We have already mentioned this type of suspended clocks, known as “baker’s clocks”[1], in the comments on the Sotheby’s Paris sale of February 16, 2013, which featured one. Attributed to Guimard, it had sold for €10,000, probably the highest price obtained for one of these clocks. We were then convinced that it was not from Guimard.
Some research over several years now allows us to better identify these objects. By observing the examples attributed to Guimard, we can easily divide them into two categories: large models with a metal case and small models with an earthenware case.
Although sometimes different from each other, the examples we know of have a number of common elements, specific to baker’s clocks, which give them a family feel. Their chains have similar links alternating a round link and a flat rectangular scalloped link. In the centre of this chain a large central link or a neo-Louis XV motif is used for wall mounting.
The ends of the chain are inserted on gilded bronze decorative elements. These side elements, which are symmetrical to each other, are completed by an apical and a basal element, and are attached to a clock case. The enamelled metal dials always have Arabic numerals and on most of the examples the hands are similar or close together.
Among these large models (height 45 or 47 cm, width 38 cm) there are barometers, designed to match the clocks. Their depth is less than that of clocks.
All the large models are mounted on copper clock cases affecting the shape of a simple cylinder.
As a result of a probable reassembling error, one of the examples we know of has its top and bottom metal decorative elements inverted in relation to the others. All the dials (except for one which has been re-done) have identical decoration with a crown of small leaves blending in with the minute dots and have similar numerals. Some have inscriptions such as “PARDIEU/Agen”, “G. CUSPINERA/BARCELONA” and “À LA GERBE d’OR/A.”. Simonin/Grenoble ” which are names of jewellers-watchmakers resellers. In the latter case, the company name ” À LA GERBE d’OR ” ( i.e. Golden sheaf) is not, as one might think, that of a bakery, but that of a chain of jewellery shops established in many French towns and whose main shop is in Paris, rue de Rivoli. We can also see that they were exported as far as Catalonia, a land favourable to Art Nouveau as we know it.
The four metal decors of the small models (width approx. 27 cm, height approx. 34 cm) are completely different from those of the large models. They are always mounted on a round and curved earthenware case with a cut-out at the front for the dial and another one at the back for the passage of the mechanism. These cases are special orders placed with a ceramist. One of the known examples belonged to the collection of the Macklowe Gallery in New York (2004). Its notice indicated that the case came from the Keller & Guérin earthenware factory, a large artistic ceramic factory in Lunéville, near Nancy. Another copy was sold by Ader at the Hôtel Drouot on June 14, 2013.
More recently, a small model with earthenware identical to that of the Macklowe Gallery was sold at Drouot’s.
It is quite obvious that the attributions to Guimard that have flourished about these clocks have been based only on the appearance of the decorative elements fixed on the cases. Without them, the object loses all Art nouveau character because nothing, neither in the decoration patterned with small leaves on the dial, nor in the design of the numerals, nor in the shape of the hands, indicates a participation of Guimard in its design. Only the earthenware with floral decoration on the small models attest to an Art Nouveau influence, in the movement of the École de Nancy.
On the other hand, the complex shapes of the metal decorations, asymmetrical, moving and continuous, have a real elegance and are visibly inspired by Guimard’s style. But they nevertheless present a more naturalistic aspect, evoking rather intertwined branches, moving away from Guimard’s decorative motifs at all stages of his stylistic evolution.
Above all, it is not Guimard’s habit to add adventitious elements of his own making to manufactured objects already bearing their own decor. His creations are always a complete reconstruction of the object to be designed.
During a sale of a similar clock at Drouot in the 1990s, legend has it that this type of clock could be found in the Metro pavilions built by Guimard or in other Metro stations. While it is likely that the CMP has installed clocks in its ticket offices, it is hard to imagine that it displayed such artistic models that are so easy to steal. So far, no mention of such clocks has been found in the RATP archives, nor any old photographs proving their presence in the metro. While mentioning in its notices that the object is « After Guimard », the Ader auction house has continued to peddle this legend, stating: « According to several written documents, identical versions of this clock, made in very large format, would have appeared in the Paris Metro at the beginning of the 20th century » (sales of 14 December 2011, 25 May 2012 and 14 June 2013). And to further substantiate this filiation, the photographs cut out of the clock and barometer from the 14 December 2011 sale are superimposed on reproductions from the Castel Béranger portfolio. Only one auction house — Christie’s — mentioned that the clock was « After a design by Hector Guimard » for the sale on 11 February 2003 in London. But at its sale in London on 29 October 2009, Christie’s forgot this precaution and gave the full attribution to Guimard. The small model sold by Leclère at Drouot in January 2017 was more cautious, « Guimard in taste ». Should we see the effect of the first version of this article on our site?
