Exhibition Gallery of Evolution PRESS September 16, 2020 36 rue Geoffroy St-Hilaire KIT to June 14, 2021 Paris 5th arrondissement CONTENTS

3 JOINT INTERVIEW 4 EXHIBITION MAP 5 PRESENTATION OF THE EXHIBITION 6 PART 1: EARTH HISTORY, HISTORIES OF SAVOIR-FAIRE 8 PART 2: FROM TO JEWELS 14 PART 3: PARIS: CENTER OF KNOWLEDGE 20 DECOR 21 CULTURAL PROGRAM 23 THE STORY BEHIND AN EXCEPTIONAL COLLECTION 24 MINERALOGICAL RESEARCH AT THE 25 PERMANENT EXHIBITION: TREASURES OF THE EARTH 26 PRESENTATION OF VAN CLEEF & ARPELS 27 PRESS VISUALS

USEFUL INFORMATION

PIERRES PRÉCIEUSES (GEMS) EXHIBITION SEPTEMBER 16, 2020 - JUNE 14, 2021 Gallery of Evolution, Jardin des Plantes 36 Rue Geoffroy St-Hilaire, Paris 5th arrondissement — Open daily from 10:00 AM to 6:00 PM Closed Tuesdays, December 25, January 1 and May 1 — Joint admission to Gems and the Gallery of Evolution: Full price: €12 | Discount rate: €9 Permanent exhibition, Treasures of the Earth (Mineralogy and Geology Gallery) Full price: €7 | Discount rate: €5 (Any purchase of a full-price ticket to the exhibition Gems lets your visit Treasures of the Earth at the discount rate within a period of three months) — Information for visitors: +33 (0)1 40 79 54 79 / 56 01 jardindesplantesdeparis.fr/en/Gems-Exhibition #GemsExhibition

SCIENTIFIC CURATORS: FRANÇOIS FARGES, FULL DISTINGUISHED PROFESSOR, FRENCH NATIONAL MUSEUM OF NATURAL HISTORY, SPECIALIST IN ENVIRONMENTAL AND HERITAGE MINERALOGY, AND LISE MACDONALD, DIRECTOR OF PATRIMONY AND EXHIBITIONS, VAN CLEEF & ARPELS

Faceted (30.9 ct) - Merelani, Arusha, Tanzania © MNHN / F. Farges JOINT INTERVIEW — WITH BRUNO DAVID, PRESIDENT OF THE FRENCH NATIONAL MUSEUM OF NATURAL HISTORY, AND NICOLAS BOS, PRESIDENT AND CEO OF VAN CLEEF & ARPELS

Would you say that the collaboration between 200 jewelry pieces, and a poetic decor created by the Museum and Van Cleef & Arpels represents Patrick Jouin and Sanjit Manku. This scenography an unprecedented dialogue between science aims to surprise and enchant visitors, with due and aesthetics? regard for the scientific message.

BD: The dialogue between science and aesthetics takes on exceptional richness in this exhibition, The French intellectual Roger Caillois, whose but it is hardly unprecedented. Objects of natural collection of minerals is preserved at the Museum, history often display remarkable intrinsic aesthetic took a cross-cutting — one might even say beauty. The diaphanous spirals of argonaut shells, diagonal — approach to science. Is that outlook the flamboyant, multicolored motifs adorning reflected in the exhibition? tropical shellfish, the geometric patterns of minerals and other natural wonders have inspired any number BD: This exhibition clearly demonstrates how of artists, painters, sculptors, writers and poets, different worlds come together. Above all, however, not to mention jewelers. it attests to a certain continuum between minerals as products of nature, the attraction they wield on NB: Our collaboration with the Museum started mankind through their beauty and rarity, and the in 2016 with the exhibition The Art and Science way lapidaries and jewelry makers pay tribute to of Gems at the ArtScience Museum in Singapore. them. 1t continues today with Gems, as well as through research projects, conferences and exhibitions at NB: The notion of diagonal perspectives and links the L’ÉCOLE, School of Jewelry Arts. This partnership between poetry, literature, science and art history ties into the long-standing dialogue between points to Caillois’ vision of culture as free from aesthetics and science, between art and technology. traditional hierarchies. For example, his penchant Van Cleef & Arpels wants to highlight and preserve for the fantastic ranged from specialized academic this dialogue, which is deeply ingrained in our two disciplines to the popular culture of science fiction. worlds. We at Van Cleef & Arpels hold this vision of art and culture in great esteem.

The exhibition is designed as a vector of knowledge for visitors. Is it also meant For you, what is the greatest treasure to inspire wonder? in this exhibition?

BD: 1 would refer back to my motto for the Museum: BD: If I had to choose only one, it would be “educating through wonder.” The beauty of natural “Mazarin’s table,” a stunning example of marquetry history, visible in both its artifacts and the phenomena with stones representing flowers and animals. This at work in the natural world, is an inexhaustible source magnificent creation ties together Renaissance of wonder. This emotion offers a new perspective on savoir-faire, French history, the beauty of stones knowledge while anchoring the scientific facts and and the precision of the species represented. knowledge in our memory. In this exhibition, the focus is on the formation of improbable marvels NB: There is one piece that was restored for the in sometimes extreme conditions of pressure and exhibition, and I am delighted to see it on display: temperature. the Arbre aux ( Tree in English) created by Jean Vendome. For me, this NB: Collaborating with different cultural and work of art lies at the crossroads of jewelry, design scientific institutions reflects the Maison’s desire and sculpture. In addition, the necklace ordered to combine education, access to knowledge and by Queen Nazli of Egypt in 1939 for her daughter’s the joy of discovery, three aspects that we see as wedding, part of our heritage collection today, is indissociable. That is why we seek balance between on display here for the first time in France. This content guaranteed as scientifically accurate by spectacular piece is adorned with 673 round and the Museum’s teams, a presentation of more than baguette-cut .

— 3 — Gems Gems Gems — 4 — 4 —

PART 1 EARTH HISTORY, PART 2 HISTORIES OF SAVOIR-FAIRE FROM MINERALS TO JEWELS

Entrance

FLUIDS WATER

Masterpieces OXYGEN MAP EXHIBITION DIVERSE PERSPECTIVES ON GEMS

EARTH HISTORY JOINTPERSPECTIVES ON JEWELRY ON

Table des Orsini TEMPERATURE LIFE

HISTORIES OF SAVOIR-FAIRE

METAMORPHISM ON MINERALS PRESSURE CURRENT PERSPECTIVES

Arbre aux tourmalines

Exit

PART 3 PARIS: CENTER OF KNOWLEDGE “Royal calligraphy” polished slab described by Roger Caillois (The Writing of Stones, 1970) - Brazil © MNHN / F. Farges

