VAN CLEEF & ARPELS EXHIBITION AT MUSEUM DECORATIFS, PARIS

KEE@FSWMAG.COM

VAN CLEEF & ARPELS, ONE OF THE WORLD'S FINEST JEWELLERS, IS HOSTING AN EXHIBITION IN PARIS AT MUSEUM DECORATIFS FROM NOW TILL 10 FEBRUARY 2013.
Over 400 dazzlers are on display so go and oogle!

Star bling; Chrysanthemum of Mystery Set rubies and diamonds


Just look at the various-cut sapphires of different shapes and graduating colours, painstakingly selected so that one shade slowly darkens till it becomes black diamonds and speckled with white diamonds!

Gold and diamond bracelet wuth cute golden, bouncing balls!

A Van Cleef & Arpels signature; the zip necklace that be zipped up and down like the one in your groin!

Bracelet set with beautiful purple amethysts in hexagonal, honeycomb pattern

Bracelet designed with Ancient Egyptian motifs

Stunning and one of a kind minaudiere or jewel and make-up box that seems to contain everything in hidden compartments, from a clock to powder compact, lipstick and even cigarette lighter!


The creative daring of this great jewelry Maison will be brought dazzlingly to light in the Arts Décoratifs Nave with over 500 pieces that have perpetuated the renown of Van Cleef & Arpels since 1906. These prestigious creations will be shown with archive documents and drawings, in an exhibition design by Jouin Manku. The history of Van Cleef & Arpels is studded with technical inventions pass ed down by its craftsmen and crafts women from generation to generation. It is this knowledge, kept secret and combined with imagination and very free sources of inspiration, that underpins this formidable profusion of forms and models.

In 1906 Alfred Van Cleef, born into
a family of lapidaries, went into
partnership with his brother-in-law
Salomon, known as Charles, then
with his brother Julien Arpels, as
jewelers. When they opened their
first shop at 22 Place Vendôme their
success was immediate. Branches were
opened at Dinard, Nice, Deauville and
Vichy, catering to a swanky clientele
appreciative of their talent. After the
enforced interval of the First World
War, the Place Vendôme premises were
enlarged and two other shops were
opened in Lyon and Cannes.

One of the most prestigious pieces
created during this period, the 1925
parure, composed notably of a bracelet
and brooch, was shown at the Exposition
Internationale des Arts Décoratifs et
Industriels Modernes in Paris, where it
was widely acclaimed and awarded a
grand prix. These pieces, decorated with
diamond and ruby roses with emerald
leaves, are the epitome of the flower
theme that Van Cleef & Arpels developed
in a wide range of forms. During this
period, pieces were inspired by flora
and fauna but also ancient Egypt,
China, Japan and Persian civilisation,
which in turn became pretexts for new
colour combinations of lapis lazuli,
turquoise, onyx, jade, coral, enamel,
lacquer and precious stones. In parallel,
the abstract, geometric forms in light
relief of Van Cleef & Arpels’ diamond
and platinum jewelry explored Art Deco
aesthetics.

The years 1926 to 1939 were marked
by the fruitful collaboration between
Renée Puissant (daughter of Esther
Arpels, known as Estelle, and Alfred
Van Cleef), who took charge of the
artistic direction, and the designer René
Sim Lacaze. The techniques developed
during this period were instrumental
in definitively establishing the fame
and style of Van Cleef & Arpels. The
Minaudière case is an example of their
complete mastery. Conceived by Charles
Arpels to replace the evening bag, this
flat rectangular box, in gold, styptor,
(a non-precious alloy) or lacquer, has
multiple compartments for the modern
woman’s beauty accessories.

Another innovation, the famous Serti
Mystérieux technique, patented in
1933, was a veritable revolution: the
stones are set side by side without
claws or bezels, so that the mount is
invisible. The Boule ring, peony clip,
feathers and chrysanthemums were
created in this manner. In 1934, the
first Ludo bracelets with a flexible
gold fabric band, initially with a brick
then a hexagonal motif, appeared.

A few years later, at the New York World’s
Fair in 1939, Van Cleef & Arpels showed
a range of exceptional ensembles
including the Passe-partout, with gold
and Ceylon sapphire flower clips on its
snakelike chain. A transformable piece
of jewelry, this necklace can be wound
around the wrist and worn as a bracelet.
After the success of the New York
exhibition, Van Cleef & Arpels went
into a sombre period. During the war,
the Arpels brothers and nephews
remained in New York while in France
Renée Puissant maintained the
Maison’s activities as best she could.

Paradoxically, several of the most
beautiful pieces were created during the
war years, including the extraordinary
gold Oiseau de paradis, with its feathers
set with rubies and sapphires, created
in 1942, and the Fourragère, patented
in 1943, which can be regarded
as a piece of resistance jewelry.

After the war, the second generation –
Claude (1911-1990), Jacques (1914-
2008) and Pierre Arpels (1919-1980) –
took over the Maison’s management.
The invention of the Maison’s Zip
necklace, patented in 1939, was
finally perfected in 1951. Created by
Renée Puissant for the Duchess of
Windsor, this daring piece, closing
into a bracelet with a gold or platinum
cord and tassel, became one of the
Maison’s most emblematic creations.

The ensuing decades were studded
with other inventions: the Philippine
ring in 1968, is a bangle of hardstones
(coral, chalcedony, lapis lazuli)
inlaid with diamonds in the middle.

The large chain necklaces of the
1970s combine beads of hardstones
and openwork beads in cabled gold
thread. The popularity of the Alhambra
long necklace, composed of quatrefoil
medallions alternating with beaded
gold and hardstones, has never waned
and it is still one of the Maison’s iconic
creations. The 1980s and 90s saw a
return to short necklaces, part of a
complete parure with sumptuous stones
3. Model wearing a cotton wool hat adorned with clips and “Cristaux
de neige” ear motifs in gold and diamonds created in 1946.

In the late 1990s, Van Cleef & Arpels
joined the Richemont group, which
breathed new dynamism into the Maison
by diversifying the High Jewelry lines
and, like haute couture, creating annual
collections: “L’Atlantide” in 2007, “Les
Jardins” in 2008, “California Rêverie”
in 2009, “Les Voyages Extraordinaires”
in 2010 and “Bals de Légende” in 2011.

Jewelry can crystallise the most
intimate and personal emotions and
stories, and many are the clients who
have developed a veritable passion for
Van Cleef & Arpels’ creations. Certain
pieces are linked to the destinies of
personalities, including queens and
princesses: the court of Iran and
princesses Fawzia, Soraya and Empress
Farah Pahlavi, the Maharani of Baroda,
the Duchess of Windsor and Princess
Grace of Monaco, to name but a few.

