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
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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.
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.
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.
In this third article, and then in the next one, we address the collaboration between Muller & Cie and Hector Guimard.
In this second article we look more precisely at the collaborations between Muller & Cie and the artists and architects of this artistic movement.
We are starting a series of five articles dedicated to the ceramist company Émile Muller in Ivry and which will give an overview of his creations in the field of Art Nouveau. In this first article we discuss the history of the company and the variety of its creations.
In this third article, we examine the possible origins of the fake subway bronze surrounds that flourished on the American market from the late 1980s. The tracks are multiple but one or two of them are more likely to be the right ones.
The open bronze subway surround sold in 2019 by Bonhams in New York City was in fact the fourth fake surround of this nature that we have been informed of, all of which are present on American territory. We present them below in the order in which they came to our knowledge.
In March 2019 we were contacted by the representative in France of the American branch of a well-known British auction house: Bonhams. They suggested that we give our opinion on an “exceptional Guimard ensemble”
“Hector Guimard, design pioneer” September 16th > December 9th
It is delightful to realise that research on Hector Guimard continues to yield surprises. There is a basic part of the architect’s production where much remains to discuss and discover: furniture and interior decoration. For instance, recent and thorough-going research on the French Village Townhall, Guimard’s chief contribution to the 1925 International Exhibition on Decorative
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