One of our correspondents in Belgium, Mr. Jean-Luc Delval, has enlightened us on the approach of the manufacturer of these clocks by providing us with these photos of the front and back of a small model clock with a different decor:
One immediately notices the similarity in the construction of this clock with the pseudo « Guimard » clocks that concern us. And one understands that the manufacturer has obviously not limited himself to the Art Nouveau style. He also assembled clocks in other styles. This one, neo-baroque, reminds us of the presence on some Art nouveau style clocks of the neo-Louis XV motif of the wall mounting.
Unfortunately, the logo engraved on the back of the mechanism does not give us a precise indication as to its origin, nor does the earthenware bear a mark.
In fact, there were many more of these baker’s clocks of various styles than there were Art Nouveau clocks. We can easily find some on the Internet, from the same manufacturer, such as this one (unsold on eBay at €380 on September 29, 2013) which has the same earthenware case as the one from the Ader sale, Paris, on June 14, 2013,
or this one with an octagonal earthenware case.
Other manufacturers have produced baker’s clocks in the same vein, often less luxurious. But it is only very recently, thanks to other correspondents who sent us photos, that we were finally able to identify their main producer.
First of all, one of our contacts sent us a close-up view of the mechanism of her clock.
The engraved logo was the same as the one on Mr. Delval’s clock.
We then interviewed Michael Schrader, one of our German members, who is a collector of Art Nouveau clocks. He immediately identified the brand as being that of the mechanism manufacturer Eugène Farcot (1850-1896) who had his company on rue des Trois-Bornes in Paris.
Very well-known at the end of the 19th century, Farcot had exhibited monumental pendulum clocks at the 1878 and 1889 exhibitions. But the fact that he was the manufacturer of the mechanisms did not mean that he was also the designer and assembler of these baker’s clocks. However, Michael Schrader was soon able to discover that there were earthenware-mounted cartels bearing the Farcot trademark.
In addition, these cartels had the same recognizable dial as the baker’s clock seen above. So it was indeed a clock assembled and sold by Farcot.
Better still, this advertisement by Wandenberg, Farcot’s son-in-law and successor, mentions « mounted earthenware » and « chain cartels ».
The illustration in the advertisement also shows a mantelpiece clock which is a mounted earthenware equivalent to this clock.
Each time, the upper bronze is identical and can be found on several models of these baker’s clocks.
We will probably never know who was the foundryman who supplied Farcot with bronzes, including « Guimard style » bronzes.
On the other hand, we were able to find the maker of the earthenware thanks to a fifth correspondent, Mr Philippe Michaud, who had dismantled his baker’s clock…
… and was able to take a photo of the inside of the earthenware showing the mark of ceramist.
It is the company Hippolyte Boulenger in Choisy-le-Roi, a large industrial and artistic ceramics company that supplied the bevelled tiles for the metro, among other things. The attribution to Keller & Guérin of the earthenware of the Macklowe Gallery copy is therefore unfounded.
The idea that the expression « baker’s clock » was derived from the name of the ceramist Boulenger immediately comes to mind. The assumption is seductive, but we do not believe it is accurate. In its advertisements, the Farcot company uses the term « chain cartels » and not « baker’s clock » and does not put forward the name of the ceramist who remains well hidden inside. On the contrary, it does not hesitate to put its own brand name on certain earthenware dials. It is therefore probably not at the origin of the expression « boulengère clock » which would have been transformed into « baker’s clock » (boulanger in French = baker). As for the public, it did not have the means to identify the name of the ceramist. Another hypothesis is that this type of clock was used in shops, preferably bakeries. If these clocks, delicate enough and better suited to their place in a living room, could indeed have been placed on the walls of certain shops, there is no reason why they should have been specific to bakeries.