The art of Van Cleef & Arpels has
captivated countless stars, including
Elizabeth Taylor and Maria Callas, and
marked the history of high society from
the Roaring Twenties to the Fifties,
and from the jet set in the 1970s
to the celebrities of our media era.

Creative originality, the constant quest
for perfection and a taste for technical
innovation are the hallmarks of the Van
Cleef & Arpels style. The care taken
over volumes, reliefs and proportions,
and the choice of precious and fine
stones and their brilliance, are the
keys to the elegance and sophistication
of Van Cleef & Arpels jewelry.

The 1920s
During the Roaring Twenties, the
carefree inter-war period, Paris was the
undisputed capital of the arts, luxury
and entertainment. The innovations
taking place within the so-called major
arts, notably Suprematism and Neoplasticism,
also affected the applied
arts and had an important influence on
jewelry design.

 Art Nouveau gave way to
the pared-down lines of Art Deco. Flowers
and animals disappeared from jewelry
design to be replaced by geometric
forms. Ancient civilizations, especially
Egyptian, Chinese and Japanese, were
also important sources of inspiration for
jewelry designers. Van Cleef & Arpels’
designs drew upon all these sources
while continuing to produce pieces with
naturalist themes.

 The long necklace
became an essential item of every
fashionable woman’s jewelry collection
at that time, together with flexible
bracelets and manchette (cuff) bracelets;
long pendant earrings adorned women’s
ears and the Maison’s multi-purpose
clips were particularly successful.
Diamond and colored Jewelry
After World War I, high jewelry was
dominated by harmonies of black
and white, notably seen in chatelaine
watches decorated with diamonds,
precious stones and onyx.

 At the start of the 1920s, a return to color was
recommended by Sonia Delaunay in
the visual arts and André Vera in the
decorative arts. From 1924, diamond
sets designed by Van Cleef & Arpels
included rubies, emeralds and sapphires.
Tallow-cutting was introduced by the
workshop, adding a special sensuality
to the stones and their colors, as seen
in some of the Egyptian-style pieces of
jewelry, and particularly in the Panier
Fleuri (Flower basket) and Oiseau de
Paradis (Bird of Paradise) clips, and the
Indian bracelets combining figurative
and naturalistic motifs.

From 1925 onwards, diamond jewelry
was in vogue. Van Cleef & Arpels
made a name for itself with its multipurpose
clips: bird and feather clips
could be transformed into vestimentary
ornaments adorning collars, coats,
hats or belts, or even worn in the hair.

Long necklaces set with diamonds were
another of the Maison’s distinctive
designs from this period, with matching
manchettes. Circles, squares and
lozenge-shaped forms made up these
diamond sets in greater or less relief
in a variety of cuts (baguette, brilliant,
navette, pear, square), and mounted
on platinum, which was more malleable
and less visible than y ellow gold.

Egyptomania
Egyptian-style jewelry featured
significantly in the World’s Fairs after
1867. The discovery of Tutankhamun’s
tomb in 1922 gave this interest a
further boost. As early as 1923, Van
Cleef & Arpels’ designs displayed the
influence of the painted scenes found
in the tomb, with pharaonic figures
portrayed in profile and kneeling,
embellished with Egyptian symbols
such as the ibis, the scarab, the lotus
flower, the god Horus, and the Sphinx.
Scenes of offering and fishing were
depicted on flexible bracelets and clips

Boxes and bags
Van Cleef & Arpels is known for
designing objects in precious materials.
Some of the nécessaires are true works
of art, like the one designed by the
Russian painter Vladimir Makovsky
(1884–1966) in 1926; he created
several models for the Maison, similar
to medieval-style miniature paintings,
in mother-of-pearl inlay. The Orient
was a fertile source of inspiration
for new combinations of ornamental
gemstones like cornelian, lapis lazuli,
turquoise and mother-of-pearl, and for
techniques such as enamel and lacquer.
A Japanese influence is clearly seen in
the nécessaires and inro-style boxes
decorated with stylized clouds, dragons
and traditional landscapes in motherof-
pearl and jasper set with gemstones.

The sinuous lines of Ottoman art
unfurled across the surfaces of
cigarette boxes and powder compacts
engraved with lobed ornamental panels
of interlacing designs and magnificent
mother-of-pearl mosaics in imitation
of textiles and carpets. The Modernist
trend, with its geometric lines, was
reflected in several of the Maison’s
vanity cases, some in praise of speed
and machines, themes that were also
treated by designers Jean Després,
Gérard Sandoz and Jean Fouquet.

The 1930s
In spite of the Wall Street crash in
1929, this was a highly innovative
decade. Within the haute-jewelry
world, a number of strong female
personalities headed up the workshops:
Jeanne Toussaint at Cartier, and
Suzanne Belperron at Jeanne Boivin,
while at Van Cleef & Arpels, a
productive collaboration between the
artistic director Renée Puissant and
the designer René-Sim Lacaze got
underway.

The Minaudière
It was one of Van Cleef & Arpels
clients, Florence Jay Gould, the wife
of the American railroad magnate,
who gave Charles Arpels the idea for
this alternative form of evening bag,
first patented in 1933. One evening
he happened to notice that she had
stuffed all the items a woman cannot
do without (powder compact, lipstick,
lighter…) into her packet of Lucky Strike
cigarettes.

 The idea of a luxurious box
cleverly compartmentalized gave rise
to a large variety of models. Alfred Van
Cleef named it the Minaudière in tribute
to his wife Estelle Arpels, who was
said to whimper (minauder) obligingly.
Its form was originally long and flat,
making it easy to hold, and it gradually
replaced bags made of fabric or leather
designed to match women’s outfits.

It was made of gold, black lacquer or
styptor, an alloy of less precious metals.
Some of the early models, engraved
with lines radiating outwards like a fan,
were embellished with Mystery Setting

Modernism
In the late 1920s, new sets appeared,
adapted to the modern woman.
Larger, geometric forms were seen
in monochrome colors in subtle
combinations of materials, playing
upon the contrast between matt
surfaces like chalcedony and shiny
ones like gold, increasingly used, as
in the Chapeau Chinois (Chinese Hat)
set presented at the 1931 Exposition
Coloniale.

