographed by George Balanchine and Claude Arpels (to music by Fauré, Stravinsky and Tchaikovsky).Creation of the crown and jewellery for the coronation of HIH Farah Pahlavi of Iran.

Aristotle Onassis offers Jacqueline Bouvier Kennedy a ring set with a 17.68-carat ruby as a wedding present. Creation of the Alhambra model.

A boutique opens on Rodeo Drive in Beverly Hills.

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1970

1971

1986

1992

2000

2004

2006

2009

2011

2012

2013

2014

2015

2016

Creation of the Rose de Noël™ model.

Jacques Arpels acquires the 26.13-carat Thibaw ruby and the Walska Briolette, a yellow diamond weighing 96.62 carats.

Creation of the Snowflake model.

Exhibition at the Musée de la Mode et du Costume in the Palais Galliera in Paris.

Richemont Group acquires the Maison.Creation of the Navette Mystery Set.

Display of Van Cleef & Arpels pieces in the Jewellery Gallery of the Musée des Arts décoratifs in Paris.

Celebration of the Maison’s 100th anniversary.Renovation of the salons at 22 Place Vendôme, designed by Patrick Jouin.

“The Spirit of Beauty” exhibition at the Mori Arts Center in Tokyo, designed by Patrick Jouin.

“Set in Style” exhibition at the Cooper-Hewitt National Design Museum in New York, designed by Patrick Jouin and Sanjit Manku.Acquisition of Elizabeth Taylor’s Barquerolles necklace (1971).Creation of the Océan tiara, offered to HSH Princess Charlene by HSH Prince Albert of Monaco on the occasion of their wedding.

“Timeless Beauty” exhibition at the Shanghai Museum of Contemporary Art (MOCA), designed by Patrick Jouin and Sanjit Manku.“L’Art de la Haute Joaillerie” exhibition at Paris’ Musée des Arts décoratifs, designed by Patrick Jouin and Sanjit Manku.Opening of L’École Van Cleef & Arpels.

The Maison acquires the Bird clip (1971-72), set with a briolette yellow diamond formerly owned by Ganna Walska, and a diamond and emerald collaret formerly owned by Princess Faiza of Egypt.With his company L.A. Dance Project, Benjamin Millepied presents a new creation inspired by his encounter with Van Cleef & Arpels. Entitled Reflections, this ballet is the first part of the Gems trilogy.

L.A. Dance Project presents Hearts & Arrows, the second part of the Gems trilogy, to a choreography by Benjamin Millepied and music by Philip Glass.

Van Cleef & Arpels takes part in the Masterpiece London fair for the first time.

“Van Cleef & Arpels: The Art and Science of Gems” exhibition at the Singapore ArtScience Museum Marina Bay Sands.

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MasterpieCe

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Bird clip and pendant, 1971-1972Gold, emeralds, sapphire, yellow and white diamonds

and a 96.62-carat briolette-cut yellow diamond formerly owned by the famous Polish opera singer Ganna Walska

Van Cleef & Arpels Collection

One of Van Cleef & Arpels’ most striking special orders is a flying bird carrying a briolette-cut yellow diamond of 96.62 carats. In the 1930s, this unique gem belonged to the opera singer and socialite Ganna Walska, who wore it as a pendant.

This remarkable diamond first appeared at a Sotheby’s auction in 1971. One year later it adorned the cover of a Van Cleef & Arpels’ catalogue, flying over the Place Vendôme in the beak of a bird.

Its new owner had asked the Maison to combine this exceptional stone with a bird of yellow gold, emeralds, and sapphires in celebration of the birth of her son in 1972. Ganna Walska’s yellow diamond became the precious bundle carried through the skies by this magical bird.

In keeping with Van Cleef & Arpels’ tradition of transformability, the bird can also metamorphose into a pair of winged earrings and a brooch, while the yellow diamond can be detached from the clip and worn alone as a pendant.

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Couture

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Born in Paris – the centre of elegance and fashion – Van Cleef & Arpels is closely linked to Couture, its motifs and materials, like a discrete homage to the city of its origins. The delicacy of the adornments and the flexibility of certain bracelets and necklaces are among the Maison’s most masterful technical achievements. Thanks to the craftsmanship of its workshops, fabrics are transformed into jewellery, while ribbons and lace are embellished by gold weave and precious stones. Bows blend gold mesh with the brilliance of a diamond constellation.

One of these couture pieces – the Zip necklace – offers a sophisticated twist on the zip fastener. It was first suggested to Renée Puissant – the Maison’s Artistic Director – in the late 1930s, by the Duchess of Windsor. Finally produced in 1950, this bold creation is notable for being able to open and close like a real zipper and can thus be worn in two different ways: as a necklace or as a bracelet. Today, it has become a Van Cleef & Arpels icon, regularly re-interpreted in its collections.

Zip necklace transformable into a bracelet, 1954Platinum, gold, rubies, diamondsVan Cleef & Arpels Collection

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One of Van Cleef & Arpels’ most avant-garde creations is the Zip necklace. The zip fastener was first used for aviator jackets and sailors’ uniforms, before being appropriated by high society in the 1930s. It was then that the Duchess of Windsor suggested to Renée Puissant, the Maison’s Artistic Director, that a piece of jewellery could be inspired by this marvel of technology. Eventually created in 1950, it can be worn open as a necklace. The tassel fringe at its centre may also be slid upwards, transforming the zipper into a bracelet. Highly characteristic of the couture theme dear to Van Cleef & Arpels, the Zip necklace epitomises the Maison’s interest for transformable objects and flexibility.