The origin of these Farcot clocks having been established, there is no longer any reason to read fancy sales notes presenting them as « de Guimard », « d’après Guimard » or « dans le goût de Guimard ». They are simply Farcot Art Nouveau style clocks.
Frédéric Descouturelle
Translation: Alan Bryden
Many thanks to all our correspondents without whom it would not have been possible to make progress.
Well aware that we are only gradually changing the attribution habits, since the publication of this article we intervene from time to time with the auction houses which still attribute this type of clock to Guimard.
The attributions have been changed with good grace:
– orally at the sale of the Leclere company in Drouot on January 20, 2017 (lot 12)
– on the online catalogue of the sale of the Bournier & Ardennes Enchères company in Charleville-Mézières on 23 June 2018 (lot 108).
We did not intervene at the auction Debaecker & Richmond company in Saint-Martin-Boulogne in the Pas de Calais. At the sale on 12 October 2019, at no. 158, they offered a Farcot clock « in the style of Guimard » but — the lack of imagination being limitless — entitled it « Art Nouveau Clock Castel Béranger ».
[1] Baker’s clock is the literal translation of the French “horloge boulangère”. The origin of this denomination is not clear, as the article will later elaborate.
This series of articles devoted to the company of the ceramist Émile Muller in Ivry gives an overview of his creations in the field of Art Nouveau. In this fourth article, we try to identify the collaboration between Muller & Cie and Hector Guimard.
The Villa Charles Jassedé
Shortly after the construction of Louis Jassedé’s private mansion began in 1893, rue Chardon Lagache in Paris, Guimard began the construction of a villa in the Paris suburbs for Charles Jassedé, Louis’ cousin, at 63 route de Clamart (currently avenue du Général-de-Gaulle) in Issy-les-Moulineaux. As usual, he pushed the building back to the edge of the plot so that he could make the most of the garden.
Built on a much smaller budget than the Jassedé Hotel, this country house nevertheless presents some picturesque details such as its two deflections on the street façade, the high chimneys and the corbelling (more symbolic than real) of the straight span of this facade by oblique irons.
On this occasion, Guimard does not create new models of architectural ceramics, but simply draws from those he already has published at Muller & Cie and even from those in the catalogue. He therefore reuses his metope no. 13 to girdle the base of the corbelled bay (five metopes on the street side, seven on the right-hand side of the façade), also taking up the framing by angle irons and iron blades as for the lintels of the windows of the Hotel Jassedé.
This series of articles devoted to the company of the ceramist Émile Muller in Ivry gives an overview of his creations in the field of Art Nouveau. In this third article, and then in the next one, we address the collaboration between Muller & Cie and Hector Guimard.
Our articles will not present all of Guimard’s architectural ceramic designs known and intended for Muller nor all of the instances of use of his decorative panels by other architects. This exhaustive study is being carried out in parallel for the constitution of a specific repertory.
Hector Guimard is a special case among the modern architects who supplied models to Muller & Cie, since he called upon the Grande Tuilerie d’Ivry for the decoration of his first villas built in the West of Paris in the early 1890s. These orders immediately led to the publication of models. But curiously, as soon as the Castel Béranger was built in 1895-1898, Guimard no longer seemed to place orders with Muller & Cie and turned to Gilardoni & Brault and Alexandre Bigot. Almost a decade later, however, 14 of his models still appear in Muller & Cie’s 1904 catalogue n° 2.
From his first known construction, a modest pavilion praising the therapeutic methods of electricity and electromagnetism[1] for an obscure Ferdinand de Boyères at the 1889 Universal Exhibition, Guimard used ceramics[2] to decorate the panels inserted in the joinery. The professional magazine La Construction Moderne of 22 March 1890 gives an engraving of it (probably from a photo) but we do not know which ceramic models were used or who was the supplier.
Hotel Roszé
Two years later, in 1891, for the Hotel Roszé at 34 rue Boileau in the 16th arrondissement, we have the certainty of a real collaboration between Guimard and Muller & Cie thanks to the presence of several panels of the Hotel on the 1904 catalogue n° 2. At that time, Guimard was only 24 years old and he was far from having the notoriety that would be his from the Castel Béranger. The novelty of his models, which seems less obvious today, must have been enough for Louis d’Émile Muller to feel that this young architect deserved attention.