 Hardstones were combined
with diamonds, and rock crystal with
gold, as seen in a series of streamlined
bracelets composed of semi-circles
joined together by nail heads. The
economic crisis was in part responsible
for the creation of Van Cleef & Arpels’
signature transformable jewelry: clips,
often double ones, could be worn
together or singly, such as the Flamme
(Flame) clips in brilliants and baguette
diamonds, worn as a clip on a lapel, on
a hat, or in one’s hair, depending on
one’s mood.

 The Puzzle clips, pyramid
forms with sharp edges, and the Disques
(Discs) clips with alternating brilliants
and baguette diamonds mounted on
platinum and white gold, were part of
this modernist tendency.

The Ludo Bracelet
The Ludo bracelet, named after the
nickname given to Louis Arpels, was
composed of a meshlike flexible band
of polished gold, at first in a brick
pattern (1934) and then in a hexagonal
or honeycomb pattern (1935).

 These delicate interlocking rows were
frequently dotted with ruby or diamond
cabochons. The bracelet lent itself to all
manner of fanciful interpretations and
appeared in a variety of guises, crowned
with an ornate clasp in imitation of belt
buckles or a Mystery Setting “bridge”
motif with matching earrings and
rings.

The 1937 exhibition
The Exposition Internationale des Arts
et Techniques dans la Vie Moderne
(International Exhibition of the Arts and
Techniques of Modern Living) opened
in Paris on May 24, 1937, with Georges
Fouquet presiding over Classe 55, the
category for “Joaillerie, Bijouterie,
Horlogerie Fine” (Precious-stone Jewelry,
Precious-metal Jewelry, Fine Watches).
From an aesthetic viewpoint, geometric
forms were gradually abandoned in favor
of a more decorative repertoire with
curves and arabesques.

Naturalistic subjects, however, were still
found. Van Cleef & Arpels presented
Mystery Setting pieces, notably
spectacular ruby and diamond sets.
Necklaces with scrolls and volutes,
Éventail (Fan) and Flots de rubans double
clips, and Jarretière (garter) bracelets
were all part of this revival. Diamonds,
the uncontested stars of 1930s jewelry,
were still greatly in evidence, mainly
baguette-cut or brilliants together with
rubies, sapphires and oval-facetted
emeralds, claw-set in platinum.


The Mystery Setting
Van Cleef & Arpels is particularly famous
for this setting which revolutionized
the art of setting precious stones. The
Mystery Setting, patented in 1933, was
inspired by nineteenth-century Roman
micromosaics.

It enabled stones—rubies, sapphires
and diamonds for the most part—to be
fixed without the mount being visible,
thus allowing a subtle play of light and
shadow across their surface. It was a
masterpiece of virtuosity and gave
rise to one-off pieces of jewelry first
presented at the 1937 Exposition.

Flowers, which had always been one
of the Maison’s favorite themes, were
produced in an impressive range of
clips including the Pivoine (Poppy)
and Chrysanthème (Chrysanthemum)
clips, and the famous Rose clip made
for the Egyptian court (it alone required
614 rubies and 214 emeralds!).

During the 1940s and 1950s, leaves
were increasingly featured on single
and double clips (ivy, vine, American
sycamore, holly…); a number of these
models were created for the Duchess of
Windsor. The Mystery Setting was also
used for a whole host of forms typical
of this period: at first, on flat or gently
rounded surfaces such as the clasps of
Minaudières, and then on curved forms
and naturalistic pieces of jewelry with
different sized, overlapping volumes.

Floral subjects in an easily recognizable
style persisted into the 1960s, as
seen in the Trèfle (Clover), Anémone
(Anemone) and Feuille de Marronnier
(Chestnut Tree Leaf) clips, composed of
petals in Mystery Set rubies or sapphires
offset by brilliants at their centre, which
remained one of the Ma ison’s classics.

Bows
Bows were a common theme in European
jewelry from the 18th century. They
were used as costume adornments and
frequently included a jewel, usually
in the form of a pendant. From 1925
onwards, and throughout the 1940s
and 1950s, it was found in a multitude
of designs for clips (single bows,
geometric ones, rosettes…) in brilliants
and baguette diamonds mounted on
platinum.

 Rather more unusually, a
series of flowing ribbon scrolls was
produced in the 1940s in gold thread
embellished with diamonds, rubies and
sapphires. During the 1990s, ribbonand-
lace bows were seen in the Pochette
(Pocket Handkerchief) and Mouchoir
(Handkerchief) clips.

Passe-partout
Presented at the World’s Fair in New
York in 1939, the Passe-partout is a
multi-purpose item of jewelry composed
of gold flower clips decorated with blue,
yellow and red Ceylon sapphires that
can be attached to a flexible snake-chain
choker. It could be worn as a necklace
or a bracelet, and the adjustable clip
was a fashion accessory that could be
worn on a lapel or adorning a belt.

the 1940s
During the war, Van Cleef & Arpels’
workshop operated at a considerably
reduced pace. Precious stones no
longer reached Europe and the jewelry
houses fell back on gold, considered a
safe investment, for their creations.
“Resistance” pieces made their
appearance, such as the Fourragère
(Braid), inspired by military decorations,
or clips on the theme of the Liberation,
such as the Cage, Flambeau (Torch)
or Pax (“peace” in Latin) clips.

 In New York, the Maison’s ballerina clips became
immensely fashionable, and were taken
up by the Paris workshops after 1945.
Another innovative design dating from
the 1930s, the Cadenas (Padlock) watch,
met with renewed success. The postwar
period saw the relaunch of luxury
goods, accompanied by a re-emergence
of frivolity, and a coming together of
fashion and jewelry with the appearance
of motifs inspired by textiles (knots and
bows, lace, tulle, trimmings…), which
remained in fashion until the 1950s.

Transformable jewelry continued to be
developed at this time, including models
like the Passe-partout and the Hawaii
series that had been created at the
eve of the Second World War, and that
became popular again at the end of the
decade.

Lace and passementerie
Textile motifs started to appear in the
1940s. Gold was worked in imitation of
the weave of certain fabrics or decorative
trimmings such as herringbone, jersey,
tulle, netting, drop beads, knots and bows,
similar to women’s fashion accessories.

The light ethereal qualities of tulle, for
example, were reproduced in rings and
bracelets, while a number of necklaces
and bracelets had drop beads set with
brilliants or rubies recalling different
kinds of trimming. Lace bows were found
in Van Cleef & Arpels’ collections from an
early date, and continued to be successful
throughout the 1940s, with polished
pierced gold offset with diamonds
to imitate the appearance of lace.