Cornflower bouquet clip, 1938 EXCEPTIONAL PIECES Yellow gold, , chalcedony Van Cleef & Arpels Collection, © Van Cleef & Arpels SA PRESENTED FOR — All the lightness of a cornflower bouquet is expressedin the delicately THE FIRST TIME IN FRANCE fashioned chalcedony petals. The flowers seem to come to life thanks to the interplay of light diffused through the stones, the finely hewn contours and the dazzling contrast with the centers. MUSEUM COLLECTIONS - “Occitane de Sabine,” native gold, PRESENTATION exceptional find in the Montagne Noire area of France OF THE EXHIBITION - from Puy-de-Dôme, the two largest ever found in Europe - pierced shell dating from 90,000 years ago, considered Pierres Précieuses, or Gems, embraces the age-old one of the world’s oldest pieces of jewelry history of minerals while highlighting the skill mankind has - the Grande Table des Orsini, a masterpiece wielded over the centuries to heighten their splendor. This of marquetry owned by approach — both scientific and aesthetic — delves into - gems from the French Jewels the very origins of the Earth, building on recent discoveries (, and ) - Roger Caillois’ in the field of mineralogy and underscoring the interest, Château and other famous “dream stones” passion, and even fascination that minerals, and jewelry have inspired in nearly all civilizations since VAN CLEEF & ARPELS COLLECTION time immemorial. - platinum and necklace worn by Her Majesty Queen Nazli of Egypt in 1939 Structured along a three-part journey at once - Clover set (1966) in yellow gold, and diamonds chronological and thematic, Gems opens with a section - Cornflower bouquet clip (1938) entitled History of the Earth, Histories of savoir-faire in yellow gold, rubies, chalcedony that explores the original formation of minerals and their - beauty compact inspired use in society, tracking the development of skills and by medieval fashions (1925) craftsmanship over time. - Cravat necklace (1954) in platinum, sapphires and diamonds A second part — From minerals to jewels — offers - Gladiator brooch (1956), designed from a baroque insight into the natural phenomena occurring in the - beauty compact from the 1920s depths of the Earth that act on stones, rocks and crystals blending Chinese and Art Deco inspirations before they are made into jewels by human hands. Their transformation comes to light in some 40 showcases, as well as through themed tablets, audio-visual displays learning in the field of mineralogy, a phenomenon that and touchscreens interspersed throughout the exhibition continues to stimulate artists and lovers of beauty even to present each type of stone — diamonds, topazes, today. sapphires, aquamarines and more — in three different forms: as raw minerals, cut gemstones and High Jewelry Designed to encourage immersive exploration and the pieces, thus following the path of each gem from nature perennial dialogue between science and creation, Gems to work of art. brings together some 360 minerals, gemstones and objets d’art from the Museum’s prestigious collection, and The third part of the exhibition looks back on the historic, more than 250 jewelry creations taken from the heritage scientific and artistic significance ofParis as a center of collection of the Maison Van Cleef & Arpels, as well as knowledge, furthering the development and spread of 50 loans from other institutions and private collections.

— 5 — Gems EARTH ( 1 ) HISTORY...

Meteorites, rocks, crystals, fossils, and more: all bore is presented as it was discovered in the Burma’s Mogok witness to the birth and evolution of our planet. Formed Valley. Embedded in its white marble gangue, the mineral from cosmic matter some 4.56 billion years ago, and is set against gemstones cut in preparation for setting then bombarded by meteorites, the Earth in jewelry pieces. Finally, upon the third stage holds an immense variety of minerals. of its transformation, this time by human These celestial flows combine with hands, the ruby inspires a High Jewelry underground movements such as creation, the Fuchsia clip (1968) continental drift. created by Van Cleef & Arpels. This The resulting collision of tectonic tripartite presentation — along plates fashioned mountain with a video — comprises the ranges, which shelter crystals second part of the exhibition. that are sometimes transported to the surface by telluric Following this introduction, activity. Similarly, minerals are a frieze provides visitors also formed deep in the oceans with an overview of the most from fossilized organisms. In productive time periods for this context, whether born from minerals formation throughout stellar, geodynamic or marine the Earth's history. This expansive phenomena, minerals are witness Blue , app. 250 million years old - panorama starts with two Ural, Russia to and actors in the Earth’s constant © MNHN / F. Farges meteorites, followed by a zircon geological movements. specimen from Australia. Formed some 4.4 billion years ago, this crystal is older A first showcase dedicated to rubies offers than our Moon. In all, some 30 stones dating back a new interpretation and a fresh perspective of these to the birth of our planet chronicle the history of the phenomena by contrasting three different states of het Earth, as well as the story of gems in their natural state, mineral through three emblematic exhibits — rubies as products of geodynamic movements before being as original crystal, (cut stone), and jewel. transformed by human hands into precious objects and A natural ruby crystal, dating back some 30 million years, works of art.

EARTH HISTORY

AS TOLD BY MINERALS Ancient continents erode, producing 13,8 BYA* Formation extremely rich gem-bearing gravel in of the Earth. Sri Lanka and Southeast Asia. Mogok rubies appear in Southeast Asia from the Formation 4,56 BYA collision of the Indian and of stars, Eurasian subcontinents. 1 MYA composed 50 000 Formation of tourmalines, of primordial YA aquamarines, topazes, rubies minerals. 4,4 BYA and sapphires in mountain 35 MYA ranges from Brazil to Sri Lanka. Marine oysters 60 MYA secrete fine pearls. Earth is bombarded 3,3 BYA by meteorites.

The first diamonds 600 MYA** crystallize in the depths Rock crystal gems form *BYA: billion years ago of the Earth. in the Alps. **MYA: million years ago

Gems — 6 — ... HISTORIES OF SAVOIR-FAIRE

Emphasizing the close links between mineralogy, gemology and jewelry, this section of Gems invites visitors to discover some 30 exceptional objects and jewelry pieces, most taken from the Museum’s collections. All illustrate the prowess and intelligence of human hands, while tracing the development of lapidary savoir-faire. The most remarkable examples of Birds (detail) © MNHN / B. Faye this evolution include a 90,000-year-old shell, found in Algeria and considered to be one of the world’s three MAZARIN’S TABLE – oldest known pieces of jewelry. This shell suggests that stone cutting, drilling and polishing techniques were A CARDINAL PIECE honed as of prehistoric times on all five continents. At the same time, it points to the role of sedentarization The Museum is proud to have in its collection a masterpiece and trade in accelerating the transfer of knowledge. of 17th century marquetry on display here for the first time: Ocher cave art, pierced shells, cut, polished, perforated the Grande Table des Orsini (Great Table of the Orsini). or threaded stones were aspects of emerging cultures Recent studies have made it possible to trace its precise the world over. Increasingly ornamental, ritual and origin: this monumental piece, presented to Cardinal symbolic, their role changed as societies grew more Mazarin by the Orsini princes in 1659, is a quintessential organized. It was not long before the great civilizations diplomatic gift, evoking themes of war and peace, and of Antiquity created mosaics as a figurative art form, embellished with naturalistic motifs such as birds, roses and bringing decorative objects ever closer to a culture of butterflies. This table, featuring a Carrara marble top inlaid art in its own right. This momentum continued apace with lapis lazuli, , mother-of-pearl and a multitude over the centuries. Spanning diverse tastes, fashions of gemstones, was later acquired by Colbert for Louis XIV. and artistic currents — as evidenced by the It became property of the Crown and was later offered to and ivory jewel case said to have belonged to Anne of the Museum by Louis XV in 1748. As part of the Museum’s Austria, or the skillful setting of an 1ndo-Mogul necklace collections, this majestuous table brilliantly illustrates the — the lapidary arts powerfully illustrate the history of use of gemstones in the decorative arts. cultures, from their origins to the present day.

JEAN VENDOME, FATHER OF CONTEMPORARY JEWELRY

A great lover of stones and admirer of René Lalique, Ohan Tuhdarian (1930-2017), better known as Jean Vendome, was the firstjeweler to create pieces out of natural minerals, providing inspiration for subsequent generations of designers. His jewelry ensembles are works of art, as can be seen in his Arbre aux tourmalines (Tourmaline Tree). This piece, which serves to conclude the first part of the exhibition, offers an artistic vision of nature, playing on nuances and transparency among raspberry and green tourmalines, set off by hundreds of carats of other gemstones. A contemporary of Braque, Cocteau, Dalí, Kijno and Vasarely, Jean Vendome was also close to the intellectual Roger Caillois, who shared the same passion for stones. Arbre aux tourmalines © MNHN / F. Farges

— 7 — Gems Amethysts from the French (77.1 ct), used to be set for Empress Marie-Louise of Austria (1791-1847) © MNHN / F. Farges

FROM MINERALS ( 2 ) TO JEWELS

The second part of Gems plunges visitors into the heart gem cutters, as well as the inspiration and creativity of of the Earth, where minerals are made, to discover the jewelers working these stones. geodynamic cycles and the natural phenomena that Visitors follow these geological cycles through mold and transform precious minerals. 34 different gems and two precious metals, gold and platinum, in a series of circular spaces awash in evocative Some 36 showcases present minerals or precious metals, colors ranging from deep red — symbolizing the bowels gems and jewelry side by side, while seven jewelry cases of the Earth — to bright, transparent tones associated highlight pieces from Van Cleef & Arpels Collection, and with themes closer to the surface, such as air and water. three alcoves provide a more specific focus on gold, A journey to the heart of the Earth’s steady movements monumental crystals and fossil wood. Through concrete and abrupt convulsions. examples, this exhibit sheds light on gemology as a link between science and artistic creation. Serving as a means of breaking down barriers between disciplines PRESSURE and generating insight into dual temporalities, gemology operates in a sphere where the existence of a mineral Minerals in that part of the Earth’s mantle ranging between is measured in millions of years, and where its different 370km and 750km deep are exposed to pressures up to stages of growth arise from a set of particular and 250,000 times that of the atmosphere and temperatures favorable conditions. approaching 2,000°C. While this geodiversity is mostly confined to the depths, some minerals rise to the These natural phenomena are revealed in detail, grouped Earth's surface through geodynamic movements such into seven distinct chapters: pressure, temperature, as volcanoes, which undergo violent decompressions. fluids, water, oxygen, life and metamorphism. Together, These particularly complex phases, still largely shrouded they form a cycle within the depths of the Earth up in mystery, explain why minerals from great depths are to the surface. They are rarely mutually exclusive, but relatively scarce on the surface. Four mineralogical rather interdependent. In addition to their influence showcases display three mineral species and one metal on the evolution of mineral species, these geological subjected to the phenomenon of pressure: colorless mechanisms also determine the challenges faced by diamond, fancy diamond, and platinum.