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Zip necklace transformed into a bracelet, 1954Platinum, gold, rubies, diamondsVan Cleef & Arpels Collection

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abstraCtions

Van Cleef & Arpels is famous for its highly distinctive style, inspired by nature, Couture and imaginary worlds. However, less well known to the general public, the Maison has also produced nonfigurative jewels influenced by the art of its times. Together, they form a tribute to the avant-garde: notably the minimalist, modernist, abstract and op art movements. These creations recall a century of innovations in the fields of design, architecture, sculpture and fashion. They echo images from the paintings of Fernand Léger, Sonia Delaunay or Pablo Picasso, the long chairs of Le Corbusier, graphic prints by Pucci and the futurist dresses of Paco Rabanne.

Fascinated by the images produced by these artists, the Maison’s designers translated their influences into eclectic jewels and precious objects which astonish for their creativity and dynamism. They experimented freely with new shapes, forms and textures: juxtapositions of opposing arcs and semi-circles stand alongside inverted triangles, hard cubist angles and the sharp lines of geometric motifs.

To create vibrant colour combinations, they employed disparate materials not previously considered appropriate for jewellery – hard stones such as malachite, lapis lazuli, crystal and onyx shared centre stage with coral, enamel and lacquer.

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Art Deco bracelet, 1925Platinum, diamonds

Van Cleef & Arpels Collection

In the 1920s and 1930s, Van Cleef & Arpels was at the forefront of Art Deco jewellery. At that time, women asserted their newly found emancipation with radical changes in fashion. They bobbed their hair, painted their lips, bared their arms, bound their chests and wore short drop-waisted dresses in the new “flapper” style. The boyish silhouette “à la garçonne” was echoed in elongated long necklaces, long dangling earrings, diamond watches and bracelets, dress clips and cocktail rings. The Art Deco style saw vertical lines, strong symmetry and abstract shapes.

This articulated Art Deco bracelet from 1925 illustrates this style. It is set in platinum with square, round and marquise-cut diamonds. Elegant ladies often paired their bracelets and worn them on the wrist or at the top of the arm, according to Indian fashion.

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influenCes

Pagodas, dragons, chimeras… A fascination for Far Eastern culture swept over Parisian jewellery in the 1920s. The Universal Exhibitions were opportunities for the public to discover ceramics, silks, bronzes and other wondrous pieces which fuelled Van Cleef & Arpels’ imagination. The trend for exoticism was at its height in 1931, at the “Exposition coloniale internationale” in Paris that drew millions of visitors. At the Maison’s booth, viewers were enchanted by a yellow gold jewellery set named Chapeau Chinois, inspired by the Asian hat worn in rice paddies and it was awarded the exhibition’s Grand Prix.

Other exotic horizons fascinated Europe: the discovery of the Egyptian pharaoh Tutankhamen’s tomb generated a trend of Egyptomania in the decorative arts, while the treasures of the Indian Maharajas dazzled the jewellers of the Place Vendôme. Van Cleef & Arpels succumbed to the charm of Indian colours and designs.

In the 1970s, the “hippy” movement revived the exotic style, with the creation of long necklaces that offered a daring mix of stones and colours. New influences become apparent, such as a pre-Columbian aesthetic, inspiring yellow gold clips. These eclectic creations pay tribute to the Maison’s curiosity for different cultures, as well as its enduring inventiveness.

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This Egyptian bracelet from the Van Cleef & Arpels Collection was created in 1924. Jewellery inspired by the art of Ancient Egypt was at the height of fashion in the 1920s. Van Cleef & Arpels created that kind of pieces between 1922 and 1925. They reflect the extraordinary interest in the discovery of Tutankhamen’s tomb by Lord Carnarvon in 1922. Most of these jewels are clips or bracelets, such as this pierced and articulated multicolored gem band. It is decorated with scenes of offerings, hieroglyphic motifs such as scarabs, sphinx, amphora, taurus, ostrich feathers, lotus flowers and bees. It is set with buff-top emeralds, sapphires, rubies and paved diamonds, and calibrated onyx stones.These Egyptian jewels are very rare, and are highly sought after by connoisseurs and collectors.

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Egyptian inspiration bracelet, 1924Platinum, sapphires, rubies, emeralds, onyx, diamonds

Van Cleef & Arpels Collection

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preCious objeCts

Since the 1910s, many examples have testified to Van Cleef & Arpels’ skill in raising utilitarian objects to the rank of precious works of art. This talent was first exercised on tiny vanity cases, unique pieces of infinitely varied forms and decoration, carried in the hand or slipped into a pocket or bejewelled handbag.

Then, in the early 1930s, these “nécessaires” bags were developed further into a larger box in lacquer or yellow gold, named the Minaudière. It opens to reveal all the accessories an elegant lady might require: a powder case, a watch, a dance card, a cigarette holder, glasses, a pill box, a lipstick, a comb, a pencil, a lighter, etc.

Accessories for men were often personalised: refined motifs embellished cigarette cases, letter-holders and leather goods. Desk clocks, traveling clocks and pocket watches were made of rock crystal, sculpted turquoises or carved amethysts and decorated with Chinese, Persian or Japanese designs. Certain exclusive special orders proved to be of the most poetic, sentimental or imaginative kind, made to satisfy the whims of clients whose eccentricity had no bounds.

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From the Van Cleef & Arpels Collection, this 1938 Mystery Set Wild rose Minaudière precious case is mounted in gold and is decorated with a wild rose clasp that can be worn as a clip. It opens to reveal a powder compact, two ruby boxes with Mystery Set, a lipstick with a watch in its top, a dance card, a lighter and a comb.