The friezes on either side of the lintel[3] of the first-floor window on the left-hand span of the street facade are clad with four-part panels showing a branch from which a blue and a white flower emerge alternately.
This series of articles dedicated to the company of the ceramist Émile Muller in Ivry gives an overview of his creations in the field of Art Nouveau. The first article summarized the history of the company. In this second article we look more precisely at the collaborations with the artists and architects of this artistic movement. The third and fourth article will focus on Hector Guimard’s model editions at Muller & Cie and the fith on the fireplace sector.
Following the death of Émile Muller in 1889 after the Universal Exhibition, his son Louis d’Émile Muller took over the management of the company. The latter developed an artistic sector by publishing contemporary artists and intensifying relations with architects for the creation of new models to be published or not.
The private mansion known as La Pagode, built in a Japanese style in 1895-1896 by the architect Alexandre Marcel for the director of Bon Marché, at 57 rue de Babylone in Paris, is a good example of this. Only a part of the enamelled stoneware decoration can be found in the catalogue.
Among the young designers who came into contact with Muller & Cie many will participate in one way or another in the Art Nouveau artistic movement, focused on decorative art and architecture. Their work will generate a large number of new models that are likely to be reused by others. It is therefore essential for a company such as the Grande Tuilerie d’Ivry to keep up to date and to be able to supply without delay those architects, contractors and decorators who are not themselves creators but who wish to give their work a modern look. The Muller & Cie catalogues will therefore include a significant number of Art Nouveau style models.
Catalogue n° 1, which includes building materials with bricks and tiles, is enriched with models in which Art Nouveau makes a discreet appearance on plate 33 with two models of verge tiles and pediments which frame a more traditional neo-Renaissance model. These are models not signed by an architect and were therefore purchased from an anonymous industrial artist.
We will rely more readily on the plethoric catalogue no. 2 of 1904, which is mainly devoted to products for exterior and interior architectural decoration, but which also includes vases, pieces of art and trinkets. Many well-known artists can be found in this catalogue, and among those who worked in the Art Nouveau movement are the sculptors Pierre Roche, Ringel d’Illzach, Jean Dampt, Timoléon Guérin and Louis Chalon.
Has the time perhaps come for Paris to enter into a new phase of the Art Nouveau Route in order to invigorate its Belle Époque heritage? Currently abandoned and in the process of being sold, the Hôtel Mezzara mansion, built at 60 rue de la Fontaine in 1910 by Hector Guimard, is the perfect building to create this space, a beacon of French Art Nouveau. The association Le Cercle Guimard has begun working towards acquiring the mansion to convert it into a living testimony to the architect of the Paris underground – and in the process, provide the missing link between the French and European Art Nouveau movements.
Located in the Auteuil district of the 16th arrondissement of Paris, the “Hôtel Mezzara” is one of the most interesting buildings by the architect Hector Guimard. Far less renowned than his entrances to the Paris metro, this work surprises with its elegance and its perfect response to the program of the sponsor: a place intended for family life, but also for receptions and the artistic creativity of an industrialist specialized in textiles.
Paul Mezzara, born in France in 1866, had an artistic personality which enabled him to start an artistic career before moving on to industrial arts by founding in Venice, then in Paris, a lace and embroidery factory which provided him with a solid financial position. Having become a recognized personality in the field of decorative arts, he was elected, at the same time as Guimard, in 1910, a vice-president of the Society of Decorative Artists. Thereafter, the evolution of Mezzara’s social status allowed him to consider acquiring a Parisian mansion and his relation with the architect made it logical for him to pass the order in the same year 1910.
Using a plot of land he had acquired near the “Castel Béranger” built fifteen years earlier, the “Hôtel Mezzara” testifies to the evolution of the Guimard style, mellowed and elegant, while remaining faithful to the principles enacted in 1899. Façades and interior spaces deploy a decorative refinement whose cost is nevertheless mastered by an architect who was able to connect with industry, while producing invaluable and unique pieces such as the furniture of the dining room, his only set of furniture to have remained in its original location.