Gems — 8 — Three diamond crystals, Orange River mines - Northern Cape, South Africa © MNHN / F. Farges

THE MAJESTY OF DIAMONDS

Diamonds illustrate the first natural principle — pressure — affecting the structure, texture and appearance of minerals. Pressure intensifies as one ovesm deeper under the Earth’s surface. This mineral, composed of almost pure carbon, crystallizes Table clock, 1934 Steel, rock crystal in the upper mantle, beneath the Earth’s crust. Van Cleef & Arpels Collection By compressing carbon atoms, pressure determines its Patrick Gries © Van Cleef & Arpels SA hardness and brilliance. The most impressive diamonds, — The shape of this table clock, inspired by 1930s architecture, is reminiscent such as the 105.6-carat Koh-i-Noor (“mountain of light” of the Palais de Chaillot, which was built three years later. The columns in Persian) set in the British Royal Crown, or the 530.2 on either side of the dial, resting on pedestals, feature geometrical lines and 317.4-carat Cullinans — among the largest ever and a symmetrical design reflecting Art Deco stylings. cut — are believed, based on recent research, to have originated at great depths. During a violent volcanic eruption, a stone can be propelled toward the surface at speeds of up to 250 kilometers per hour. Under these conditions, a diamond may emerge intact avoiding the great risk of turning into black graphite. A showcase intended solely for jewelry brings together TEMPERATURE a collection of ensembles created by Van Cleef & Arpels Minerals can form in the Earth’s crust as magma (clips, brooches, tiara, necklace, ring and bracelets) set moves upward. This phenomenon leads to a drop both exclusively with diamonds. in pressure and in temperature, although the latter . decreases much more slowly. These variations cause some minerals to melt and then recrystallize as the magma stops rising and slowly cools. , which includes a transparent and colorless variety known as rock crystal, crystallizes on average at around 600°C to 700°C. Quartz abounds in the Earth’s crust, but very pure specimens are rare. Artists of the Modern Art and Art Deco movements particularly appreciated its transparency. Visitors observing the displays dedi- cated to rock crystal and “fancy” quartz will notice objects of great symbolic power. Two intaglios, La danseuse nue (The Naked Dancer) et 1dylle, created by Louis Bozzacchi around 1920, attest to long-standing use of rock crystal in the decorative arts, while quartz adorns Van Cleef & Arpels clocks and watches, as if in tri- bute to the long and rich Collaret, 1939 - platinum, diamonds history of the Earth, so far Former collection of Her Majesty Queen Nazli of Egypt beyond the human time Van Cleef & Arpels Collection scale. Patrick Gries © Van Cleef & Arpels SA — This necklace, on display for the first time in France, was designed in 1939 for Queen Nazli of Egypt to mark the marriage Intaglios, rock crystal - of her daughter, Princess Fawzia, with the future Shah of Iran. Paris, circa 1920 Use of diamonds of varying cuts, totaling 204.03 carats, serves © MNHN / F. Farges to highlight the central stone while imbuing the composition with a sense of movement.

— 9 — Gems Eucalyptus seed necklace, 1966 Platinum, yellow gold, diamonds Rose diamond (51 ct), Orange River mines - Northern Cape, Van Cleef & Arpels Collection South Africa © MNHN / F. Farges Patrick Gries © Van Cleef & Arpels SA — “Textured” gold was a widespread jewelry technique in the 1960s and 1970s. On this necklace, the gold appears creased, capturing light and realistically COLOR IN MINERALS depicting the texture of seeds.

Colored diamonds are known as “fancy” stones. Their color may be due to the chemical elements they contain FLUIDS in minute quantities, introduced as they grow. Examples include nitrogen, which makes for a yellow color, and As minerals come closer to the surface, pressure boron, which lends them a blue tinge. Other colors and temperature decrease further and crystallization — red, pink and green — are linked to complex physical continues. Hot, compressed fluids (bearing water, carbon phenomena that affect the structure, texture and dioxide, fluorine or chlorine) concentrate, partially consequently the transparency and tint of the crystals. dissolving rocks they pass through and dissolving For tourmaline, some hues result from a shift minerals. This dissolved matter is carried away and in atomic composition. deposited in fractures located in colder areas of the The violet color in is the result of iron atoms crust, where it forms deposits sometimes containing that have been irradiated by neighboring minerals. veins rich in large gem crystals known as pegmatites. Similar mechanisms explain the colors of , topaz, Some of these minerals emerge at the surface due to the quartz and many other gems. effects of erosion and tectonics. Particularly sought-after, these rocks may contain tourmaline, topaz, aquamarine and . They are on display here in eight themed showcases exhibiting a series of giant crystals such as a 13-kg topaz and a 50-kg “Santa Maria” aquamarine.

Gold, found in hot fluids deep below the Earth’s surface, is often deposited in quartz veins through crystallization. As these deposits erode, the gold ends up in sediment: that is how nuggets are formed. One such nugget, known as native gold (96.12% gold) and weighing 937.2 g (2.06 lb.), the largest ever found in Madagascar and preserved intact, illustrates the richness of the Museum’s

13.09-ct faceted emerald - Ethiopia collections. Further on, the Van Cleef & Arpels workshops Van Cleef & Arpels Collection, © Van Cleef & Arpels SA accentuate the brilliance and purity of gold through a set of necklaces Collection Van Cleef & Arpels, © Van Cleef & Arpels SA including the famous Zip necklace, designed in the late 1930s. This piece drew inspiration from the zipper, which started to appear on clothing at that time.

Native gold nugget (937.2 g or 2.06 lb.) - Mananjary, Madagascar 65.04-ct polished tourmaline - Mozambique © MNHN / F. Farges Van Cleef & Arpels Collection, © F. Farges

Gems — 10 — Sapphires (93.5 and 31.6 ct), discovered in 2018 - Puy-de-Dôme, France © Hervé Jacquand

FRANCE: THE OTHER COUNTRY OF PRECIOUS STONES

Gems have been extracted in France since Antiquity. Gaul was even considered the “gold reserve” of the Roman Empire. Visitors may be surprised by the diversity of stones mined throughout France, such as the veined fluorines in the Morvan region, the of Puy-de-Dôme, the quincyite in the Cher region, the and sapphires of the Loire-Atlantique, aquamarines from Limousin, rubies from Aveyron and even the Parisian blue . Two recent discoveries (2018), exceptional for their weight and brilliance, are on display here for the first time: the “Occitane de Sabine” gold nugget from the Montagne Noire area (99 g) and two Puy-de-Dôme sapphires (93.5 and 31.6 ct).

WHAT IS A CARAT?