The Minaudière case, an exclusive Van Cleef & Arpels creation dating from 1933, has become one of the Maison’s emblematic pieces. Ingenious and multifunctional, it provided compartments for an elegant lady’s various items, all enclosed within a luxurious surround.

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Gold, Mystery Set rubiesVan Cleef & Arpels Collection

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nature

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A major theme for the Maison since its foundation, nature is a rich source of inspiration. Delicate flowers and blossoms and real or imaginary animals have brought vitality and poetry to its creations from the 1920s to the present day. Fascinated by the never-ending transformations of fauna and flora, the jeweller captures the flutter of a butterfly’s wings or the blooming of peonies. In this wondrous garden, stunning birds of paradise, dragonflies and lovebirds live amongst poppies, camellias and orchids, transformed into jewels by the Mains d’Or – craftsmen from the workshops in Paris’ Place Vendôme.

In 1954 – to bring a touch of humour to this universe – Van Cleef & Arpels began developing a whimsical Boutique collection, composed of cute animals at affordable prices. This bestiary inspired by cartoons was typical of the period, especially the yellow gold clips set with coral, turquoise, agate, onyx, lapis lazuli, amethysts or mother-of-pearl.

Today, a rich and colourful palette of materials still comes into play to embody the incredible diversity of nature and enhance the lightness and movement of the creations. This vision of the world – constantly renewed – is central to Van Cleef & Arpels’ collections.

Bouquet clip, 1940Gold, sapphires, rubies, diamonds

Van Cleef & Arpels Collection

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Patented in 1938, the Passe Partout is one of the first examples of the transformative pieces pioneered by Van Cleef & Arpels. Designed to adapt to its wearer’s mood, it was the perfect accessory for modern women who wanted to be able to match their jewellery to different clothes and different situations. It was one of the Maison’s best-known pieces throughout the late 1930s and 1940s.

The Passe Partout is based on an ingenious technical innovation. Hidden by two flower clips, a system of metal rails enables a flexible yellow gold snake chain to slide in and out, transforming the piece into a necklace, a choker, an opera-length necklace, a bracelet or a belt. The flowers can also be worn alone as clips and some can even be worn as earclips.It was always accompanied by floral designs, as in this example from 1939 whose contrasting blue and yellow flowers are composed of rubies and different coloured sapphires. Other examples used a knot motif in the chain. This Passe Partout jewel matched with bouquet clips, as well as rings and secret watches.

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Passe Partout jewel, 1939Gold, sapphires, rubies, diamonds

Transformable into a bracelet or a belt. Detachable clipsVan Cleef & Arpels Collection

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ballerinas and fairies

Inaugurating an emblematic tradition at Van Cleef & Arpels, the Maison’s first ballerina clips were created in New York in the early 1940s. Born out of Louis Arpels’ passion for dance, these feminine figures rapidly won over collectors with the grace of their postures and the beauty of their costumes. With their rose-cut diamond faces crowned with precious headdresses, they are clothed in dancing shoes and tutus made of diamonds or coloured stones.

The Maison’s links with the world of dance were reinforced when Claude Arpels, Louis Arpels’ nephew, met the well-known choreographer George Balanchine, co-founder of the New York City Ballet. Their shared passion for gems blossomed into an artistic partnership that produced Balanchine’s ballet Jewels, first performed in New York in April 1967.

Dating from the same period, the fairy clips are dressed in equally dazzling attire. The delicate charm of these creations is captured in their playful poses: a mischievous tilt of the head here, and the embellishments of a magic wand there. Instantly recognisable, with their winged silhouette symbolizing joy and hope, these muses still grace Van Cleef & Arpels with their benevolent presence.

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Spanish ballerina clip, 1941Platinum, gold, rubies, emeralds, diamonds

Van Cleef & Arpels Collection

What better way to celebrate women’s elegance and grace of movement than through the creation of pieces of jewellery depicting ballerinas and dancers? Ballerina clips were created in the 1940s in the United States, and met with great success. American clients saw them as symbols of joy and reminders of better days. One of the most striking pieces is the Spanish Dancer clip from 1941. Capturing a dance pose, it is an illustration of the beauty of line and movement. The sculpted dancer has a pear-shaped diamond face, and a ruby and emerald hair ornament. She holds an emerald and ruby fan. The flounced dress sparkles with diamonds and is accented by rubies and emeralds.

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iCons

Femininity, elegance, refinement… These aesthetic values have always been at the heart of Van Cleef & Arpels’ creativity. The Maison has adorned the most beautiful women on legendary occasions: from royal coronations to the engagements and weddings of mythical couples. Over the years and throughout the world, a number of famous figures have collected its creations. Some were Hollywood stars – such as Elizabeth Taylor – or celebrated divas like Maria Callas, not to mention Indian Maharajas and royal figures such as HSH Princess Grace of Monaco, HRH Princess Faiza of Egypt or the Duchess of Windsor. The latter – an unconventional woman well known for her passion for jewels – was one of the Maison’s most faithful clients. A spectacular necklace which belonged to her, set with twelve turquoises surrounded by diamonds, is on show to the public for the very first time.

At the forefront of fashion, American heiresses and socialites – including Daisy Fellowes, Barbara Hutton and Florence Jay Gould – also inspired some of Van Cleef & Arpels’ most daring creations. Radiant on the international scene, all these personalities have contributed over time to the Maison’s unique vision of elegance and splendour.