Its large hall, illuminated by a stained-glass window with a surprising staircase, shows that Art Nouveau is the first of modern styles and that it has not just been a decorative revolution
As part of the exhibition in Barcelona in 2012 entitled “The Other Pedreras”, dedicated to the great contemporary works of Gaudí´s Casa Mila, the Mezzara mansion was a clear winner as the representative building of Parisian Art Nouveau.
Le Cercle Guimard is planning the creation of a Guimard Museum to provide substance to this project, to be headquartered in the mansion in order to ensure the future and promotion of this Art Nouveau jewel. But Le Cercle Guimard is also aware that it cannot undertake this ambitious project alone and has called on all institutions and lovers and fans of Art Nouveau to join in supporting it with this initiative.
Contact our association now for the good of Art Nouveau, Paris and Guimard.
The Cercle Guimard is a recognized association of general interest under the French Law.
Each membership can be tax-free* and benefits from the sending of a French tax receipt for the full amount paid (replacing the previous proposed counterparts).
Examples:
Your membership of the Cercle Guimard is an indispensable support to carry out the actions of protection of the heritage of Hector Guimard, in particular the projects related to the Hotel Mezzara and the creation of the Art Nouveau Archives Center.
Your dues are the main source of income for the association.
NB: Memberships are for the current calendar year.
The annual membership amount is:
O Solo member rate: 30€
O Solo Benefactor member rate: 100€
O Solo Great Benefactor member rate: 300€
O Duo member rate (2 people; same postal address): 40€
O Duo Benefactor member rate: 120€
O Duo Great Benefactor member rate: 360€
O Student or job seeker rate: 10 € (on proof or declaration on honor to be sent to infos@lecercleguimard.fr)
O Legal entity** (its representative): 200€
O Free Donation
Payment is preferably made online with the Pay Asso web page.
If, however, you do not have the possibility to pay online, you can send a French cheque to the order of Le Cercle Guimard.
French cheque to be accompanied by the 2022 membership form (PDF) and to be sent to the Treasurer:
Le Cercle Guimard
Castel Béranger
14, rue Jean-de-La-Fontaine
75016 Paris, France
For any questions, please contact us at infos@lecercleguimard.fr.
To receive a notification when we put our news online and access our full articles, remember to subscribe on www.lecercleguimard.fr.
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The personal data collected are mandatory for processing your membership application. They are collected by Le Cercle Guimard for the purpose of processing your application for membership, communicating on its activities and managing your privacy rights. The personal data will be kept during the 5 full calendar years following the end of your membership. You benefit from a right of access, rectification, portability, erasing personal data, by contacting us on infos@lecercleguimard.fr or by sending a postal mail to Le Cercle Guimard, 14 rue Jean-de-la-Fontaine, 75016 Paris, France. You also have the possibility to lodge a complaint with the competent personal data protection authority, in France the CNIL.
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Hector Guimard Robert Mallet-Stevens – Villas modernes
Richard Klein
Baccalauréat arts plastiques
CNDP, Paris, 2004
Hector Guimard
Georges Vigne, Felipe Ferré
Editeur Charles Moreau, Paris, 2003
Guimard perdu, Histoire d’une méprise
Jean-Pierre Lyonnet, Bruno Dupont, Laurent Sully Jaulmes
Editions Alternatives, Paris, 2003
Guimard, Colloque international
Collectif
Réunion des Musées Nationaux, Paris, 1994
Guimard, l’Art Nouveau
Philippe Thiébaut
Découvertes Gallimard n°136, Paris, 1992, réédition 2007
Hector Guimard (série : Gli architetti)
Ezio Godoli
Editori Laterza, Roma-Bari, 1992
Hector Guimard et l’Art Nouveau
Georges Vigne
Hachette, Réunion des Musées Nationaux, Paris, 1990
Les Appels d’Orphée, N°2
Hector Guimard et l’art funéraire.