Indian-inspired necklace, 1971 For jewelry makers, the carat (ct), equivalent to 0.2 g, Yellow gold, engraved emeralds, diamonds is the common unit of measurement for the weight Former collection of Begum Salimah Aga Khan of gemstones. For goldsmiths, the carat measures the Van Cleef & Arpels Collection Patrick Gries © Van Cleef & Arpels SA degree of purity of gold (24-carat gold is pure gold). The — term carat is believed to come from the Arabic word This necklace was created in 1971 for Begum Salimah Aga Khan, the wife of qīrāt, which refers to the seeds of the carob tree. Their Prince Karim Aga Khan IV. It is remarkable for the consistent colors of the emeralds and the different ways it can be worn. nearly constant weight once served a reliable unit of The necklace can be transformed into a choker or divided into two bracelets, measurement for weighing stones. while the pendant can be detached to become a clip.

WATER

Water plays a key role in many geological mechanisms few million years. Today, these stones are found in one of occurring in the depths of the Earth. On the surface, it the world’s most arid areas, but tropical rains serves as an active agent of erosion, with rainwater carrying once battered the region. This section quartz and other poorly soluble minerals into riverbeds, displays several opal specimens where they are deposited among sediment. Known as including an astonishing fossilized “secondary” deposits, these were the initial sources of shell. precious stones exploited by mankind. The other showcases display onyx, amethysts and Colombian When water seeps into the ground, it can dissolve and alter emeralds, also produced by the minerals while absorbing mineral salts. If it penetrates effect of water circulation. deeper, this mineralized water heats up, becomes more To round off this exhibit, visitors compressed and triggers chemical reactions with other can discover a selection of Brazilian opal (184 ct); gift from Maison Lemercier, 2019, minerals, thereby creating new species that fill cracks and historical Van Cleef & Arpels jewelry © MNHN/ F. Farges geodes. That is how Australian opals were formed, over a pieces set with emeralds.

— 11 — Gems Ocher landscapes at Zhangye National Geopark - China © Han Lei / CC BY-SA 3.0

OXYGEN LIFE

From the famous ochers of Roussillon in the Vaucluse Some living organisms on region of Southeastern France to the turquoise veins the Earth’s surface produce of the Arizona desert, atmospheric oxygen corrodes biominerals from the minerals rich in iron, manganese or copper, thus triggering mineral elements they the formation of new substances known as secondary absorb. That is how coral minerals. Often brightly colored, they compose and reefs, shells and certain embellish spectacular, surreal landscapes such as the sponges are formed. Fossilized Araucaria buds circa 200 million years - Utah, mountains and moon-like terrain of Zhangye Danxia Through another process, United States National Geological Park in China, or the rivers of Tsavo known as fossilization, matter © MNHN / F. Farges East Park in Kenya, where elephants emerge reddish- from living organisms — plants or brown from the water due to the presence of - animals — that gradually transform into rich laterite. Oxygen, the second most abundant gas in a mineral following their death. This phenomenon can be the atmosphere, thus serves as a medium of alteration seen in the petrified jasper trunks of Arizona trees, of on the Earth’s surface. Dissolved in water, it can also which an impressive one-ton specimen is on display in seep into rocks, oxidizing and altering them. Turquoise, the exhibition. Another way living organisms can produce carnelian and jasper, among other gems, are born from precious materials is through the “fossilization” of organic this corrosion. Themed showcases in the exhibition compounds such as resins. Amber, mother-of-pearl, present these metamorphoses in stunning detail. pearls and coral are the results of this phenomenon. Some have marked history, such as the pearls of Vietnamese emperor Bao Daï (from a private collection), the great pearl of William V of Orange-Nassau (offered to France by the Netherlands and recently housed in the Museum) or the fine pearls of the French Crown Jewels, preserved in the Museum.

Platinum, yellow gold, enamel, mother-of-pearl, pearl, diamonds Van Cleef & Arpels Collection, © Van Cleef & Arpels SA — 23 Melo pearls owned by Emperor Bao Daï, 15th-20th century – Vietnam This beauty compact features multicolor mother-of-pearl marquetry depicting Private collection © Van Cleef & Arpels SA soldiers at war. It is one of Van Cleef & Arpels’ first creations highlighting this natural material.

Gems — 12 — Ruby on marble – circa 30 million years - Mogok, Myanmar © MNHN / F. Farges

Cravat collaret, 1954 Platinum, sapphires, diamonds CITY OF RUBIES Van Cleef & Arpels Collection Patrick Gries © Van Cleef & Arpels SA — With its Cravat necklaces, part of a tradition dating back to the 1920s, Nestled in the Burmese mountains, the city of Mogok is Van Cleef & Arpels portrays the fluidity and drape of fabric through precious stones. A now famous piece set with diamonds and rubies was given to Wallis the capital of the "valley of rubies". Access to the site Simpson in 1936 by her husband, the Duke of Windsor, as a 40th birthday gift. is no easier than Joseph Kessel described in 1955, and its geological location remains just as exceptional. The continuing collision of India and the Asian continent, which began some 50 million years ago, has brought METAMORPHISM forth from the depths of the Earth a mineralogical wonderland containing some of the world’s most Plate tectonics can cause surface minerals to become beautiful rubies, trapped in the "blue" marble of Mogok buried. These telluric movements allow crystals of all origins (up close, the rock appears white, but its bluish tinge is to sink a few kilometers into the Earth's surface, where clearly visible from afar). Unique for their exceptional they are distorted and react with each other in a solid quality and uniform color, these rubies are also capable state. This phenomenon, known as metamorphism, leads of reflecting a portion of the light they absorb, making to diverse evolutions. Some minerals recrystallize thanks them even more brilliant. to the addition of fluids and increases in temperature and pressure. Others are annealed as magma rises. Only a tiny fraction of these minerals will return to the surface due to erosion and tectonics. These include lapis lazuli, numerous , jades, , sapphire and ruby. Set against a striking array of minerals, precious creations by Van Cleef & Arpels manifest the Maison’s creativity.

Hauynite (lapis lazuli) crystals - Badakhshan, Afghanistan © MNHN / F. Farges

Dual Fan clip, 1937 Platinum, rubies, diamonds Van Cleef & Arpels Collection Patrick Gries © Van Cleef & Arpels SA

— 13 — Gems Le Château (The Castle), dendritic limestone described by Roger Caillois (The Writing of Stones, 1970) © MNHN / F. Farges PARIS: CENTER ( 3 ) OF KNOWLEDGE

To round out the exhibition Gems, this last part explores the profound links in the French capital between knowledge and creation, research and innovation focused on the mineral world.

From experiments to groundbreaking research, the Museum’s mineralogists examine our perception of precious stones. Meanwhile, visions unite on the journey from laboratories to jewelry workshops, overcoming barriers between disciplines. Indeed, ever since the 17th century, when resources were first gathered to supply the depository at the Royal Garden of Medicinal Plants — the precursor of today’s Jardin des Plantes — the study of minerals and the Museum’s collections have nourished scientific pursuits, changing the way we look at these gifts of the Earth. This original excursion through the Paris of precious stones underscores the permeability and cross-cutting nature of minerals, gems and jewelry. Here science, art and High Jewelry make common cause for the benefit of mineral beauty. This last section thusunites and explores diverse viewpoints: current perspectives Models illustrating Haüy’s laws of decrement, pear wood (lead oxide on mineralogical research, multiple perspectives on paint) - Paris, early 18th century © MNHN / F. Farges gems, and shared perspectives on jewelry creation.

Gems — 14 — CURRENT PERSPECTIVES ON MINERALS

This exhibit sheds light on the main protagonists of a continuing chain of developments since the 17th century, driven by naturalists, merchants, lovers of beauty, collectors, scientists, craftsmen and artists, all united by a growing interest in minerals, gems and jewelry.

Contemporary research and recent discoveries by researchers come to light through six filmed interviews, presented alongside mineralogical samples, explaining the growth of a star sapphire, the importance of jade in pre-Columbian Central America, and the link between certain and the origin of life. These varied explorations reflect active research in the fields of mineralogy, gemology and geology.