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The famous “Peony flower” is one of the highlights of Van Cleef & Arpels’ 1930s artistry. It epitomizes the style of the Maison in two ways: for its floral theme, which has been central since its foundation, and for its Mystery Set technique, which has been Van Cleef & Arpels’ signature since its invention in 1933.

This Peony clip is composed of 640 square Burmese rubies in Mystery Set. The heart is made up of six oval facetted rubies, while the foliage is composed of 43 baguette-cut and 196 round diamonds. The rubies weigh a total of 100 carats and the diamonds a total of 30 carats.

Featured in a gouache drawing from around 1937, it was originally created as a double clip depicting an opening and a closing flower. They could be worn together or separately.

HRH Princess Faiza of Egypt (the daughter of King Fouad and Queen Nazli) commissioned it from Van Cleef & Arpels through Mahmoud Fakhry Pacha, the foreign minister and ambassador of the Egyptian legation in Paris.

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Peony clip, 1937Platinum, gold, Mystery Set rubies, diamonds

In the former collection of Her Royal Highness Princess Faiza of EgyptVan Cleef & Arpels Collection

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Minerals and Gems

The Minerals and Gems sections of the exhibit aim to show how the gems used in the Maison’s creations originally formed inside our planet since it came into being 4,540 million years ago. The geodiversity on display ranges from the oldest meteorites and diamonds, including a 330-carat black stone, to more recent opals, emeralds and quartz – including the largest quartz crystal ever found in the Alps, weighting no less than 800 kilograms.

This exceptional selection sheds a unique light on the brilliant artists that have been inspired by these treasures since ancient times, ranging from Mesopotamian lapis lazuli to the lavish French Crown Jewels, on display in Asia for the first time. They all come from the French National Museum of Natural History collections in Paris.

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The French National Museumof Natural History, since 1626…

In 1626, King Louis XIII of France (1601-1643) decided to collect every available mineral, plant and animal medicine to better protect himself and his heirs. To this end, he created a depository containing these precious ingredients and appointed scholars to promote these collections and the knowledge that went with them.

Succeeding his father, King Louis XIV (1643-1715) purchased immense quantities of minerals and gemstones, but also objects of artistic, archeological and ethnographic interest. These royal collections were soon distributed among various specialized institutes. The Cabinet was the first of all the great Parisian museums to be opened to the public, in 1745. There, minerals were exhibited together with gems to illustrate how natural history inspired the arts.

During the French Revolution, the King’s Cabinet was renamed “Muséum national d’Histoire naturelle” and attracted many renowned scientists of the Age of Enlightenment. Among them, René-Just Haüy (1743-1822) was appointed professor in 1802. At the Muséum, Haüy developed what scholars now consider to be no less than the basis of modern crystallography, mineralogy and gemology.

During the 19th century, other great scientists made unique advances in mineralogy, including the synthesis of the first laboratory rubies by Edmond Fremy (1814-1894) and Auguste Verneuil (1856-1913) and the discovery of natural radioactivity by Henri Becquerel (1852-1908), a Nobel Prize winner in Physics in 1903. The collection soon became the largest in the world, thanks to gifts from all over the planet: Tiffany, J. Pierpont-Morgan, various diplomatic gifts (China, Russia, Spain, Denmark, etc.) and the prestigious donations of some of the most unique French Crown Jewels.

Four hundred years after its founding, the Muséum is among the world’s foremost institutions investigating the Earth’s treasures and the impact of human activities on geo- and biodiversity. Its collection is still one of the richest in the world: over 60  million specimens are contained in an outstanding research environment that aims to promote an innovative way of understanding nature and its mechanisms. The mineral and gem collections in particular reflect the beauty of the natural world, along with the creativity of artists who have been inspired by it.

The invitation from L’École Van Cleef & Arpels to take part in this exhibition is one of the many ongoing projects developed thanks to the fruitful partnership between these two prestigious Parisian institutions.

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Chronolog y

13,800 million years ago: the “Big Bang” creates the stars – made up of known chemical elements and “stardust”, containing primordial minerals also found in some meteorites such as diamond or peridot.

4,567 million years ago: another star is born – the Sun. Around it, new planets are formed practically simultaneously by the accretion of stardust, including our Earth 4,540 million years ago.

4,400 million years ago: a heavy asteroid bombardment keeps the Earth’s surface still largely molten. Among the crustal minerals growing in these magmas, a zircon (Australia) is the oldest known.

4,000 million years ago: the Earth’s surface is solidifying. This extensive crystallisation forms the oldest rocks known today (Canada). Significant gold enrichment of the crust is related to asteroid impacts.

3,500 million years ago: rainwater contributes to the oceans, where the first living microorganisms (cyanobacteria) are spreading. The oldest diamonds start forming in the upper mantle 3,3 million years ago.

2,700 million years ago: the atmosphere is enriched in oxygen thanks to cyanobacteria photosynthesis. Large amounts of sediments are deposited, preparing the ground for new gems to crystallise (Afghanistan, Myanmar, Vietnam). In the depths, diamonds (Canada) are growing.

2,300 million years ago: the Earth is almost completely frozen on its surface. But some organisms survive. More sediments are deposited (Sri Lanka) 2 million years ago.

1,300 million years ago: Indian and Australian diamonds are injected near the Earth’s surface.

600 million years ago: marine life diversifies. Major mountain chains start to rise (in what is now South America, Africa, Madagascar and Sri Lanka), in which tourmaline, aquamarine, topaz, ruby and sapphire crystallise at depths of a few kilometers within their respective rocks.

430 million years ago: biodiversity conquers the continents while corals and ammonites spread in the oceans. More gems crystallise in the depths (Zambian emeralds). Plate tectonics and erosion continue to drive deep-formed crystals towards the Earth’s surface.