The ballerinas
In spite of the war, the decade was filled
with colourful figurative motifs. In New
York, at the beginning of the 1940s,
ballerina and fairy clips were much
vaunted in advertisements. The dancers’
graceful postures, inspired by the famous
eighteenth-century ballerina Camargo,
were emphasized by skirts of differentsized
rose-cut diamonds and smaller
prong-set rubies and emeralds.

 The models made in the New York workshop
had rose-cut pear-shaped diamonds
surrounded by rubies and emeralds for the
dancers’ faces. In Paris, different versions
were also made in gold, with pleated
skirts decorated with ruby cabochons
or small polished disks with turquoises
at their center, or openwork and laced
skirts adorned with rubies and sapphires.

The ballerina theme is also found on the
Lac des Cygnes (Swan Lake) powder
compact. Claude Arpels loved ballet and
joined forces with George Balanchine
in 1967 to work on a ballet entitled
Jewels, on the theme of precious stones.

the 1950s
The 1950s was a time of reconstruction.
Enhanced by technical innovation and
new materials, it provided a boost to
every area of creativity, reaching out to
a wider audience. The gradual revival
of luxury goods was echoed within the
fashion world by a renewed sense of
euphoria as embodied by Christian
Dior’s new look.

 Following the example of important couturiers with their readyto-
wear collections, Van Cleef & Arpels
launched La Boutique, which enabled
a new public to enjoy jewelry made
of yellow gold set with colored stones
and diamonds to be worn on a more
casual basis in the daytime. The Zip
necklace remained the most remarkable
innovation within the field of haute
jewelry. The decade was defined by the
commissions by two prestigious clients,
the Maharani of Baroda and Princess
Grace of Monaco.

The Zip Necklace
It took the Van Cleef & Arpels’ workshop
several years to perfect the Zip necklace,
one of its most prestigious designs. The
story behind its creation dates back to
circa 1938, when the Duchess of Windsor
suggested the idea to the Maison’s
artistic director, Renée Puissant, who
came up with a zip composed of diamonds
mounted on platinum.

 Perfecting this design took an immense amount of
patience and tenacity on behalf of the
workshop, for it was not until 1951
that the first model for a Zip necklace
was presented to the public. It was an
adjustable model that could be worn
open around the neck or closed as a
bracelet. Other models followed, as long
or as short necklaces, and it remains one
of the Maison’s leading designs.

Threads
Textiles were a continued source of
inspiration for Van Cleef & Arpels.
Threads of solid gold were often worked
in parallel lines, as “angel’s hair” or
chevrons set with precious stones. Serge
fabric inspired a particularly elegant
set with a ribbon tied in a negligent
fashion to one side. Coiled threads were
also appreciated by clients: bands of
braided gold formed necklets decorated
with flower clips of brilliants or doublethreaded
sautoirs. A range of bracelets
and earrings ending in cascades of
pendant stones added to this repertoire.

The 1960s
During this somewhat hedonistic period,
when alternative ways of thinking and
living were permitted, the decorative
arts experienced an explosion of forms,
colors and materials — if it was new,
it seemed possible. Artists’ jewelry
came into being, favoring choice of
materials as the expressive means.
Dressed in Saint Laurent, Courrèges or
Paco Rabanne, women wore long gold
Alhambra necklaces set with gemstones.

Designs made in limited series and sold
through La Boutique enabled a wider
range of luxury products to be available
at more affordable prices: animal clips,
Philippine rings and other fanciful sets
were updated. Indian jewelry inspired
Van Cleef & Arpels’ repertoire of forms
for its precious-stone jewelry (joaillerie).
In 1967, as the decade drew to an end,
the firm was commissioned to create the
coronation crown for the Empress Farah
Pahlavi, as well as sets for the Shah’s
daughters, sisters and half-sisters.

The Alhambra collection
The first Alhambra long necklace, created
in 1968, was made of yellow gold, with
a distinctive quatrefoil motif, a symbol
of good luck. It is one of Van Cleef &
Arpels’ emblematic designs, and was
produced in a number of variants: within
its beaded border, the quatrefoil motif
was filled variously with hardstones such
as onyx, cornelian, agate, lapis lazuli,
or coral, or with a mass of brilliants.

Further variants continued to be made
throughout the 1970s, all in gold, or
gold with brilliants, hardstones, or
mother-of-pearl. The quatrefoil motif
was also used in bracelets, rings,
clips, earrings, chokers and watches.
During the first decade of the 21st
century, the model evolved into the
Magic Alhambra, Lucky Alhambra, and
Byzantine Alhambra.

the 1970s
The decade brought to an end the
post-war boom years known in France
as the “Trente Glorieuses,” thirty
years synonymous with inventiveness,
development and changing lifestyles and
materials. The daring that typified 1970s
fashion was also found in jewelry design.

While precious-stone jewelry (joaillerie)
remained the realm of the privileged
few for whom Van Cleef & Arpels
distinguished itself with brio, preciousmetal
jewelry (bijouterie) gradually
broke free of traditional references to
make its own mark. More affordable,
while still made with precious materials,
people were drawn to its creativity and
stylistic diversity.

Imaginative jewelry
Precious-metal jewelry drew freely
upon contemporary events. “Crater”
jewelry, like the manchette bracelets
and the Sphere pendant were allusions
to Neil Armstrong’s first steps on the
Moon in 1969. While young designers
like Olivier Mourgue, Pierre Paulin and
Roger Tallon were exhibiting ergonomic
furniture inspired by new technologies
at the World’s Fair in Osaka, Japan, the
following year La Boutique offered its
clients a number of pieces devoid of all
gemstones–pendants in sinuous lines
combining amourette wood with gold, as
in the Osaka pendant.

 Large, imposing long necklaces were still in fashion,
combining twisted and granulated gold
with opaque, luminous materials like
turquoise, coral, jade, and lapis lazuli.
At the same time, a richly imaginative
bestiary of Far Eastern inspiration was
produced throughout the entire decade.
28. Panka set Paris, 1973 (necklace), 1974 (earrings), gold, brilliant-cut diamonds, cabochon-cut turquoises,

the 1980s
While the 1970s were synonymous
with liberty, the following decade saw
a return to order, with simplicity and
sobriety as the appropriate forms of
expression. Precious-stone jewelry not
only became more widely accessible,
but also a pleasure to be enjoyed on
a daily basis. Sets were classical but
still bold, with skilful constructions
created from a subtle play of geometric
lines, in combinations of brilliant-cut
diamonds and natural pearls.

 Precious metal jewelry brought together organic
materials like coral, ivory and mother-of
pearl with gold.

