The goal of the association “Le Cercle Guimard” is to promote, for a general public as well as the relevant authorities, the architect and decorator Hector Guimard (1867-1942).
After having pointed out in a previous article the existence of copies of armchairs from the Salle Humbert de Romans, we come back to the history of the real armchairs of this concert hall and in particular to their almost fortuitous rediscovery in the 70s.
Cast iron theatre armchairs with folding seats, similar to those created by Guimard for the Salle Humbert de Romans, have appeared several times on the art market over the last three years. In this article, thanks to our German correspondent Michael Schrader, we present them and compare them to the original armchairs. In a future article, we will describe the original armchairs in more detail before tracing the history of their rediscovery in the seventies.
From an ad published on a sales site, we were able to find the name of the foundry that produced several models of Art Nouveau stylefiredogs, one of which is commonly wrongly attributed to Guimard. We take this opportunity to describe other models of firedogs from this foundry and to present the only model that Guimard had produced by the Saint-Dizier foundry.
We are pleased to announce that our association Le Cercle Guimard has been recognized as being of public interest by the french tax authorities in July 2020, notably thanks to the actions of the Cercle in favor of the knowledge of heritage.
This in-depth article (accessible to members and non-members alike) studies for the first time the delicate subject of the qualifiers that Guimard used to describe his work throughout his career. Now, with sufficient hindsight and the support of an older bibliography more extensive than that previously available, we find that beyond the expression of an above-average ego, Guimard showed a certain flexibility, even opportunism, in the use of these terms.
We begin a series of articles devoted to decorative objects outside of Guimard’s production but used by him to ornate both his furniture creations — on the occasion of an exhibition for example — or his own dwellings in the case of his private mansion on avenue Mozart. This article studies the case of the vase from the Guimard’s bedroom that can be seen in the photos of that time.
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