Georges Vigne
Paris, 1987
Hector Guimard, Architecte d’art
Maurice Rheims, Felipe Ferré
La bibliothèque des Arts, Paris, 1985
Guimard Hector, Architectures
Claude Frontisi
Les Amis d’Hector Guimard, Paris, 1978
Hector Guimard
Gillian Naylor
Academy Editions, Londres, 1978
Bibliographie d’Hector Guimard
Ralph Culpepper
Société des Amis de la Bibliothèque Forney, Paris, 1971, 1975
Etudes sur le Castel Béranger, oeuvre d’Hector Guimard
G. Soulier et P.N.
Librairie Rouam, Paris, 1899
Hector Guimard, Castel Béranger
Jo-Ann Birnie-Danzker
Museum Villa Stuck, Munich, 1999
Hector Guimard
Musée d’Orsay, Paris – Musée des Arts Décoratifs et des Tissus, Lyon
Philippe Thiébaut
Réunion des Musées Nationaux, Paris, 1992
Le XVIe Arrondissement Mécène de l’Art Nouveau / 1895-1914
Paris, Beauvais, Bruxelles
Georges Vigne
DAAVP, Paris, 1984
Hector Guimard et la fonte 1900
B. Herbage-Garcin
Musée de Saint-Dizier, 1983
Hector Guimard
Yvonne Brunhammer, Klaus Bussmann
Museum Villa Stuck, Munich, 1975
Pionniers du XXe siècle : Guimard, Horta, Van de Velde
Yvonne Brunhammer
Musée des Arts Décoratifs, Paris, 1971
Hector Guimard, Fontes artistiques
Alain Blondel, Yves Plantin
Galerie du Luxembourg, Paris, 1971
Hector Guimard
Lanier Graham F.
Museum of Modern Art, New York, 1970
Guimard, l’Art nouveau du métro
Frédéric Descouturelle, André Mignard, Michel Rodriguez
La Vie du Rail, Paris, 2012
Le Métropolitain d’Hector Guimard
Frédéric Descouturelle, André Mignard, Michel Rodriguez
Somogy Editions d’Art, Paris, 2003
Le Métro de Paris, Les Premières Lignes
Mémoire en images
Jean-Pierre Rigouard
Éditions Alan Sutton, Saint-Cyr-sur-Loire, 2002
L’aventure du métropolitain
Roger-Henri Guerrand
La découverte, Paris, 1999
Le Patrimoine de la RATP
Collectif
Éditions Flohic, Charenton-le Pont, septembre 1996
Mémoires du métro
Roger Henri Guerrand
La table ronde, Paris, 1961
Le chemin de fer métropolitain de Paris
A. Dumas
Ch. Béranger, Paris, 1901
Le Style Sapin
Une expérience Art Nouveau à La Chaux-de-Fonds
Sous la direction de Helen Bieri Thomson
Ville de La Chaux-de-Fonds, Suisse et Somogy, Paris, 2006
L’Art nouveau
Gabriele Fahr Becker
Könemann, Cologne, 2004
Guimard : couverture, pages 74 à 83, 105
1900
Catalogue de l’exposition aux galeries nationales du Grand Palais, Paris
14 mars – 26 juin 2000
Philippe Thiébaut
Réunion des Musées Nationaux, Paris, 2000
Art nouveau
Alistair Duncan
Thames & Hudson, 2000
Art nouveau en projet / Art Nouveau in Progress
Réseau Art Nouveau Network, Bruxelles, 2000
Villas modernes – Banlieue Ouest 1900-1939
Jean-Pierre Lyonnet et Christine Desmoulins
Alternatives, Paris, 1997
La lettre Art nouveau en France
Les dossiers du Musée d’Orsay
Philippe Thiébaut
Réunion des Musées Nationaux, Paris, 1995
Art Nouveau 1900 – Le mobilier français
Anne-Marie Quette
Massin, Paris, 1995
Guimard : pages 68 à 79
Musée d’Orsay, Catalogue sommaire illustré des arts décoratifs
Marc Bascou, Marie-Madeleine Massé et Philippe Thiébaut
Réunion des Musées Nationaux, Paris, 1988
Guimard : pages 120 à 134
Journal de l’Art Nouveau
Jean-Paul Bouillon
Skira, Genève, 1985
Guimard : pages 91 à 95 et pages 209 à 213
Paris Art Nouveau, Architecture et Décoration
Franco Borsi et Ezio Godoli
Marc Vokar Editeur, Paris, 1976
L’objet 1900
Maurice Rheims
AMG, Paris, 1964
Le Style Moderne
Emile Bayard
Librairie Garnier, Paris, 1919
Société des chénaux et tuyaux en fonte, système J. Bigot-Renaux
Tarif juin 1902
Planche hors-texte et planche 41 présentant les chénaux créés et utilisés par Guimard pour le Castel Béranger, la salle des fêtes [sic] 60, rue Saint-Didier, les villas de Garches et Sèvres et les édicules du métropolitain.