Flower and geometric lines
In contrast to the previous decade,
short necklaces were back in favor in
the 1980s, as part of full sets. Yellow
gold was especially popular and the
serti étoilé (star setting) is used: small
stars set with brilliants and linked to
one another by a mesh of gold threads
were scattered across adjustable
necklets (the Snowflakes necklace),
bracelets, earrings and rings.

 More rigid torque necklaces and breastplates set
with precious stones started to appear,
decorated with abundant naturalistic
motifs as in Elizabeth Taylor’s Daisy
set. Chains with large gold and diamond
links, like the Olympia necklace,
completed this array.

the 2000s
Alongside the famous jewelry houses
in the Place Vendôme, independent
jewelers began to appear. Couturier
jewelry, invented by Poiret, Chanel and
Schiaparelli at the start of the 20th
century, as an indispensible fashion
accessory, was particularly inventive.
Jewelers and couturiers worked
together, reinventing and shaking up
the look of jewelry, and contributing
to the revival of forms and materials.

From 2002 onwards, Van Cleef & Arpels
designed an annual themed collection.
Jewelry became narrative, with nature
as one of its favored sources of
inspiration. Bold forms were set with
multicolored gemstones in ranges of
colors that redefined the conventions
of high jewelry, opening up many new
horizons.

A fantasy world
Varied sources of inspiration ranged
from the underwater world for the
“L’Atlantide” collection (2007), and
plant life for the “Les Jardins” collection
(2008), to balls, notably for the “Bals
de Légende” collection (2011)… Certain
pieces were immensely theatrical and
could be worn in many different ways. A
number of older models also found new
expression in recent collections.

The Van Cleef & Arpels exhibition is
accompanied by a catalogue published
by the Musée des Arts décoratifs, edited
by Evelyne Possémé, head curator of
the Art Nouveau-Art Deco and Ancient
and Modern Jewelry Department at the
Musée des Arts décoratifs (her previous
publications include notably coeditorship
of Bijoux Art déco et avant
garde, Les Arts Décoratifs / Norma,
2009).

The publication contains illustrations of a
large selection of the pieces of jewelry on
display in the exhibition, both from Van
Cleef & Arpels’ own collection and from
private collections around the world.


The history of Van Cleef & Arpels began
with a love story when, in 1895, Esther
Arpels known as Estelle, the daughter
of a precious stone merchant, married
Alfred Van Cleef, the son of a lapidary and
diamond broker. In 1906, their passion
for jewelry and an entrepreneurial
spirit led them to go into business with
Estelle’s brothers, Charles, Julien and
Louis, and open a boutique at 22, place
Vendôme, in an area renowned for its
elegance and luxury.

Van Cleef & Arpels was born. The
jeweler’s Parisian address has never
changed, becoming its hallmark. The
Maison’s reputation, which spread among
the international elite, soon allowed it to
open up branches in the most fashionable
seaside and resort towns throughout the
world.
In the 1930s, a second generation came
on the scene. From 1926 to 1942, the
daughter of Alfred and Estelle, Renée
Puissant, great Artistic Director of the
Maison, marked the collections with the
stamp of her inspired creativity. Julien
Arpels’ sons, Claude and Jacques joined
by their brother Pierre after the war,
were also initiated into the profession.
Gifted with an enormous energy and an
innate business sense, Jacques seemed
destined to take over the main office in
Paris. After a visit with his father and
uncle Louis to the United States, Claude
decided to set up in New York in 1939,
where he would head the business until
1990.
During this first half of the century, the
Maison also developed new expertise
and creations that would become real
signatures: an ingenious clutch bag
called the Minaudière™ precious case,
the Mystery Setting™ technique making
the metal disappear under the precious
stones, the convertible jewel Passepartout
or the innovative Zip™ necklace
inspired by the zipper.
The elegance and ingenuity of the
creations, but also the use of the most
precious and rarest materials allowed
Van Cleef & Arpels to seduce royal and
princely families, Hollywood icons and
the most discerning clientele whose
highest standards and impeccable taste
demand ‘‘only the best’’. Some of these
legendary names include Prince Aga
Khan, Queen Sirikit of Thailand, Indian
Maharajas, Princess Fawzia of Egypt,
the Empress of Iran Farah Pahlavi,
the Duke and Duchess of Windsor, the
Princess Grace of Monaco, Jacqueline
Kennedy‑O nassis, Marlene Dietrich,
Ava Gardner, Elizabeth Taylor, Romy
Schneider, Sophia Loren and Maria
Callas. One of the latest creations by
the Maison was the Océan set given
by His Serene Highness Prince Albert
of Monaco to Her Serene Highness
Princess Charlène on the occasion of
their marriage on 2nd July 2011: a
white gold diadem set with diamonds
and blue sapphires that transforms
into a necklace. Today, Van Cleef &
Arpels continues to be renowned for
its innovative techniques and designs
which include only the highest quality
gemstones.
Successive collections have perpetuated
a highly original style defined by
poetry, culture, grace and femininity,
which allowed it to exert its influence
throughout the world.
4. Van Cleef & Arpels, since 1906…
> van cleef & arpels, l’art de la haute joaillerie
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Tandem, singular, multicultural, ambitious,
neither architects nor designers : Patrick
Jouin and Sanjit Manku invent a métier
at the crossroads of industrial production
and the long tradition of craftsmanship.
By combining their experience and
concordant conceptual and experimental
approaches they recognized the
opportunity for a dynamic collaboration
that would break down the boundaries
between object, interior and structure.
One of the fundamental values of
the agency is reinventing itself with
each project by working on a unique
conception, there are fundamental ideas
and design philosophies that inform
every project. Every aspect of a space,
from ceiling height to door handle,
spoon to staircase – is an opportunity
to demonstrate their combined vision of
objects, spaces and structures. There
are always custom furniture designs
produced by Cassina, Murano Due,
Ligne Roset, Cinna, Fermob, Kartell,
or Alessi associated with each project.
Substance, humour, poetry, sensitivity,
a humanistic vision, a passion for
unexpected encounters — every project is
a combination of creativity and risk taking.
Since 2007, the studio has achieved
the restaurants, Le Jules Verne and 58
Tour Eiffel at the top of the Eiffel Tower
in Paris, Chlösterli-Spoon des neiges in
Gstaad, the Dorchester in London, Gilt
at the New York Palace Hotel and Mix
in Las Vegas, for which it received the
2006 Travel + Leisure Design Award for
the most beautiful restaurant. From that
time, the projects diversify in sectors
such as hospitality in Saint-Tropez for
the Hotel Benkiraï or W Hotels, in high
jewelry at Place Vendome for the Van
Cleef & Arpels boutique, for the Silvera
showroom in Paris or for a 3500m2
private house in Kuala Lumpur. The
development of restaurants and the
bar of the Mandarin Oriental Hotel in
Paris, a new proposal for the Swatch
Art Peace Hotel in Shanghai, catering
areas for the Galeries Lafayette.
A team of 20 individuals, designers,
interior designers and architects work
together to push back the creation.
Good taste and attention to technique
and innovation are the production
characteristics of the agency. The
complementarity between Sanjit Manku
and Patrick Jouin holds at the edge of
two creative worlds that are tuned
into each other, where it is less about
sharing the work than — thanks to the
force of the tension, it is about “working
together”. Patrick Jouin draws on the
movement of the contemporary world–
substance for formalisation, where
Sanjit Manku is not in the same frame
of mind, searching on a personal level
by being in tune with his own voice.
The agency also collaborates with
leading museums in the world and in
France including the Musée du Quai
Branly, for which the agency created
the scenography for “Photoquai” in 2007
or the exhibition “Set in Style” for Van
Cleef & Arpels at the Copper Hewitt,
National Design Museum in New York
or to present the agency’s work at the
Instituto Tomie Ohtake in Sao Paolo on
the occasion of the Year of France in Brazil
in 2009, at the Centre Pompidou in Paris
in 2010 and MAD in New York in 2011.
The ongoing projects hone their style
and unlock untapped territories: The
scenography for the two upcoming
exibitions of Van Cleef & Arpels jewelry
Maison at Musée des Arts décoratifs in
Paris and Museum of Contemporary
Art in Shanghai. The transformation in
Strasbourg of royal estable in an hotel
and restaurant, the development of
restaurants and the bar in the Abbaye de
Fontervraud, the creation of restaurant
and bar for new Mandarin Oriental
hotel in Doha or the interior design of
several private residences in Shanghai.
5. exhibition design: agence jouin manku
Jouin Manku’s collaborations with