250 million years ago: the first dinosaurs appear. Amethyst veins are formed (Auvergne). Gold crystallises (California). Erosion also helps deep crustal minerals to reach the surface.

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100 million years ago: the first mammals spread. The uplift of the Alps, the Himalayas, the Rocky Mountains and the Andes begins. Southern Californian tourmalines crystallise. In southern Brazil, water weathers basalts and deposits amethysts and chalcedonies. Turquoise and malachite continue to crystallise thanks to the atmospheric oxidation of older minerals. Many South African diamonds are injected near the surface.

60 million years ago: the last dinosaurs are extinct. Deep beneath the Alps, rock crystal (quartz) builds up.

35 million years ago: giant mammals conquer the continents. The tectonic collision between the Indian and Siberian subcontinents gives birth to South-West Asia and its gems (like Mogok rubies). Rainwater percolation contributes to the formation of Colombian emeralds and Australian opals. Sedimentary gem deposits keep building up (Sri Lanka), thanks to the erosion of older rocks.

3 million years ago: in Africa, the first hominids use rock tools.

2 million years ago: sapphires (Madagascar and Thailand) are brought to the surface thanks to volcanic activity.

1 million years ago: gem peridots erupt from Red Sea volcanoes, around which coral reefs develop.

100,000 years ago: shells are used as jewellery (Israel). Carved stones and ivory are used as arrowheads (South Africa).

40,000 years ago: iron oxides are used as pigments for paintings (Indonesia, France). Carved statues (Germany).

10,000 years ago: the first cabochon and “cut” (by cleavage) gemstone: a fluorite (Belgium and France).

6,000 years ago: gold is mined throughout Eurasia. Natural pearls are being collected in America and the Persian Gulf.

4,000 years ago: chalcedonies and rock crystal are among the first gems extracted from Asia to Europe and from Oceania to the Americas. The first emeralds are mined by the Celts (Austria).

3,000 years ago: lapis lazuli is imported from Central Asia to the Middle-East. Jade is excavated from the Americas to Oceania, Asia and Europe. Diamond is used to work gems (Yemen and China).

2,500 years ago: the first treaty on gemstones by the Greek author Theophrastus. The diamond trade develops in India.

2,000 years ago: the Romans trade emeralds (Egypt), sapphire (Sri Lanka) and Mediterranean red coral.

1,500 years ago: Arab scholars propose a gem classification based on species (rather than colour). The first emeralds are mined (Colombia), while turquoises are highly prized by native northern Americans.

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1,000 years ago: Mali is the world’s largest gold producer. French amethysts are prized by the clergy.

700 years ago: diamonds are imported to Europe in large quantities, where their faceting develops, particularly between Bruges and Paris.

500 years ago: in Germanic lands, ore mining techniques are developed by a German scientist, Georgius Agricola.

400 years ago: European scholars aim to understand the nature of gems. The oldest mineral and gem collection still in existence today is founded in Paris, the King’s Medicine Cabinet (1626) that will soon be renamed as the King’s Cabinet of Natural History (1729).

300 years ago: the brilliant cut (for diamonds) is invented in Paris for King Louis XIV of France.

200 years ago: in Paris, Jean-Baptiste Louis de Romé de l’Isle is the first person to propose a thorough mineral classification based on crystals (1770-1785). René-Just Haüy defines the concepts of mineral species (1797), crystal growth (1802) and founds modern gemmology (1817) at the King’s Cabinet in Paris, since renamed the “Muséum national d’Histoire naturelle” (National Museum of Natural History).

100 years ago: at the Museum, researchers like Alexis Damour and later Alfred Lacroix contribute to our understanding of the formation of many gems, like jade and tourmaline. Henri Becquerel is a Nobel Prize winner (Physics, 1903) for his discovery of natural radioactivity, essential to date gem formation.

40 years ago: the world’s first electron microprobe is in operation at the Museum (1971), enabling a more accurate understanding of mineral and gem crystallisation processes at the microscopic scale.

30 years ago: the Museum acquires the world’s largest collection of giant crystals.

15 years ago: one of the world’s first nanoSIMS probes is in operation at the Museum, analyzing the formation of various objects, such as meteorites (origins of the solar system) or coral (global warming issues).

1 year ago: “Treasures of the Earth”, a new and widely praised mineral and gem exhibition, opens at the Museum. A fruitful partnership with L’École Van Cleef & Arpels begins, giving rise to the Museum’s involvement in this exhibition.

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the earth

The Earth was born 4,540 million years ago, shortly after the Sun. Since then, meteorite impacts, tectonic shifts, volcanic activity, erosion and biology have modified our planet extensively. Thanks to this tremendous activity, magnificent crystals have formed. Within this “geological workshop”, some mineral treasures are exceptional because of their size, colour, transparency and other eye-catching properties: gems are thus the result of an interaction between the Earth’s productivity and our human sensory perception.

Summarizing the complex geological events that favour the formation of gems is illusory: the details of every mineral are unique. But thanks to scientific research, mineralogists have discovered some of the secrets behind their crystallisation processes. Seven major principles have been identified as critical in gem formation: pressure, temperature, transport, water, oxygen, life and metamorphism. They are not mutually exclusive. But one of them will predominate in illustrating the formation of a particular gem. Examining these seven principles sheds a unique light on the amazing variety of processes that the Earth has conceived to produce the exceptional gems presented today.

Meteorite “pallasite” showing peridots Jasper “Marra Mamba”Springwater, Saskatchewan, Canada.

