GLANZSTÜCKE: Van Cleef & Arpels High Jewelry × Masterpieces from the MAK Collection

14 juillet 2026

GLANZSTÜCKE: Van Cleef & Arpels High Jewelry × Masterpieces from the MAK Collection

VIENNA - The exhibition GLANZSTÜCKE: Van Cleef & Arpels High Jewelry × Masterpieces from the MAK Collection creates a dialogue between rare objects from the MAK - Museum of Applied Arts, Vienna, and the jewelry art of Van Cleef & Arpels.

Koloman Moser, Folding screen, 1906. Execution: Wiener Werkstätte/Karl Beitel/Therese Trethan. Wood, gold and marbled paper, decorative edging © MAK/Georg Mayer

Zip necklace, 1955. Yellow gold, platinum, emeralds, diamonds © Van Cleef & Arpels Collection

Wanderlust

The promenade begins with objects inspired by travel. Both Van Cleef & Arpels and the MAK have a rich history of drawing inspiration from travel and diverse cultures. Van Cleef & Arpels' creations evolved since 1906 from the Varuna yacht model and Grand Tour influences to incorporate Art Deco Japanism, Orientalism, Egyptian motifs, and later, place-named designs as well as merged medieval and oriental themes. Similarly, the MAK, founded to elevate decorative arts, built an extensive international collection, notably focusing on the Middle East and East Asia, with its Asian art collection growing significantly from the 1873 Vienna World's Fair.

So-called Portuguese carpet, Central Asia, early 17th century. Cotton, wool © MAK

Small-scale reproduction of the Varuna yacht, 1906. Yellow gold, silver, jasper, ebony, enamel © Van Cleef & Arpels Collection

From the 1920s and onwards throughout the century up to today, Asia, including the Land of the Rising Sun, has fascinated the Maison’s creators, inspiring them to adopt its motifs and symbols, to translate its techniques and materials, and to adapt its objects. The 1924 vanity case, for example, is inspired by Japanese inrō, small boxes hung from the belt that serve as pockets for kimonos. This piece is juxtaposed with an 18th-century six-part folding screen from the MAK. Executed in mineral pigments and India ink, this painting symbolizes the slow passage of time and the seasons (in this case winter).

Folding screen Winter, Japan, 18th century. Paper, india ink, pigment © MAK

Felice Rix, Cigarette case with tassels, 1929. Leather, wool, opal spheres © MAK/Tamara Pichler

Japanese-inspired vanity case, 1924. Yellow gold, platinum, jade, enamel, diamonds © Van Cleef & Arpels Collection

In 2011, the Maison continued its journey with the Bals de Légende™ High Jewelry collection. Among them, the Izmir necklace, with its vibrant colors, evokes the architecture of Middle Eastern palaces. Alongside it, the Hamzanama from the MAK Collection, is an outstanding testament to the 16th-century Mughal culture.

Miniature from the Mughal manuscript Hamzanama, circa 1570. Cotton, paper, painted © MAK/Georg Mayer

Izmir necklace, 2011. Yellow gold, white gold, rose gold, yellow sapphire, amethyst, citrines, colored spinels, opals, spessartite garnets, pink tourmalines, diamonds, Bals de Légende™ High Jewelry Collection © Van Cleef & Arpels Collection

Gustav Klimt, Floral pattern from the dining room frieze at Palais Stoclet in Brussels, ca. 1910. Ceramic, glazed © MAK/Georg Mayer

Egyptian Pattern bracelet, 1924. Platinum, emeralds, rubies, sapphires, onyx, diamonds © Van Cleef & Arpels Collection

The next section, Architecture, directs visitors’ attention to the beauty of structures and constructions. During the early 20th century, Van Cleef & Arpels became a key figure in Art Deco and Modernism with simplified, geometrized, and functional designs, an aesthetic that continues today. Simultaneously, the Wiener Werkstätte (WW), founded in 1903 by Josef Hoffmann and Koloman Moser, developed a geometric, architectural design vocabulary to imbue practical items with luxury, predating Art Deco and Bauhaus. The MAK Museum preserves the Wiener Werkstätte’s extensive estate, highlighting its significant influence on decorative arts.

Josef Hoffmann, Basket with Handle, Wiener Werkstätte, 1907. Sheet zinc, punched, painted © MAK7Georg Mayer

Bracelet, 1936. Platinum, yellow gold, Mystery set™ rubies, diamonds © Van Cleef & Arpels Collection

Bracelet, 1948. Platinum, white gold, Mystery Set™ sapphires, diamonds © Van Cleef & Arpels Collection

Tie long necklace, 1929.Platinum, diamonds © Van Cleef & Arpels Collection

On these bracelets, the geometric lines stand out thanks to the Mystery Set™ technique, an innovation patented by Van Cleef & Arpels in 1933, ingeniously concealing the metal. Following these structured motifs, the handled basket from the Wiener Werkstätte, designed by Josef Hoffman, is made of sheet zinc. Perforated sheet metal was an ideal material for the geometric objects typical of the Wiener Werkstätte’s early period that often resembled architecture in miniature—high-rises, bridges, or towers.