Van Cleef and Arpels:
In 2006, Patrick Jouin redesigned the
interior of the Vendôme salons (22,
place Vendôme), where the Maison has
been since 1906.
In 2009, Jouin Manku created the
scenography for the exhibition “The
Spirit of Beauty” at Tokyo’s Mori Art
Museum (from the 31st October 2009
to 17th January 2010). This exhibition,
spanning over 100 years of creation,
gathered 290 pieces from the Maison’s
Collection and from private French and
International owners. An appearance of
the branch on which pieces are exhibited
under transparent bells.
In 2010, Jouin Manku created the
scenography for the exhibition “Set in
Style” at the Cooper-Hewitt, National
Design Museum in New York (from the
18th February to the 4th July 2011).
In 2011, Jouin Manku redesigned
the interior of the boutique Le Temps
Poétique, at Place Vendôme in Paris.
In 2011, Jouin Manku designed the
interior of the Prince’s Building boutique
on Chater Road in Hong Kong. The
style of the Place Vendôme boutique is
adapted to this new environment. The
exterior façade is lit up by a large Reed
chandelier created by Patrick Jouin and
edited by Murano Due.
In 2012, Jouin Manku created the
scenography for the exhibition “Timeless
Beauty” at the Museum of Contemporary
Art in Shanghai (from the 20th May to
the 15th July 2012). Here one will find
the branch and the idea of the mix of
pieces from the Maison’s Collection and
from private collections.
In 2012, Jouin Manku created the
scenography for the exhibition “L’Art de
la Haute Joaillerie” in the Arts Decoratifs
nave in Paris (from the 20th September
2012 to the 10th February 2013). More
than 500 pieces will be exhibited here.
> van cleef & arpels, l’art de la haute joaillerie
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Conference
Van Cleef & Arpels.
The Art of High Jewelry
Thursday 15 November, at 18.30:
Van Cleef & Arpels. Heritage and archives.
With the exhibition’s curator, Evelyne Possémé, head curator of the Art Nouveau-
Art Deco, Ancient and Modern Jewelry Department at the Musée des Arts décoratifs,
and Catherine Cariou, Heritage Director at Van Cleef & Arpels.
In the conference room at Les Arts Décoratifs, 111 rue de Rivoli, 75001 Paris
Reservations obligatory 01 44 55 59 75
6. about the exhibition
Specialist guides
at the public’s disposition
Thanks to support from Van Cleef
& Arpels, two or three of Les Arts
Décoratifs’ specialist guides will be
available every day to talk to visitors
in front of the works and intervene as
required throughout the exhibition.
Transmitting knowledge and skills to as
many people as possible is central to
Les Arts Décoratifs. This undertaking is
in keeping with the fundamental aims of
the institution which, since 1864, has
organized “friendly encounters intended
to spread knowledge essential to artists
and craftsmen wishing to combine the
beautiful with the utilitarian.” These
“encounters” are also aimed at amateurs
flocking to the exhibition.
The notion of transmission was also
central in the founding of Van Cleef &
Arpels’ own school in Place Vendôme in
2011. The school is open to everyone,
for sharing the expertise of traditional
craft professions and, in particular, the
excellence of jewelry-making.
Sharing, revealing and enlightening
are precisely what the visitors service
generously created by Van Cleef & Arpels
sets out to achieve for the duration of
the exhibition.
Two specialist guides will be on hand
from Tuesday to Friday, and three at
weekends. This is a conscious choice and
investment to enable the experience of
high jewelry to be shared by as many
people as possible, namely feeling the
magic and emotion conveyed by these
creations – the work of Van Cleef &
Arpels’ Mains d’Or (master-craftsmen)
and lapidaries.
Alone or with their families, visitors
will be able to benefit from the guides’
special commentary in response to their
own amazement. This undertaking is an
incredible challenge for the Museum’s
education and cultural department
and will give these specialist guides
due recognition for their historical
and artistic knowledge and the many
hours of training undertaken with the
exhibition curators.
> van cleef & arpels, l’art de la haute joaillerie
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For the young
The activities for the public are designed
for different age groups (from 4-18
years or in family groups) to give an
image of museums as places of wonder
and enrichment, thought and learning.
Thus, for children, there are workshops,
circuits and narrated circuits.
The workshops are led by an artistguide
from Les Arts Décoratifs and
include a visit of the exhibition followed
by a practical session aimed at getting
to grips with the materials and methods
favored by designers, as well as their
sources of inspiration and techniques.
My flower-jewel
(5-7 years and from 4 years with
families)
This workshop draws its inspiration from
flowers, playing around with forms and
colors to create brooches glinting with a
thousand lights made of metal threads,
paste or glass.
Precious ballerinas
(8-10 years)
Ballerinas and fairies inspired Van Cleef
& Arpels’ designers in their creation of
the most sumptuous pieces of jewelry.
These are rediscovered and combined
with glass beads and metal in the
creation of elegant pendants.
Funny brooches
(5-7 and 8-10 years, or as a family)
Animals and objects are transformed
into funny little jewels with paste and
metal paper that can be clipped onto
anything!
Couture jewelry: Zip and Passe-partout
necklaces, imitating lace and trimmings
provide children with inspiration in
creating a couture-like piece of jewelry
combining fabrics, metal thread and
beads…
Moulds for imaginary pieces
of jewelry
(11-14 and 15-18 years)
Participants discover the different
stages involved in creating a piece of
jewelry, from drawing to realization or
from sketch to wax model, working with
their own imaginary piece.
Each step is led by one of Les Arts
Décoratifs’ specialist guides whose
comments and observations are backed
by adapted educational material.
Jewelry as the reflection
of an era
This circuit links Van Cleef & Arpels
jewelry with other fields of the decorative
arts during the 20th century (fashion,
furniture, decorative objects…), thus