MNHN Collection, ParisMount Brockman area,

Western Australia, Australia.MNHN Collection, Paris

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pressure

The Earth is structured like an apricot about 12,750 kilometres wide. Our planet has a core and a thin “skin”, the Earth’s crust. Within the Earth, pressure results from the weight of the materials located above. Surface pressure (about 1 bar) can increase 50,000 times at a depth of 150 kilometers. At those moderate depths, we are in the upper mantle, the realm of the diamond. Composed of carbon atoms, diamonds’ exceptional hardness and fieriness are directly related to the mantle’s pressure where they crystallise. Originally colourless, diamonds can be gifted with any colour: these so-called “fancy” diamonds are usually tinted by trace amounts of other elements like nitrogen or boron.

Along with diamonds, peridots are another gem from deep within the Earth. Peridots often travel towards the surface inside a special volcanic rock called kimberlite that violently erupts. Although peridot is its gemological name, mineralogists call it forsterite instead. Pure forsterite is amazingly rare and colourless. In contrast, peridot is always green because of the presence of minor amounts of iron, giving it an olive-green colour (hence its other name: “olivine”). When aggregated together, peridot crystals form a massive rock called peridotite that presumably composes most of the Earth’s upper mantle.

Octahedron (58.6 carats) and two twin crystals (15.6 and 11.5 carats)

Misc fancy diamonds (31 carats)

Premier Mine, Gauteng, South AfricaGift of R.L. Bischoffsheim, 1889

MNHN Collection, Paris

Cullinan and Kimberley, South AfricaGifts of R.L. Bischoffsheim, 1889

and L. Taub, 1890MNHN Collection, Paris

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teMperature

Inside the Earth’s crust, only a few kilometers down, temperature is another major player. There, temperature also controls the way minerals crystallise from molten rocks: temperature ranges from about 1,000°C down to a couple of hundred degrees. Among the many minerals able to crystallise from these magmas, quartz is among the most common. It can even form giant crystals if time permits: a few million years of perfectly steady crystallisation without any disturbance.

Curiously, until the 18th century, European scientists believed that rock crystal – a transparent variety of quartz – was made from an irreversible freezing of water. Actually, the word crystal derives from the Greek krystallos, meaning “frozen”. Crystal collections were even called “frozen curiosities”. But thanks to the works of a number of scholars, including René-Just Haüy (1734-1822) in Paris, we know that quartz was actually formed at high temperatures. In fact, Haüy is no less than the founder of modern mineralogy and gemmology. In Paris, he was a professor at the French National Museum of Natural History that preserves its beautiful collections to this day.

Often associated with quartz and thoroughly studied by Haüy, tourmaline occurs with a variety of amazing colours that illustrate subtle changes in its chemical composition during crystallisation.

Rock crystal (quartz),aggregate of crystals

Rubellite crystal(group: tourmaline, species: elbaite)

Isère, FranceFrench Royal Collections (18th century)

MNHN Collection, Paris

Pala, California, USAGift of J. Pierpont-Morgan, 1905

MNHN Collection, Paris

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transport

With pressure and temperature decreasing closer to the Earth’s surface, another key principle in “mineral-making” is transport. Elements can migrate from one location to another and, thanks to that transport, they can aggregate together to make a bigger crystal out of a mass of smaller ones. Again, it takes time, and those migrations can be slow, like most geological processes. They must also be as constant as possible over those geological periods, so that the result is sufficiently voluminous and homogeneous.

Some incredible minerals can develop in that context: gold and topaz, among others, often crystallise in such conditions, as transport helps to aggregate larger crystals within more significant deposits. Those outcrops, called “primary”, can later be eroded and their gems transported by water into sediments, which then form “secondary deposits”.

This also applies to aquamarine, a blue variety of beryl – a mineral species notable for its other variety, the emerald. But not all emeralds are the same. Displayed here are emeralds formed under moderate temperatures and pressure, like the ones mined today in Norway or in Northern Carolina. But emeralds can also form in other circumstances, as presented next.

Emerald crystal on pyriteand calcite (possibly reconstructed)

El Chivor, Boyacá, ColombiaGift of H.-J. Schubnel, 1987

MNHN Collection, Paris

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water

Transport is often facilitated by water, which is an excellent “migration agent” within the Earth’s crust. However water is crucial not just inside the Earth but also near its surface, where pressure and temperature are close to ambient. This is how Colombian emeralds form, in sharp contrast with their Norwegian counterparts. In Colombia, it is water percolation within sediments that induced emeralds to form, with only a moderate input from pressure and temperature. Amethyst is another manifestation of that ubiquitous phenomenon: in France, it forms impressive veins deposited by hot and pressurised aqueous solutions, whereas in Brazil amethysts grew inside geodes within weathered basaltic rocks due to water percolation at much lower temperatures and pressures. But water remains the common agent.

Opals, particularly in Australia, are also formed due to water infiltration at low pressure and temperature, exactly like the chalcedonies that are encountered in the same vesicles as Brazilian amethysts. Chalcedony displays numerous varieties depending on their colour: onyx, chrysoprase or carnelian. Some of these varieties can also form at the bottom of oceans, in fresh sediments. In some rare cases, carnelian can even replace the shell of a living Nautilus shell to fossilize it.