The founders of the Wiener Werkstätte wanted to enable close collaboration between designers and craftspeople. The hallmarks on Koloman Moser’s ornate box testify that three silversmiths—Adolf Erbrich, Eugen Pflaumer, and Karl Ponocny—and the painter Therese Trethan worked on this piece.

Patented by the Maison in 1933, the Minaudière™ results from a new focus on functionality. The originality of this improved vanity case lies in its clever interior layout: the lid opens to compartments designed to hold personal items, such as a powder box, a watch, a lighter, and a lipstick. The restrained yet refined design of the 1935 Minaudière is typical of the modernist movement of the 1930s.

Koloman Moser, Casket, Wiener Werkstätte, 1906. Silver, enamel, wood, semiprecious stones © MAK/Georg Mayer

Minaudière, 1935. Styptor, yellow gold, silver, diamonds © Van Cleef & Arpels Collection

Rhythmic Designs

“Rhythmic Designs” chapter focuses on geometric fabric patterns from the MAK Collection and dynamically structural creations by Van Cleef & Arpels.

Van Cleef & Arpels' designs evolved from Art Deco bracelets with Neoclassical friezes and reproducible motifs in the 1930s, to repetitive, illusionary patterns inspired by optical and kinetic art in the 1960s and 1970s. This evolution is juxtaposed with the rhythmic, often nature-derived or abstract fabric patterns of the Wiener Werkstätte, such as Sirocco and Marina.

Among the pieces on display are the Silhouette Flower clips created in the late 1930s. They demonstrate the formal stylization of the late Art Deco period and reinterpret the flower motif in keeping with modernist principles.

The Op Art bracelet, on the other hand, refers to the movement of the same name, which emerged in the mid-20th century. It is based on abstract concepts and optical illusion. Through a subtle play of gold textures, the Op Art bracelet thus instills a vibrant dynamism, where movement and contrast elegantly stand out.

In this chapter, the MAK displays archives of the Wiener Werkstätte, considered as a trailblazer of Art Deco. Designs and fabric patterns masterly illustrate the theme of rhythm.

Design for the Wiener Werkstätte, Fabric Sirocco, Vienna, 1929. Pencil, india ink, gouache © MAK

Silhouette Flower clip, 1937. Yellow gold, white gold, rubies, diamonds © Van Cleef & Arpels Collection

Dagobert Peche, Wiener Werkstätte, fabric Marina, Vienna, 1911-12. Cotton, printed © MAK/Branislav Djordjevic

Bracelet from the Op Art set, 1970. Yellow gold © Van Cleef & Arpels Collection

During the Art Deco period, Van Cleef & Arpels also unveiled diamond-set band bracelets, representative of the Maison's taste for white jewelry in the 1920s. These bracelets, with their flexible structure, are recognizable by their stylized, repeated, and monochrome motifs. They offer different volumes and a sense of perspective to the pieces.

These motifs resonate with Gustav Klimt's preparatory drawings for the Stoclet Frieze, which offer an immediate insight into the artist's creative process. These sketches illustrate Klimt's aspiration to combine art, ornament, and architecture into a single, unified work.

Gustav Klimt, Working drawings for the dining hall frieze of Stoclet House with the motif Fulfilment (Lovers), 1908–1911. Pencil, colored pencil, gouache; bronze, silver, gold powder © MAK

Band bracelet, 1925. Platinum, diamonds © Van Cleef & Arpels Collection

Band bracelet, 1925. Platinum, diamonds © Van Cleef & Arpels Collectio

Band bracelet, detail, 1925. Platinum, diamonds © Van Cleef & Arpels Collection

Band bracelet, 1925. Platinum, diamonds - Van Cleef & Arpels© Van Cleef & Arpels Collection

On Stage

Since its foundation in 1906, Van Cleef & Arpels has created jewelry and accessories for opera and theater enthusiasts, while considering the customs of appearance and, notably, all the associated finery. This artistic connection is further echoed in Vienna's vibrant cultural history, with the MAK Collection preserving a wealth of artifacts related to its celebrated music, theater, and dance traditions.

Modern dance became an established art in the Austrian capital, playing a key role at Cabaret Fledermaus opened in 1907. Decorated by the Wiener Werkstätte under the direction of Josef Hoffmann, this avant-garde cabaret welcomed renowned artists, including the dancer Gertrude Barrison. The cabaret's first program featured an illustration by Fritz Zeymer, capturing the dancer's grace.