illustrating and explaining the aesthetic
approach of a particular era.
The narrated circuit (Le parcours conté)
enables participants to understand
works through stories and adapted
literary texts.
Jewelry and enchantment
(families, from 4 years)
Diamonds, rubies and other precious
stones are the inspiration for fabulous
stories recounted in front of the
exhibition’s enchanting jewelry.
Inscriptions at:
jeune@lesartsdecoratifs.fr
or by calling 01 44 55 59 25.
Funny brooches workshop
Couture jewelry workshop
> van cleef & arpels, l’art de la haute joaillerie
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The exhibition
and digitalization
Thanks to the generous assistance of
the Maison Van Cleef & Arpels, the
museum will make use of a remarkable
range of digital devices for this
exhibition.
Their purpose is to enable a more
thorough means of transmitting
the jewelry Maison’s experience
and know-how, and to make the
exhibition an innovative event inciting
discussion and exchange through new
technologies and media f orms.
1. A virtual tour of the workshops
Van Cleef & Arpels offers an unique
opportunity to visit its high jewelry
workshops in a 360° virtual tour. Using
a gesture recognition system, the
visitor is free to move about virtually
within different areas of the workshop,
observing the Maison’s Mains d’Or™
(master-craftsmen) bringing the most
sophisticated creations to life.
As the visitor discovers these different
skills (design, mock-up, setting,
polishing, etc.), he is also given
access to other material such as
the gouache drawings of the pieces
of jewelry, and photographs of the
“Pierres de Caractère™” (exceptional
stones) and creations, as well as
short films made by Loïc Prigent and
Willy Papa about Van Cleef & Arpels’
Mains d’Or™ ( m a s t e r- c ra f t s m e n ) .
2. Audioguide application for mobile
phones and dedicated website
This phone app is intended both to
inform and to communicate. It can
be downloaded from Androïd and
Apple platforms. It enables access
to supplementary information on a
particular display case or part of the
exhibition, as well as to the commentary
about the work left by the previous
visitor.
A dedicated site has also been created
for the exhibition.
This is accessible via the Internet or
a smartphone, allowing the visitor to
consult detailed information on the
exhibition long distance. The section
entitled “Au fil du Temps” (down
through time) is dedicated to tracing
the development of chronologicallylinked
pieces of jewelry found in the
exhibition. The visitor will also have
access to practical information about the
Musée des Arts décoratifs (closure days,
etc), to social networks dedicated to the
exhibition, and to the online guest book.
3. The exhibition catalogue
and the guest book
An online version of the catalogue will be
available on the screen at the entrance
to the exhibition, introducing visitors to
different ways of reading and consulting
documents.
Reviving the notion of the guest book,
traditionally made of paper, a tactile
screen will be available for visitors to
leave messages which will subsequently
be put online on the Facebook pages
of Van Cleef & Arpels and Les Arts
Décoratifs – as a way of establishing a
dialogue with visitors.
4. www.lesartsdecoratifs.fr
The exhibition is also presented in detail
on the website of Les Arts Décoratifs,
aimed at a wide public – individuals
(adults and youth), groups, families,
teachers, researchers and students,
handicapped visitors – with interactive
tools providing visitors with all the latest
news on this event. The exhibition is
also the subject of a special file on Les
Arts Décoratifs’ website and is similarly
aimed at a wide public, with activities
suitable for each category.
Interactive tools are also available for
various operations in connection with the
exhibition, such as purchasing tickets
and the catalogue online, a dynamic
calendar, a slide show, electronic
postcards…
In addition, the Facebook page of Les
Arts Décoratifs offers its 23,000 fans the
chance of exploring the institution and
its latest news in an alternative fashion,
with mysteries, photo albums, exhibitions
backstage, videos… a dynamic, original
approach that particularly encourages
dialogue with f ans.
> van cleef & arpels, l’art de la haute joaillerie
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A partner of the exhibition
7. media partnerships
Paris Première, a reputed TV channel
with over 25 years’ track record, proudly
supports and promotes cultural diversity –
exhibitions, theatre, performances
of all kind, cinema, music, festivals…
Paris Première’s association with these
events, selected for their quality and
their coherence with the channel’ s ethos,
confirms its attachment to the world of
arts, performance and entertainment.
Paris Première is delighted to be
associated with Les Arts Décoratifs in
connection with the Van Cleef & Arpels
exhibition as part of the channel’s desire
to support and convey to the largest
audience possible such a priceless artistic
heritage. Paris Première is available on
cable, satellite and the digital terrestial
service, Télévision Numérique Terrestre
(TNT), as well as broadband and mobile
phones. The channel has a non-premium
slot on the free TNT service, Canal 31,
everday from 6-8.45 pm and from 9.30
am-12.30 pm at weekends.
Le Figaro is proud to join forces
with Les Arts Décoratifs and Van
Cleef & Arpels for this exhibition,
as it shares their founding values,
namely a love of art and modernity
forged by tradition and excellence.
With nearly two centuries of history
behind it, Le Figaro is France’s leading
n o n - s p e c i a l i s t d a i l y n e w s p a p e r,
and the jewel of a group that has
continually succeeded in modernizing
itself whilst maintaining the editorial
freedom that was responsible for its
success. Thanks to the wealth of its
editorial content and its use of a wide
range of digital supports, the Figaro
Group’s audience now extends to one
in two French people every month.
> van cleef & arpels, l’art de la haute joaillerie
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8. the jewelry gallery at les arts décoratifs
The Musée des Arts Décoratifs
has one of the most important