Further on, visitors discover how the status of minerals has changed in recent years, from subjects of scientific inquiry to graphic projects and finally aesthetic objects. Indeed, 20th century avant-garde artists brought about a shift in the way stones are perceived: they have become beautiful in themselves. Appreciated for their visual qualities and geometric shapes, raw crystals appealed to Cubists, Surrealists and the Bauhaus movement. As boundaries between disciplines became blurred, a complementary relationship emerged among diverse viewpoints. Dialogue has arisen between mineralogy, geology, archeology, geology and gemology, and even ethnology, art history and creation itself. The world of minerals engenders new artistic approaches, clearly visible in the work of Brassaï, who devoted several photo shoots to minerals in the Museum’s Mineralogy Gallery, as well as that of intellectual Roger Caillois, who espoused a dreamlike interpretation of their graphic power. Several specimens from his collection manifest this vision, including “The Castle,” a striking piece of dendritic limestone exhibited here for the first time.

In the 1950s, this penchant for natural crystals influenced the jewelry of Jean Vendome, who innovated by using natural crystals in his creations, such as the 1998 “Meteor” brooch, a gift to the Museum from the artist. Hidden away for decades, this piece featuring a black Tahitian pearl, dioptase and azurite crystals, can once again be admired. Vendome thus paved the way for a new approach to jewelry, also illustrated in the exhibition through a Van Cleef & Arpels ensemble incorporating Cut sapphires and rubies owned by Louis XVIII emerald crystals. (total weight of 31.6 ct) - Sri Lanka © MNHN / F. Farges

— 15 — Gems RENÉ-JUST HAÜY, PIONEER IN GEMOLOGY

René-Just Haüy (1743-1822), curator of the mineralogy collections at the Paris' École des Mines (now MINES ParisTech), and later professor at the Museum as of 1801, is recognized as the father of mineralogy and crystallography. He discovered new species (orthoclase, axinite, etc), studied little-known properties (asterism) and the phenomenon of pseudomorphs, demonstrating that a mineral can form different crystals depending on the deposit in which it is housed. In 1817, Haüy reclassified gemstones according to physico-chemical properties, a method that is still in use today. Thanks to his scientific expertise, he laid the foundations for a ulturec of trust essential to the trade in precious stones. owned by René-Just Haüy: heliodor, aquamarine and emerald - Siberia © MNHN / F. Farges

MULTIPLE PERSPECTIVES ON GEMS

Any focus on gemstones inevitably conjures up images of royal collections and the emblematic figures thathave left their mark on the world of jewels. Jean-Baptiste Tavernier is one such figure. By providing Louis XIV with top-quality Indian diamonds, he helped establish Paris as a major import hub and a European capital for the trade and cutting of precious stones. In fact, Museum researchers have just discovered that the brilliant cut was invented for the Sun King. This savoir-faire became a Parisian specialty, aggrandizing the image of power associated with the King and giving birth to the great , the world’s first historically documented brilliant. Unfortunately lost today, it was recreated by a team from the Museum, together with a college of North American experts, from a lead casting discovered in 2008. A video retraces this epic story. In the 18th century, gems could be found in cabinets of curiosities, where they were admired on their own, with no link to jewelry. Aristocrats and the bourgeoisie would mount them on wooden pedestals as pure objects Recreation of 20 of the finest diamonds acquired by Louis XIV in 1668 (cubic zirconia) © MNHN / F. Farges of naturalist interest. The gemstones of King Louis XVIII's private collection have been taken out of the Museum’s storerooms to illustrate this trend. from the Museum’s collection illustrate this openness, an essential vector for the transfer of scientific knowledge, Over the following century, these objects of curiosity, art technical contributions and expertise. Today, knowledge and study became subjects of scientific inquiry.René- of minerals allows for innovations and technological Just Haüy set the standards for this field, and his system exploits unimaginable in the past. The Maison remains a reference today. From then on, dialogue Van Cleef & Arpels has developed several technical between the scientific community and the world of fine innovations, including the Mystery Set technique, on jewelry heightened innovation and encouraged creation. display in a dedicated showcase. Here, science fuels Some 48 samples (fluorite, , , etc.) expertise and technology unleashes creativity.

Gems — 16 — Fuchsia clip, 1968 Platinum, yellow gold, Mystery Set rubies, diamonds Van Cleef & Arpels Collection © Eric Sauvage — This Fuchsia clip embodies the floral designs dear to the Maison since its creation, as well as the iconic artistry of the Mystery Set. This technique, which imparts a remarkably velvety appearance to the ruby petals, is coupled with a cascade of pear-shaped diamonds representing the pistils.

Peony clip, 1937 Platinum, yellow gold, Mystery Set rubies, diamonds Former collection of Her Royal Highness Princess Faiza of Egypt Van Cleef & Arpels Collection Patrick Gries © Van Cleef & Arpels SA — The peony unfolds its petals of 640 Mystery Set rubies weighing some 100 carats, while six faceted oval rubies blossom at the heart of the flower. The peony and the surrounding leaves seem to be captured in motion. This voluptuous design attests to the refinement of themethod, introduced by the Maison on flat surfaces as of 1933, and laterperfected to enrich three-dimensional creations.

THE SECRET OF THE MYSTERY SET TECHNIQUE

A veritable revolution in the art of setting precious tones,s this process, patented in 1933 by Van Cleef & Arpels, makes it possible to attach faceted stones – mainly rubies, but also sapphires, emeralds and diamonds – on a fine gold mesh two-tenths of a millimeter in width, without any visible mount or prong. This practice requires expertise and virtuosity, and is known to less than a dozen master jewelers in France. A Mystery Set clip requires more than 300 hours of work. Since the 2000s, Van Cleef & Arpels has developed two new techniques: the Navette Mystery Set, which accentuates the volume of the piece thanks to the vaulted shape of buff-topped marquise-cut stones, and the Vitrail Mystery Set, which plays on the stones’ transparency and reflections without the mount being visible on either the front or back.

— 17 — Gems Bird of Paradise clip, 1942 Yellow gold, platinum, rubies, sapphires, diamonds Van Cleef & Arpels Collection Patrick Gries © Van Cleef & Arpels SA — Van Cleef & Arpels’ Bird of Paradise creations draw inspiration from the beauty and spectacular plumage of these species, native to New Guinea and Eastern Australia. In this clip, the bird's body, fashioned in polished and Paradisaea minor (1835), Histoire naturelle des oiseaux de paradis engraved gold, illuminates the stylized ruby and sapphire feathers in dazzling et des épimaques, R.-P. Lesson, J.-G. Prêtre © MNHN contrast. The size and volume of the piece intensifies this striking aesthetic.

SHARED PERSPECTIVES ON JEWELRY

Like all fields of artistic creation, the art of jewelry is Since the 19th century, amateur and expert artists have affected by the influences that define an era or a style. observed and studied these objects and documents at Gems highlights some of these major themes, such as the Museum. These same influences can be seen in the naturalism and the appeal of the Orient, once again contemporary jewelry of Van Cleef & Arpels, which also demonstrating evolving perspectives. draws inspiration for many of its central themes from nature or world cultures. Visitors may notice similarities The creation of the Jardin des Plantes by Louis XIII in between the Museum’s 17th and 18th century Indo-Mogul the 17th century contributed to launching the fashion objets d’art of 1ndo-Persian inspiration — including a for “garden jewels” in Paris. Inspired by nature, these rare 16th century Ottomanhadjili — and certain creations giardinetti saw great success in the following century, as by Van Cleef & Arpels. they were no longer reserved for royalty, but accessible to the bourgeoisie as well. In the end, from treasures of the Earth to objects of This naturalist passion reached its peak around 1750, consummate savoir-faire, minerals, gemstones and when Louis XV ordered the Grande Toison d’or from jewelry hold one overarching message: a tale of artistic Pierre-André Jacqmin. A combination of influences creation and mankind’s vision of the Earth. To complete reveals visions of the world brought together since the this celebration of the beauty and poetry of life, the creation of the Cabinet du Roi — replete with crystals Van Cleef & Arpels workshops created a jewelry object and vellum parchments, in addition to objets d’art designed specifically for Gems, on display at the end of evocative of the Middle Kingdom and other distant lands. the exhibition.