Amethyst gem crystals White noble opal massiveand two cabochonsLas Vigas, Veracruz, Mexico

Gift of the Total Foundation, 1998MNHN Collection, Paris

Queensland, AustraliaMNHN Collection, Paris

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oxygen

Oxygen is produced by living organisms – originally cyanobacteria, 3.5 billion years ago. Oxygen oxidises. This means, among other things, that some metals – like iron or copper – can be significantly affected in their physical, chemical and mineralogical properties depending on the amount of oxygen present in their environment. For instance, when oxygen is rare, iron becomes more soluble in water. Adding lots of oxygen makes iron precipitate from that water. It is the reverse for copper: it is less soluble in water when reduced, but much more soluble when oxidised.

The production of oxygen by living organisms, particularly in oceans, has enriched the Earth’s atmosphere with oxygen. But oxygen has deeply modified the mineralogy of the Earth’s surface by producing a huge amount of “new” minerals, meaning “minerals that did not exist as extensively before that”.

Among them, two can be fine gems: malachite and turquoise. Both are coloured by an oxidised form of copper that is not encountered other than on the Earth’s surface. Curiously, one is green while the other is blue. This is because different atoms surround oxidised copper in malachite (a carbonate) compared to turquoise (a phosphate).

Malachite (cut and polished)Tourtscheninowski, Ural Mountains, Russia

Former collection of the King’s Cabinet of Natural History

MNHN Collection, Paris

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life

For 3.5 billion years, life has deeply modified the Earth’s surface. Not only have some organisms synthesised oxygen, but many have also produced shells and skeletons. These are formed by “bio-minerals”, meaning minerals produced by living organisms. They include ivory, coral, pearls and mother-of-pearl, among many others. This is where geodiversity meets biodiversity. It is also an example of life using minerals to create other minerals. And a lot of rocks on the Earth’s surface are related to bio-mineralization. Limestone is the most common example, because it is composed of zillions of microscopic fossilised shells.

These bio-minerals are complex combinations of minerals, usually calcium carbonate (pearls and nacre) or calcium phosphate (bone, ivory) bonded to organic matter, mostly proteins. When the organism dies, microorganisms decompose the organic fraction and produce carbonic gas (CO2), while the mineral part remains: it could eventually form fossils.

Another excellent candidate for fossilisation is wood, despite the fact that it contains a very small bio-mineral fraction. But when the wood is buried after the tree’s death, mineral matter progressively replaces each cell until the total volume is petrified. The wood can then be fossilised “according to the invading mineral”: opal, chalcedony, jasper, etc. In fact, geodiversity accepts everything.

Oyster shell with two fine pearlsThursday Island, Queensland, Australia

Gift of J. Pierpont-Morgan, 1903MNHN Collection, Paris

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MetaMorphisM

With fossilisation, the Earth’s materials are buried back at greater depths. Little by little, mineral accumulations are subjected to increases in pressure and temperature, inducing re-crystallisation: this is metamorphism. Metamorphism can also take place when two continents collide together.

This is how Afghan lapis lazuli and the rarest Mogok rubies formed, based on limestone deposited within a lost ocean. In addition, other rocks can be metamorphosed, like clays, to recrystallise into particular rocks within which amazing sapphires can grow.

When pressure further increases, beautiful jadeite appears – the main component of imperial jade. These tremendous pressures can only be achieved by a large mountain range resulting from tectonic collision. This explains why they are found where plate tectonics are hyper-active, such as around the Himalayas.

This stage occurs in a high-pressure environment – that of diamonds and peridots. The Earth’s cycle is complete, illustrated by the scarcest crystals, each of them representing a critical aspect of the seven principles that have built our precious Earth. This cycle is ongoing: gems keep crystallising. It is happening right now in the vaults of the Earth but it requires millions of years to be observed.

Sapphire single crystal(13.5 carats polished)

showing growth patterns

Ruby single crystal on marble

Sri LankaMNHN Collection, Paris

Luc Yên, Yen Bai, VietnamGift of the Total Foundation, 1998

MNHN Collection, Paris

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L’École Van Cleef & Arpels and the French National Museum of Natural History

Founded in 2012, L’École Van Cleef & Arpels is the first introductory school of Jewellery and Watchmaking intended for the general public. It aims to popularise these exceptional crafts with classes that are open to all. Art historians, virtuoso craftsmen, experienced jewellers, gemmologists and master watchmakers share their knowledge with enthusiasts from all over the world.

The curriculum, which combines practical and theoretical aspects, is organised around three key pillars: savoir-faire, art history of jewellery and the universe of gemstones.

Since 2015, L’École Van Cleef & Arpels and the French National Museum of Natural History have been engaged in a fruitful partnership. For ‘‘The Art and Science of Gems’’ exhibition, L’École invited the French National Museum of Natural History to present a unique selection of rare gems and minerals that will doubtless inspire artists of the future.

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ArtScience Museum

ArtScience Museum at Marina Bay Sands is Southeast Asia’s leading cultural institution that explores the inter-relationship between art, science, technology and culture. Featuring 21 galleries totalling 50,000 square feet, the iconic lotus-inspired building has staged major exhibitions by some of the 20th century’s key artists, including Salvador Dalí, Andy Warhol and Vincent Van Gogh, as well as major exhibitions which explore aspects of scientific history.

Iconic architecture

An iconic presence along the Marina Bay waterfront, ArtScience Museum is a living, breathing embodiment of the ArtScience theme. Designed by renowned architect Moshie Safdie, with a form reminiscent of the lotus flower, ArtScience Museum has been called “The Welcoming Hand of Singapore” by Mr Sheldon Adelson, the visionary chairman of Las Vegas Sands Corp, the parent company of Marina Bay Sands.