jewelry collections in the
world.
A permanent collection of 1,200 items
traces the history of jewelry from the
Middle Ages through to the present,
exhibited in a specially-adapted gallery.
Rings, necklaces, bracelets and brooches
are displayed in chronological fashion
alongside technical examinations of the
skills involved.
The architect Roberto Ostinelli designed
the gallery which runs either side of
the museum’s main staircase. The first
room houses the antique collections,
while the second room is dedicated
to contemporary collections, the two
linked by a glass footbridge spanning
the area above the museum’s entrance
hall.
Beginning with a number of pieces
representative of the Middle Ages and
the Renaissance, the collections move
on to fine examples of 18th-century
jewelry. These are followed by a unique
and highly varied ensemble of 19thcentury
French jewelry, donated by
Henri Vever, that is a reference for
all jewelry historians. Art Nouveau is
represented by an outstanding collection
of jewelry by René Lalique, Georges
Fouquet, Lucien Gaillard and the Vever
Maison. Art Déco and the 1930s are
mainly illustrated by designers such as
Raymond Templier, Jean Després, Jean
Fouquet and the famous Place Vendôme
Maisons, Boucheron and Cartier. A
selection of Chinese, Japanese and
Indian jewelry is found in the middle of
the gallery.
On the far side of the footbridge, the
circuit continues from around 1940, with
pieces by French designers such as Line
Vautrin and Albert Duraz, and artists’
jewelry by Georges Braque, Alexander
Calder, Henri Laurens and Jean Lurçat.
The revival of forms in the 1960s
and 1970s is seen in the uncluttered
creations of Torun, Jean Dinh Van,
Costanza, Henri Gargat, Ettore Sottsass
and the designs of Scandinavian artists.
Since the 1980s, jewelers like Gilles
Jonemann have helped develop a
spirit of independence among young
French designers, whose work is well
represented here, through to the present
day. An impressive group of European
designers completes the circuit with
striking pieces that frequently disrupt
the traditional image one might have of
jewelry.
Several jewelry Maisons such as Van
Cleef & Arpels are represented through
emblematic pieces of their production
like the 1954 Zip necklace and the 2004
Hawaii rings.
Certain independent jewelers are also
present.
I n a d d i t i o n t o t h e c h r o n o l o g i c a l
presentation, opposite the ancient
jewelry section, a wall of display cabinet
drawers provides an alternative way of
looking at jewelry production, starting
with the most surprising and varied raw
materials. The public can discover the
precious stones and gemstones that
are used in jewelry-making, as well as
the range of materials used in precious
metal jewelry: gold and silver, but also
substitution materials such as steel,
cast iron and nickel silver; organic
materials like coral, ivory, mother-ofpearl
and horn or, rather more unusually,
hair and fish scales. Plastics and paste
emphasize the diversity of costume
jewelry production. A final display level
covers the different stages involved in
designing and making a piece of jewelry
and various typological groupings.
The Jewelry Gallery of the Musée des Arts décoratifs
© Luc Boegly / Les Arts Décoratifs
renseignements key information pratiques
Hélène David-WeilL,
president
Marie-Liesse Baudrez,
general director
Béatrice Salmon,
museums director
Pascale de SEzE,
communication director
The Arts Décoratifs museums
107 rue de Rivoli, 75001 Paris
>phone +33 01 44 55 57 50
Métro: Palais-Royal, Pyramides, Tuileries
Open Tuesday to Sunday 11am to 6pm
(Late opening Thursday until 9pm:
temporary exhibitions and jewelry
gallery only)
Full rate: 9 €
reduced rate: 7.50 €
Musée Niss im de Camondo
63 rue de Monceau, 75008 Paris
>phone +33 01 53 89 06 40
Open Wednesday to Sunday 10am to
5.30pm
Closed Monday and Tuesday
admission> full rate: 7 €
>reduced rate: 5 €
The Educational and Cultural Department
organises museum tours for adults,
groups and individuals
> reservations +33 01 44 55 59 26
thematic workshop-tours and guided
tours related to an exhibition for 4 to
18 year-olds
> reservations +33 01 44 55 59 25
lectures and panel discussions
> reservations +33 01 44 55 59 75
The Arts Décoratifs Library
107 rue de Rivoli, 75001 Paris
> phone +33 01 44 55 59 36
Open Tuesday to Saturday 10am to 6pm
266 boulevard Raspail, 75014 Paris
> phone +33 01 43 35 44 28
107 rue de Rivoli, 75001 Paris
266 boulevard Raspail, 75014 Paris
63 rue de Monceau, 75008 Paris
> phone +33 01 44 55 59 02
The Partners’ Club brings together firms
wishing to participate in promoting Les
Arts Décoratifs, developing a lasting
relationship with our institution and
broadening their network of contacts.
It acts as a laboratory for ideas and
interaction between economic and
cultural actors and creators.
Members – at three different levels –
benefit from the advantages of patrons
and sponsors.
phone +33 01 44 55 58 07
Les Amis des Arts Décoratifs promote
the Arts Décoratifs museums and library
in France and abroad. Their support
contributes to the enrichment and
restoration of the museum’s collections.
Members have free admission to the Arts
Décoratifs museums and can participate
in private visits, thematic days and
cultural tours.
> phone +33 01 44 55 59 78
107RIVOLI
art mode design paris
107 rue de Rivoli, 75001 Paris
107Rivoli Art Mode Design is run
by Artcodif, a subsidiary of Les Arts
Décoratifs and the Galeries Lafayette
group.
Artcodif also publishes editions of
objects in the Arts Décoratifs collections.
> phone +33 01 42 60 64 94
Open 10am to 7pm
Closed Monday
Le Saut du Loup
restaurant - bar – terrace
107 rue de Rivoli, 75001 Paris
or access via the Carrousel Gardens
> phone +33 01 42 56 26 11
www.lesartsdecoratifs.fr
www.facebook.com/lesartsdecoratifs
www.twitter.com/artsdecoratifs
les arts décoratifs
library
école camondo
ateliers du carrousel
les amis
the museum boutique
website
les musées
lteh er ersetsatuaruarnatnt
partners’ club
educational and cultural services
Exhibition curators:
> Evelyne Poss émé, Chief curator, Art nouveau / Art déco Department, Musée des Arts décoratifs
Exhibition design:
> agence Jouin Manku
Graphic design:
> Philippe David