Gems — 18 — THE GRANDE TOISON D’OR: A SEMINAL PIECE OF HIGH JEWELRY

In 1749, Pierre-André Jacqmin created for Louis XV an insignia of the Order of the Golden Fleece, a jewel of exceptional richness and complexity. Through his evocative naturalism, which draws on the Homeric tales of Ancient Greece, the jeweler explores a figurative and symbolic vein in the art of jewelry: an apple tree bearing golden fruit supports the precious fleece of the mythical ram while serving as a refuge for a dragon. Above all, however, this royal creation provided a foundation for French High Jewelry, thanks to the remarkable gems it combines — including the famous blue diamond — as well as its innovative execution. Stolen and finally destroyed in 1792, the Grande Toison d’Or was reconstructed in 2010 after five years of scientific and art history research conducted by the world’s leading experts, including specialists from the Museum.

Beauty compact, circa 1925 Platinum, yellow gold, white gold, rose gold, enamel, pearl, engraved jade, diamonds Van Cleef & Arpels Collection © Van Cleef & Arpels SA — Created in the 1920s, this beauty compact blends Art Deco stylings — through the use of black enamel, sleek lines and the round central motif — and Chinese inspiration, with sculpted and engraved jade ornamentation on a red enamel background. Highly sought after in the early 20th century, Chinese motifs can be seen in Western artistic creations, and particularly French works, including wall decorations in opulent homes, gardens depicting a fantasy idea of China, and objects such as table clocks.

Censer with rings and lid, jade - China, Qing Dynasty, Gouache rendering of the Toison d’Or 1749, Pierre-André Jacqmin 18th century. © MNHN / F. Farges © Collection privée

— 19 — Gems DECOR

The decor for Gems, designed by the Jouin Manku agency, stirred by precious stones and nature. That is why the uses changing colors and materials to immerse visitors designers created a luminous space at the heart of into a universe in motion. Embracing the sensations the exhibition, adorned with translucent white fabric. and allure of precious stones, designer Patrick Jouin An allusion to a recently discovered cave in Mexico and architect Sanjit Manku have designed a structured, containing spectacular giant crystals, this empty space three-phase itinerary, a circuitous path tracking and serves as a landmark and an area for contemplation. illustrating the different stages of mineral formation and their subsequent transformation by human hands. Whether natural or fashioned by human hands, precious stones possess a beauty and a life of their own, in a time Plunging into the bowels of the Earth and then returning scale that defies human understanding. The exhibition, to the surface, this exploration is based on George Sand’s faithfully complemented by its architecture, celebrates little-known novelLaura: A Journey into the Crystal, these extraordinary qualities. which inspired Jules Verne’s Journey to the Center of the Earth. The narrative that unfolds through the exhibition combines two visions of time, the vertiginous cadence of the cosmos and time as experienced by humanity, and two registers of size: the infinitely large and the infinitely small. To guide visitors through these conceptions of space and time, the Jouin Manku agency designed patterns of light, color and materials that heighten fluidity and underscore the interplay between contrast and transparency. JOUIN MANKU In this setting, dark tones represent the depths ofthe Earth. Telluric convulsions are depicted by warm colors, morphing into cooler tones closer to the surface. A Working with leading names, the duo of Patrick Jouin and succession of circular spaces represents this dynamic, Sanjit Manku join their talents in exceptional projects, described mainly in the second part of the exhibition. The deploying their creative dialectic in the fields ofspatial visit proceeds seamlessly among friezes and showcases, planning and architectural design. For each project, in a Paris of inventions and innovations ranging from the they combine their personal inspirations and analyses to Grand Siècle to the present day. fashion a contemporary, universal vocabulary. Beyond the spaces they design and the qualities that Within the Gallery of Evolution, Gems continues the make them unique, Patrick Jouin and Sanjit Manku dialogue between art and science initiated in 2016 create true moments of grace as discovery supersedes architecture itself, accentuating the experience of a with the exhibition The Arts and Science of Gems suspended moment in time: in Singapore. Amid abundant scientific data and a the fleeting revelation of a new venue. number of exceptional creations, the decor serves one overarching goal: to offer visitors a timeless excursion www.patrickjouin.com/en/agencies/jouin-manku/ that sparks and sustains their curiosity. While prompting myriad discoveries, it preserves the sense of wonder

Gems — 20 — CULTURAL PROGRAM

AUDIO GUIDE APP EVENTS AND GUIDED TOURS — —

A Gems audio guide app will be available throughout its GEMS EXHIBITION run. The audio tour lets visitors discover 18 iconic pieces on display in Gems through two-minute explanations Whirlwind events composed under the guidance of the curators. The app 15 minutes, free with Museum admission is available on visitors’ mobile devices free of charge Family-friendly, for children 8 and up in French, English and Chinese via a dedicated Wi- “Jean-Baptiste Tavernier, A Diamond Seeker!” Fi network, as well as outside the exhibition to help Discover Jean-Baptiste Tavernier, a great traveler and museum-goers prepare their visit. dealer in precious stones who rubbed shoulders with kings and emperors, from the Great Mogul to Louis XIV. 2020 All Saints and Christmas holidays, every day except PUBLICATIONS Tuesdays, December 25 and January 1. Date of release: September 2020 “Diamond, emerald, ruby and sapphire: shedding light — on precious stones” Learn about the geological origins and properties of the Gems minerals transformed into exquisite gemstones by the Exhibition catalogue, collective work skilled hands of jewelers. Under the scientific direction of François Farges, one of From September 19 to October 14, and from November 4 the curators of the Gems exhibition, the catalogue brings together contributions by more than 25 researchers for to December 16, on Wednesdays and weekends. an in-depth exploration of all the scientific, historic and Whirlwind events will also be programmed in 2021. artistic themes addressed in the exhibition. This great volume is available in three editions: French, English Workshops by L’ÉCOLE, School of Jewelry Arts and Chinese. 2 hours, extra charge Joint publication by the French National Museum of “Make your own jewelry” Natural History / Flammarion • 18.5 x 24.5 cm • 304 pages • With the help of an art historian, a designer and an artist, hardcover • €39 children aged 5 to 8 choose a jewelry pattern to color. Eight models are available for participants to create their Visitor's Guide to the Mineralogy and Geology Gallery own piece of jewelry, following their inspiration to draw, Extending beyond discovery of Earth history, this guide cut out and adorn their creation with mosaics, stones, accompanies visitors on a picturesque excursion through ribbons and feathers. time and the Mineralogy and Geology Gallery’s diverse Wednesdays October 21 and December 9, 2020 and spaces — from the permanent exhibition Treasures of February 10 and April 14, 2021. the Earth to the Gallery’s wings and storerooms, in the “Create your treasure chest” form of a rich alphabet primer. Available in French and in With the help of an art historian, a designer and a English, the guide is accompanied by an exclusive poster. teacher, children aged 8 to 12 draw inspiration from Publication by the French National Museum of Natural jewelry techniques and creations to assert their style and History • 16 x 22.5 cm • 128 pages • softcover • €15 develop their creativity by decorating a treasure chest. Wednesdays October 14 and November 18, 2020 and Almanac, from Flora to Jewelry January 20, March 10 and May 26, 2021. A tribute to nature as an abiding inspiration for jewelry artistry at Van Cleef & Arpels, this almanac guides visitors Guided tours of the Gems exhibition around the Jardin des Plantes season after season. 1 hour, extra charge Publication by the French National Museum of Natural An introductory tour is offered for visitors aged 12 and History • 9.5 x 20 cm • 80 pages + accordion book older one Sunday per month (starting on October 4, 2020). featuring 12 postcards • €15 Tours conducted in sign languages are also scheduled for visitors with hearing disabilities. [email protected]

— 21 — Gems PERMANENT EXHIBITION: TREASURES OF THE EARTH “electric readings” (texts by Paul Claudel, Blaise Cendrars, Joseph Kessel, Roger Caillois, Maylis de Kerangal and Whirlwind events others), meet artists, curators and researchers affiliated 15 minutes, free with Museum admission with the Museum, and even get lost in the Mineralogy Family-friendly, for children 8 and up Gallery, which will be transformed for the occasion into a “Close-up on the Treasures of the Earth: modern-day cabinet of curiosities. From Minerals to Gems” A scientific guide takes you on a journey to explore the origins, shapes, colors and uses of diverse minerals – PHOTO EXHIBITION including gemstones, fashioned by human hands to bring — out their beauty. From September 19 to October 14 and from November 4 The Art of Science: savoir-faire at the National Museum to December 16, on Wednesdays and weekends. Everyday of Natural History except Tuesdays during All Saints and Christmas holidays. Jardin des Plantes, free of charge Echoing the Gems exhibition, which notably reveals the Guided tours of the Treasures of the Earth exhibition savoir-faire behind jewelry making, this exhibition of 1 hour, extra charge photos and drawings highlights the Museum’s expertise An introductory tour for visitors 12 and older is scheduled in advancing learning and preservation of nature. Visitors one Sunday per month (starting October 11). go behind the scenes to discover unique professions: A family tour for parents and children 6 and older is also taxidermist, caretaker, curator, bookbinder, gardener and offered one Sunday per month (starting October 4). more. These rare occupations require an indispensable Tactile tours and tours conducted in sign language will level of mastery and a priceless set of skills: they are also be offered. the Museum’s other hidden gems, the treasured energy [email protected] behind its centuries-old prestige. From September 16, 2020 to June 14, 2021.