Maison Fontaine
Catalogue août 1900
Serrures décoratives, Styles anciens, Essais modernes
Planche 585, modèle de serrure n°276 de M. Guimard Architecte.
Hector Guimard s’adressa à la maison Fontaine pour la réalisation de la quincaillerie du Castel Béranger.
Chose singulière, le premier site – aujourd’hui disparu – de la Toile à avoir été entièrement consacré à Hector Guimard fut conçu par un admirateur néerlandais, René Veenstra…
Paris 1900
Le blog du « mateur de nouilles », une référence en matière d’Art nouveau !
Wikipedia
L’article sur Hector Guimard de Wikipedia.
Encyclopædia Universalis
Le début de l’article écrit par Roger-Henri Guerrand, qui fut le président d’honneur du Cercle Guimard.
Revue Vingtième Siècle
Hector Guimard entre deux siècles, article écrit en 1988 par Claude Frontisi suite à l’ouverture du Musée d’Orsay.
HGuimard
De la dernière fonte Guimard passée en salle des ventes aux plus récents appartements guimardiens proposés à la location, rien ne semble échapper à l’auteur de ce blog !
Groupe Hector Guimard
Le point de ralliement des amateurs de Guimard sur Flickr, créé par Laurent David Ruamps.
Des chardons sous le balcon
Le compte-rendu d’un passionné de Guimard et de l’Art nouveau.
Œuvres disparues
Le site de Nicolas Horiot : synopsis d’un projet pour la modélisation informatique des œuvres disparues d’Hector Guimard.
Fragrance 1900
La liste des principaux édifices d’Hector Guimard sur le site de Guiom Virantin.
L’Art nouveau
La page sur Hector Guimard du vaste site de Claude Boissy.
Rue La Fontaine
Très belles photos extérieures par Jan Koster, un professeur de linguistique hollandais.
Hector Guimard pornographe ?
Un canular anticlérical démasqué en 2003 par les auteurs du Métropolitain d’Hector Guimard.
Hector Guimard par Salvador Dalí
Extrait du Forum des arts du 5 décembre 1972, où le maître catalan du surréalisme évoque le portique de métro Guimard que vient de lui offrir la Ville de Paris.
Castel Béranger
Belle galerie de photos par Jean-Pierre Kosinski.
Castel Béranger
Belles vues d’intérieur, par Masahiro Nakano.
Castel Béranger
Rarissimes vues de l’ancienne agence de Guimard, par Vincenttheone.
Villa Berthe « La Hublotière »
Une des rares réalisations domestiques d’Hector Guimard accessibles au public.
Villa Berthe « La Hublotière »
Belle galerie de photos par Jean-Pierre Kosinski.
Maison Coilliot
Façade et hall d’entrée visibles sur le site de Claude Boissy.
Maison Coilliot
Court extrait audiovisuel datant de 1977 – année du classement de l’édifice – montrant de rares vues des pièces du premier étage et de la cage d’escalier.
Maison Coilliot
Court extrait audiovisuel datant de 1983 et tiré de l’émission Chefs d’œuvre en péril, montrant de rares vues de la cage d’escalier et des pièces du premier étage.
Villa « La Bluette »
Deux magnifiques vues de la villa prises par François Levalet, adepte de la photographie aérienne par cerf-volant !
Villa « La Bluette »
Deux très belles vues en noir et blanc de la villa à l’issue de sa construction, sur un site de vente de photographies anciennes.
Castel Henriette
… et autres réalisations d’Hector Guimard par le photographe américain Stan Ries.
Villa Canivet
Reportage fourni sur l’édifice, dû au « mateur de nouilles ».
Métropolitain
Les édicules Guimard, ligne de Métro par ligne de Métro.
Métropolitain
Analyses mathématiques – pointues ! – de la forme des surfaces réglées en verre, par Robert Ferréol et Jean Mandonnet.
