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).
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.
By looking at the stand presented by Guimard at the Exposition de la Céramique in 1897, a contemporary creation of the Castel Béranger, we continue to clarify the roles of the ceramic companies that Guimard called upon, the role of the modellers who assisted him, and the nature of the products of their work. Some ceramic decorations made in the filiation of those of Castel Béranger, but for other constructions, will also be mentioned.
On the website of La Tribune de l’Art, a specialised news magazine, in an article dated 24 April, Bénédicte Bonnet Saint-Georges gives a complete history of the Guimard Museum project carried by Le Cercle Guimard and Fabien Choné. At the end of this account, the journalist questions the Ministry of Culture on the museum potential
The Castel Béranger’s ceramic decorations are usually renowned for being made of glazed stoneware and for having been produced by the Bigot company. But the discovery of new documents allows us to revise this opinion. This article follows the one devoted to the panel with the cat arching his back and the one devoted to the decoration of the vestibule of the Castel Béranger.
In this fifth article we conclude this series devoted to the company of the ceramist Émile Muller in Ivry and its relationship with the Art Nouveau movement with a study on its production of modern style fireplaces. We take the opportunity to reveal the existence of false fireplaces of a well-known model by Muller, one of which is in the Metropolitan Museum of New York.
In this fourth article we conclude to summarize the collaboration between Muller & Cie and Hector Guimard by focusing on the early modernity of Guimard’s models. We also take the opportunity to provide information about the sculptor Timoléon Guérin who was Guimard’s collaborator on several funeral monuments.
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