SPECIAL EVENTS AT THE MUSEUM More information at jardindesplantesdeparis.en —

Encounters with speakers of diverse scientific backgrounds (mineralogist, art historian, philosopher, economist, sociologist, etc.) will be organized from September 2020 to delve deeper into topics tied to the exhibition, including “Symbolism of stones” (October 5), “Jewelry ensembles: Sublimating the Body?” (October 12) and also a presentation of the catalogue by exhibition's curator François Farges (November 16). A classic film will also be shown: Journey to the Center of the Earth by Henry Levin (1959), based on the novel of the same name by Jules Verne, on October 3. Finally, two cycles of four public classes are on offer: a fall class with François Farges, one of the curators of the Gems exhibition, as well as experts from L’ÉCOLE, School of Jewelry Arts on “Paris: Capital of Jewelry” and a second class on “The utility of minerals” in partnership with the Mineralogy Museum / MINES ParisTech.

SCIENCE FESTIVAL “SPECIAL MINERALOGY EDITION” —

Researchers will be opening up their laboratories for a weekend of workshops, meetings and visits on the major topics in the fields of mineralogy and gemology (October 10-11, 2020). In addition, an artistic program The Art of Science: savoir-faire at the National Museum of Natural History exhibition © MNHN / A. Iatzoura on “Sensitive Stones” is planned: visitors can revel in

Gems — 22 — “Mountaintop,” - Mexico; former collection of Roger Caillois, gift by Van Cleef & Arpels, 2017, © MNHN / F. Farges

THE STORY BEHIND AN EXCEPTIONAL COLLECTION

Arguably the richest collection in the history of Diplomatic gifts from foreign sovereigns and donations mineralogy: home to 130,500 samples including motivated by scientific passion ensured an ever-greater 4,000 meteorites, 4,500 gemstones and 4,500 works number and variety of minerals and gemstones. The of art, the Museum’s collection has been forged over collection was further enhanced by Abbot René-Just Haüy, 400 years. Assembled through 18th-century naturalist the father of modern mineralogy and crystallography, who expeditions, donations, acquisitions, patronage, as well assembled a vast assortment of stones acquired by the as the current collections of the Museum’s researchers, Museum in 1848. Recent research into this contribution this body of mineral treasures has never stopped has brought to light a seminal wealth of gems and objets growing. Today, the gemstone collection brings together d'art, hitherto neglected. Created under the reign of Louis- 300 different species — some extremely rare, such as Philippe in 1841, the 187-meter long Mineralogy Gallery laurentthomasite, discovered in 2018. It also houses most of — the first of its kind — was equipped with 192 display the "dreamstones" gathered by French intellectual Roger cases and desks. At the time, the Museum already held Caillois — almost all of which have been united within 18,000 samples, a world record. the Museum thanks to the sponsorship of the Maison Van Cleef & Arpels — as well as a large number of samples Moving into the 20th century, in 1902 American financier once owned by scholars Romé de l'Isle, Haüy, Cloizeaux J. P. Morgan honored the Museum with the Tiffany-Morgan and Lacroix, and a wide variety of gemstones from the Collection of Gems, which included the first rough and cut former French Crown Jewels. kunzites. Later, in 1937, Colonel Vésigné bequeathed to the Museum 5,000 minerals, supplemented soon thereafter by the Many illustrious figures have left their mark on the Museum’s acquisition of 15,000 of his samples, including extremely rare collection, including King Stanislas II of Poland and Empress gems such as benitoite and willemite. When the “Friends of Catherine II of Russia. Amid the intellectual fervor of the National Museum Mineralogy” association was created in 1973, Enlightenment, the travels of Commerson, Bougainville and government-supported donations and subscriptions made Dombey brought new species for study and learning. Later, it possible to enrich the collection with giant crystals — the in 1796, revolutionary expropriations enriched the Museum’s highlight of the Treasures of the Earth exhibition. Originating collection with an abundant assortment of precious stones from the depths of the Earth and still growing after four including Louis XIV’s Grand Saphir, now on display in the centuries, the Museum’s mineralogical collection extends Treasures of the Earth exhibition. Over the following century, beyond learning and discoveries, uniting scholars and poets, the collection continued to grow in size and diversity. researchers and dreamers, in kindred emotions.

— 23 — Gems Curiosity rover © NASA/JPL-Caltech/MSSS

Simulation of the blue diamond of Louis XIV © MNHN / F. Farges

Synthesized siderite (iron carbonate) © IMPMC / I. Esteve MINERALOGICAL RESEARCH AT THE MUSEUM

The interdisciplinary dialogue instituted by the Treasures Another topic concerns experimental examination of the of the Earth and Gems exhibitions illustrates the spirit and physical properties of minerals under extreme conditions approach that prevail today in mineralogical research. The of pressure and temperature, with the goal of studying creation of the Institute of Mineralogy, Materials Physics the inaccessible depths of planets, particularly the Earth. and Cosmochemistry* (IMPMC) in 2005, resulting from the Among these minerals molded in the heart of planets merger of the Museum’s mineralogy and crystallography one finds diamonds, sometimes messengers from the laboratory with the CNRS and Sorbonne University’s depths and sometimes Crown Jewels witness to the condensed matter physics laboratory, stands out as a turmoil of history. Recreating the French Blue Diamond reference in this regard. This alliance makes it possible to of King Louis XIV in the Museum’s laboratory is a prime explore the Museum’s collections, as well as samples from example of this pursuit. To simulate the shape and color all over the world, and to practice quantum theoretical of this 69-carat gemstone as it appeared to the Sun King, calculations or probe matter on the scale of atomic researchers used computer calculations involving quantum vibration, all using state-of-the-art equipment. World- mechanics, atomic physics and absolute color calculation: class teams composed of some 200 pioneering scientists a world first. — physicists, biologists and mineralogists, including around 30 Museum researchers — are thus combining Finally, the third area of research is mineralogy their research with a focus on three major topics. and chemistry applied to extraterrestrial objects (cosmochemistry). In 2007, comet fragments collected The first consists of evaluating interactions between living during the Stardust mission were studied. Those collected organisms and minerals. This involves looking back to the from the Ryugu asteroid by the Hayabusa2 probe will source, exploring the formation of complex molecules be analyzed in the near future. And by 2021, the results upon contact with minerals (DNA, proteins) or minerals of explorations by the Mars 2020 rover will open a new formed by living organisms (bacterial encrustations, chapter in the study of Martian mineralogy. kidney stones, etc.). Environmental mineralogy studies other interactions on a global scale, such as the ability * The 1nstitute is a joint research unit of Sorbonne of certain minerals (iron oxides synthesized by bacterial University, CNRS, the French National Museum of Natural colonies) to cleanse contaminated soils (arsenic, for History and 1RD. instance). Important advances have recently been made on these mineral phases formed by living organisms and their use in the development of new technologies for energy storage and decontamination of radionuclides, as well as for therapeutic purposes through hyperthermal treatment of cancer cells.

Gems — 24 — PERMANENT EXHIBITION: TREASURES OF THE EARTH

Perfectly complementary, the Trésors de la Terre, or Treasures of the Earth, and Gems exhibitions cast a thoughtful eye on the history and richness of mankind and our planet. Launched in 2014, Treasures of the Earth brings together 600 specimens, including 18 giant crystals, in a space divided into eight alcoves.