The structure of the building is made up of 10 “fingers” anchored by a unique round base in the middle. The interiors of the fingers are unique gallery spaces with natural lighting from the fingertips illuminating the sculptural interior wall forms. The roof of ArtScience Museum allows rainwater to be harvested and channelled down through the centre of the structure to the reflecting pond at the foot of the building. Rainwater is recycled and redirected through the water feature to create a continuous cylindrical waterfall.

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Immersive decor designed by Jouin Manku

World-renowned architectural and design agency Jouin Manku imagined an immersive decor for the exhibition, a comprehensive journey into the history of jewellery and gemstones through more than 400 creations and 200 minerals. In keeping with the exceptional backdrop of the ArtScience Museum, conceived to suggest a lotus flower, Patrick Jouin and Sanjit Manku drew subtle inspiration from the natural world to create a set design in which the organic realm of the Earth’s forces blends with the enchanting universe of Van Cleef & Arpels.

In each gallery, varied showcases form the basis of a scenic decor where jewels and minerals mingle side by side. Jewellery creations can be admired from every angle, seemingly floating in mid-air within elongated tubes, while gemstones from the collections of the French National Museum of Natural History are presented in hexagonal columns of diverse heights reminiscent of natural crystals. Sometimes standing alongside each other in the same setting, the two worlds commune, reflecting the intimate bonds that unite gemstones born millions of years ago and creations fashioned by human hands.

Making their way among the galleries, visitors are submerged in a timeless atmosphere of mystery, heightened by lighting effects ranging from midnight blue to deep green. To guide guests through the exhibition, vibrant cotton-thread curtains outline display spaces, creating an airy and fluid environment. The 1,500 m² of galleries dedicated to the exhibition are thoroughly transfigured by the decor, which deftly complements the items on display while immersing visitors in a world of dreams and treasures.

Gallery 9 – Icons Gallery 2 – Couture

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The Jouin Manku Agency

Van Cleef & Arpels and Jouin Manku have developed a longstanding relationship since their first collaboration in Place Vendôme in 2006. Over the years, the architectural and design agency has contributed to numerous projects, including exhibitions devoted to Van Cleef & Arpels throughout the world.

The duo of Patrick Jouin and Sanjit Manku created the decors for “The Spirit of Beauty”, at Tokyo’s Mori Arts Center in 2009, “Set in Style”, at New York’s Cooper-Hewitt National Design Museum in 2011, “Timeless Beauty”, at the MOCA Shanghai in 2012 and “L’Art de la Haute Joaillerie”, at Paris’ Musée des Arts décoratifs in 2012-2013.

Patrick Jouin and Sanjit Manku have taken part in exceptional projects with leading names, deploying their creative dialectic in the fields of spatial planning and architectural design. They instil in each project a fusion between the designers’ personal analyses and inspirations and a contemporary, universal language. Beyond the spaces they design and the elements that make them unique, they create moments of grace as discovery supersedes architecture itself, accentuating the experience of a suspended moment in time: the fleeting revelation of a new venue.

Sanjit Manku and Patrick Jouin

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Innovative educational tools

ArtScience Museum at Marina Bay Sands explores the interrelationship between art, science, technology and culture. Intended for a transgenerational audience, its exhibitions are distinctive for the rich content they offer (text, video, audio, etc.), promoting comprehension and discovery. This focus on disseminating knowledge is shared by Van Cleef & Arpels. To this end, numerous educational tools are employed throughout the exhibition. Films, interactive activities and games enrich the experience, immersing visitors in the fascinating world of stones and jewels.

Audio guide app

A free audio guide app is available for download to smartphones, offering complementary content to accompany visitors as they explore the exhibit. At the entrance of each room, they enter a digital world: the theme of the gallery, the history of select Van Cleef & Arpels pieces, and the birth of gems are vividly described.

A range of creations is highlighted through specific and engaging displays, adding a playful touch to the audio guide. The public can interact with the items projected on the screen: challenges include recreating jewellery with a touch of their fingertips, identifying the Maison’s sources of inspiration on a world map and catching butterflies using augmented reality. Pleasure, learning and discovery combine throughout the exhibition.

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Creation up close

To present a piece of jewellery up close, an innovative optical system known as “exobox” rounds off the nature-themed exhibit. This system projects a three-dimensional image of the Bouquet clip, created in 1938, which seems to hover in mid-air. The materials used – yellow gold, topazes and sapphires – appear in a new light, as if one could simply reach out and touch them.

The exhibit also provides a look behind the scenes to witness the creation of a Van Cleef & Arpels piece thanks to the interactive tour of the Place Vendôme workshops in Paris. In the Cinema, visitors can navigate a touch screen to discover the savoir-faire of High Jewellery.

Meanwhile, nine short films by French directors Loïc Prigent and Willy Papa give a voice to the Maison’s craftsmen. Jewellers, gem setters, expert gemstone buyers and more: Van Cleef & Arpels’ Mains d’Or passionately share the secrets of their art. Once again in the Cinema, a digital version of the exhibition catalogue allows for convenient exploration of the rich texts and images featured in the publication while enjoying supporting videos.

Extract of the film dedicated to the lapidary

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www.artscienceofgems.vancleefarpels.com

#TheArtScienceOfGems

@VanCleefArpels

Download the audio guide application

Mystery Set, Minaudière, Alhambra, Rose de Noël, Pierres de Caractère,Mains d’Or and Cadenas are trademarks of Van Cleef & Arpels.

Educational activities

Several entertaining and informative activities are available for younger museumgoers during the exhibition. Throughout the visit, children discover different shapes and cuts, fashion their own jewellery out of cardboard and even recreate a jewel on a touch screen. In the Education Gallery, the museum develops themed workshops aimed at Singaporean students.