Fritz Zeymer, Illustration for the first program of Cabaret Fledermaus (dancer Gertrude Barrison), Vienna, 1907. India ink, gouache © MAK/Georg Mayer

Little Winged Fairy clip, later named Spirit of Beauty, 1941. Platinum, emeralds, rubies, diamonds. Purchased by the American socialite Barbara Hutton for a friend © Van Cleef & Arpels Collection

Fairy clip, 1943. Platinum, emeralds, rubies, diamonds © Van Cleef & Arpels Collection

Inspired by performance arts, the Maison introduced Dancer and Fairy clips in 1941, reflecting ballet passion and a dreamlike universe. Fairies, such as the one featured on the Little Winged Fairy clip, embody the Maison’s enchanting world.

Attached to the art of dance, opera, or theatre, the Maison has accompanied women and artists throughout the decades with jewelry pieces and precious accessories.

Eduard J. Wimmer-Wisgrill, Evening dress, Vienna, ca. 1925. Silk, glass beads © MAK/Branislav Djordjevic

Evening bag, 1923. Platinum, pearls, diamonds © Van Cleef & Arpels Collection

Lapel watch, 1926. Platinum, white gold, sapphires, onyx, diamonds © Van Cleef & Arpels Collection

Necklace, 1936. Platinum, white gold, rubies, diamonds © Van Cleef & Arpels Collection

Five-leaf clip, 1965. Platinum, rubies, diamonds. Former collection of the opera singer Maria Callas © Van Cleef & Arpels Collection

Metamorphoses
The concept of metamorphoses and transformation is a recurring and celebrated theme in both jewelry and applied arts. This is evident in Van Cleef & Arpels' innovative transformable creations and trompe-l'oeil designs. Similarly, the MAK Collection showcases numerous metamorphic objects, from multi-functional pieces to repurposed historical jewelry, highlighting the artistic evolution of form and function.

The 1972 Ribbed necklace once again testifies the Maison's perpetual taste for convertible pieces. Composed of engraved chrysoprase motifs separated by gold and diamond bows, it features detachable elements and can be changed into a bracelet. It is associated with an ivory ink standish, acquired by the MAK in 1892. It illustrates the aspiration of early modern cabinets of curiosities to unite artisanal virtuosity with aesthetic design. At first glance, the slender, tower-like structure is reminiscent of an architectural model. Only upon closer inspection does the object's actual function reveal itself.

Inspired by the universe of couture, Van Cleef & Arpels has also designed numerous white gold and diamond clips, imitating the movement and fluidity of fabrics and ribbons. Timelessly elegant, the voluminous 1937 double clip converts into two separate clips. It is displayed alongside a late 19th-century tablecloth from the MAK’s Textiles and Carpets Collection, which features a diamond grid consisting of blue flower tendrils with ribbons and bows, on white background.

Rosette from the so-called Hall Jewelry, ca. 1580. Execution: Münchner Hofwerkstatt. Gold, enamel, rubies, pearls © MAK/Nathan Murrell

Passe-Partout Jewelry, 1939.Convertible into a necklace, a bracelet, or a belt; detachable clips. Yellow gold, platinum, white gold, rose gold, rubies, aquamarines © Van Cleef & Arpels Collection

Nature & Cosmos
The exhibition closes with an homage to the beauty of nature and the universe. The enduring influence of flora, fauna, and cosmic elements on artistic creation is a central theme. This is exemplified by Van Cleef & Arpels' diverse designs, from realistic flowers to celestial motifs and anthropomorphic clips. Such inspirations are also deeply rooted in broader applied arts, as seen in the extensive MAK Collection and historical artifacts.

The Leaf bracelet, created by Van Cleef & Arpels in the 1950s, features a stylized, curved leaf motif paved with sapphires on yellow gold, with veins in polished gold or platinum set with diamonds. This piece extends the tradition of floral iconography in the French jewelry arts while simplifying the natural forms seen in 18th and 19th century pieces.

The bracelet echoes the Wiener Werkstätte fabric Leaves, designed by Martha Alber. This very popular fabric, with its expansive patterns and rich colors, is part of a collection of creations developed by women artists for the fabric and Wiener Werkstätte's fashion department.

The Mystery Set™, a technique patented by the Maison in 1933, underscores the preciousness of nature. The Flower clip from 1938 is set with emeralds while the Bellflower clip presents a flower in Mystery set sapphires. It contrasts with the diamond and creates a play of oppositions.

The cosmos has often inspired the Maison to create stylized forms of great modernity, exemplified by the Meteor wristwatch from 1959. It combines asymmetrical yellow gold strands with diamond centers, while the Asterisk piece uses textured gold to convey the rays and movement of a twinkling star.