The exhibition opens with a lover of sliced agates, limestone blades and polished sandstone cross-sections. French intellectual Roger Caillois (1913-1978), who donated part of his collection to the Museum, perceived figures, fantastic landscapes, familiar or surreal shapes in the inner strata of minerals. Some twenty of his “dream stones” lend the exhibition a personal atmosphere, like the private library of a passionate lover of science.

Thus begins a journey through space and the strata of the Earth. An immense fresco immerses visitors into the mineral kingdom, projecting them a few million years back in time in first alcove. Next comes an exploration of the growth and the great diversity of minerals amid scientific instruments dating from the 18th century, which made mineralogical study possible. The third series of showcases focuses on the profusion of colors enlivening the mineral world. Using an entertaining touchscreen, visitors discover their use as paint pigments. The fourth stage of the exhibition examines the impact of light on minerals. Iridescent, multicolored or fluorescent depending on the light source, they may be transparent or display a resinous, vitreous or metallic sheen. In the fifth room, fine stones, natural, cut or made to match manufactured objects, offer a glimpse into French history with treasures once owned by Louis XIV, Marie- Antoinette or Empress Eugenie. The following space echoes this theme through objects, both functional and ornamental, fashioned by human hands, tracking their increasingly visible presence in the decorative arts. The tour continues in the seventh alcove with a focus on scientific research, offering insight into the Museum’s missions and retracing the development of the collection. Finally, the exhibition concludes with meteorites. Visitors discover the chemical composition of the solar system, coming full circle in their exploration. Gems thus picks up Rutile and hematite on quartz © MNHN / B. Fayes where Treasures of the Earth leaves off.

— 25 — Gems PRESENTATION OF VAN CLEEF & ARPELS

The history of Van Cleef & Arpels traces its roots back Since its creation, Van Cleef & Arpels developed skills to 1895 with the marriage of Estelle Arpels, daughter of that would become its signatures: the Mystery Set a dealer in precious stones, and Alfred Van Cleef, son of technique (patented in 1933), in which metal disappears a lapidary craftsman and diamond broker. In 1906, they to better reveal the precious stones, the ingenious went into business with Estelle’s brothers — Charles, vanity case known as the Minaudière, and of course the followed by Julien and later Louis — to open the first innovative Zip necklace, inspired by the zipper. Between Van Cleef & Arpels boutique at 22 Place Vendôme, in a ingenuity and poetry, the Maison maintains its eminently Parisian neighborhood renowned for its elegance. The recognizable style thanks to iconic creations including High Jewelry Maison has never moved from that iconic the Cadenas watch and the Alhambra long necklace. address. The elegance and finesse of its creations, along with its Its reputation grew, aided by an international clientele and use of the rarest and most precious materials, enabled Van Cleef & Arpels’ participation in prestigious international Van Cleef & Arpels to win over royal and princely families, events such as the Exposition Internationale des Arts movie stars and a cosmopolitan clientele of discerning Décoratifs et Industriels Modernes, held in Paris in 1925. taste. Over the decades, the Maison’s creativity and A second generation took over in the 1930s, under the excellence earned it a reputation as a worldwide artistic leadership of Estelle and Alfred’s daughter, Renée reference. An exceptional selection of gemstones and Puissant, who served as Creative Director from 1926 to 1942 the savoir-faire of the Mains d’Or, master craftsmen in in collaboration with designer René-Sim Lacaze. Her unique the Van Cleef & Arpels workshops, have brought forth and original style left its mark on the Maison’s collections. enchanting jewelry and watch collections.

Julien Arpels’ sons Claude, Jacques and Pierre also joined the family business. Jacques joined the Maison EDUCATIONAL PARTNERSHIPS in Paris in 1938. The following year, Claude settledin New York, where he and his uncle Louis opened a Van Cleef & Arpels works to promote the culture of Van Cleef & Arpels boutique at 744 Fifth Avenue in 1942. jewelry around the world and to perpetuate its tradition of Their younger brother Pierre joined the Maison in 1944, excellence in craftsmanship in France through partnerships overseeing jewelry design. with top-ranking educational establishments such as the École de Bijouterie Joaillerie de Paris, the École Boulle and the Chair of Exceptional Savoir-Faire at ESSEC Business School. These initiatives demonstrate the Maison’s ever- growing connection with younger generations, with a view to helping them build their future while vitalizing professions in the world of High Jewelry.

L’ÉCOLE, SCHOOL OF JEWELRY ARTS

Established at Place Vendôme in 2012 with the support of Van Cleef & Arpels, L’ÉCOLE, School of Jewelry Arts introduces the public to the world of jewelry through courses, conferences, exhibitions, videos and publications. To help all participants become enlightened enthusiasts by honing their eye and developing their acumen, courses at L’ÉCOLE focus on three main themes: history of jewelry, savoir-faire and the world of stones. Not merely Bird clip and Walska pendant, 1971-1972 a sedentary establishment, L’ÉCOLE travels regularly to Yellow gold, emeralds, sapphire, yellow and white diamonds and a 96.62-carat briolette-cut yellow diamond meet jewelry lovers, offering a rich program of debates Van Cleef & Arpels Collection and exchanges, and inaugurated a second permanent site Patrick Gries © Van Cleef & Arpels SA in Hong Kong in late 2019. From Paris to Tokyo, from Hong — This Bird clip reflects the tradition of transformable pieces characteristic of Kong to New York and on to Dubai, since its creation, Van Cleef & Arpels: the wings are detachable and can be worn as earrings, the L’ÉCOLE has already hosted more than 30,000 students tail becomes a clip, while the yellow diamond transforms into a pendant. In the 1930s, this remarkable 96.62-carat stone belonged to Polish opera singer Ganna from 50 different countries. Walska, owner of the Théâtre des Champs Élysées in Paris from 1922 to 1970. https://www.lecolevancleefarpels.com/en

Gems — 26 — PRESS VISUALS

Cut tanzanite (30.9 cts) – Merelani (Arusha, Tanzania) © MNHN / F. Farges Clover clip, 1964-1966 Blue bird clip, 1963 Yellow gold, turquoise, diamonds Platinum, yellow gold, sapphires, Van Cleef & Arpels Collection turquoise, coral, diamonds © Van Cleef & Arpels SA Van Cleef & Arpels Collection Patrick Gries © Van Cleef & Arpels SA

Gladiator brooch, 1956. Yellow gold, emeralds, rubies, pearls, baroque pearl, diamonds Van Cleef & Arpels Collection Anthony Falcone © Van Cleef & Arpels SA

Frédéric Scalberge (1542-1640). View of the Garden and the Cabinet du Roi (1636), watercolor on vellum © Muséum national d'Histoire naturelle

Grande Table des Orsini, bronze and Carrara marble adorned with various stones (lapis lazuli, antic marbles, jaspers, agates, alabasters, mother-of-pearl…), 17th century © MNHN / B. Faye “Mountaintop,” agate - Mexico; former collection of Roger Caillois, gift by Van Cleef & Arpels, 2017 © MNHN / F. Farges

Interlaced flowers, red and white roses bracelet, 1924 Platinum, onyx, rubies, emeralds, diamonds Van Cleef & Arpels Collection © Van Cleef & Arpels SA

Karakusa Butterfly clip, 2012 White gold, lacquer, diamonds Van Cleef & Arpels Collection © Van Cleef & Arpels SA

Louis XVIII’s corundums: raw and cut sapphires and rubies (total 75.8 cts) – Collaret, 1929. Platinum, emeralds, diamonds “The Truffle,” black diamond (330 ct) Sri Lanka. End 18th century – beginning 19th century Former collection of HRH Princess Faiza of Egypt - Chapada Diamantina (Bahia, Brazil), © MNHN / F. Farges Van Cleef & Arpels Collection. Patrick Gries © Van Cleef & Arpels SA circa 1849 © MNHN / F. Farges

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Communication Department — March 2020 Printed on paper from sustainably managed forests — Cover : © Eric Sauvage