Castel Val
Un site tout entier dédié au chef-d’œuvre d’Auvers-sur-Oise.
Castel d’Orgeval
Belle collection de cartes postales anciennes montrées par Claude Audigié, historien de Villemoisson-sur-Orge.
Fontes Artistiques
Plus de de 45 planches du fameux catalogue visibles sur ce site dédié à la fonte d’art.
Chalet Blanc
Présentation de la construction et de son propriétaire par Pascale Krémer.
Hôtel Guimard
Le plan des cinq niveaux de l’hôtel, sur le site de l’Université de Grenade.
Hôtel Mezzara
Nombreuses vues d’intérieur, par Masahiro Nakano.
Hôtel Mezzara
L’hôtel figure au catalogue de MiRES, une société qui propose des décors naturels destinés aux professionnels du cinéma.
Synagogue
Visite détaillée de la synagogue de la rue Pavée sur le site Synagogo.
Synagogue
Visite détaillée de la synagogue de la rue Pavée sur le site de Jono David.
Eugène Galien-Laloue
Version nocturne et féerique de la célèbre carte postale diffusée par Guimard, où le pavillon Bastille devient une sorte de lanterne magique, un foyer incandescent qui attire les papillons parisiens évoluant dans la brume hivernale…
Jean-Pierre Kosinski
Trois portfolios consacrés à Guimard.
Jean-Pierre Lyonnet
La villa Canivet sur le site du CAUE 92.
Jean-Pierre Lyonnet
Le Chalet Blanc sur le site du CAUE 92.
Matthew Vigeland
Dessins de cheminées s’inspirant de modèles guimardiens.
Gérard Michel
La maison Coilliot et un détail de l’enseigne sur Flickr.
Steve Sandler
Jassedé Apartments, la toile d’un peintre américain descendu jusqu’à l’avenue de Versailles.
Christian Bénilan
Le Castel Henriette, vu par un aquarelliste représentant les monuments disparus d’Île-de-France.
Christian Bénilan
L’hôtel Nozal, vu par un aquarelliste représentant les monuments disparus d’Île-de-France.
Christian Bénilan
La villa « La Guimardière », vue par un aquarelliste représentant les monuments disparus d’Île-de-France.
Jean-Marc Bonnard
Le catalogue ornemental de Guimard revisité et inséré dans les structures du Lycée Hector Guimard de Paris… A vous de juger !
rejlord
Joli dessin — quoique inachevé — du célèbre écusson des entourages du métro.
Fiih
Portrait d’Hector Guimard, au regard énigmatique…
plasmid1
Logiciel de création 3D et grande liberté d’adaptation pour cette rambarde du métro.
gabematic
Mode vestimentaire et architecture guimardienne dans cet échantillonnage d’impressions recueillies dans le XVIe arrondissement.
SarcasticSicily
La broche du MoMA reconvertie en cadre de texte dans une affiche de vieille voiture.
TZIHMU
Maquette de brochure fictive, fruit d’un devoir d’étudiant en Web design.
The Minimalist
Une bouche de métro humoristique pour illustrer le mot édicule.
Route du Modernisme
Depuis 2006, le Cercle Guimard adhère à la Route européenne de l’Art nouveau, équivalent international de la Ruta del Modernisme, institut catalan de promotion de l’Art nouveau à Barcelone ; Informations et actualités paraissent dans leur revue, Coup de Fouet.
Réseau Art Nouveau Network
Depuis 1999, un réseau international, engagé dans la protection et la promotion du patrimoine Art nouveau européen, se veut le point de ralliement de toutes les villes, institutions et associations du continent concernées par la question ; à consulter : la rubrique Agenda.
Si l’œuvre d’Hector Guimard ne s’admire encore aujourd’hui que depuis la rue, c’est également le cas d’une bonne partie du patrimoine bâti par ses pairs. Voici un aperçu – inévitablement restreint – de l’architecture Art nouveau qui se laisse déjà visiter en Europe…
Musée Horta
A Bruxelles, la maison et l’atelier construits par Victor Horta pour son propre usage, ouverts au public dès 1969, font figure de pionniers en la matière ; le site consacre aussi une page à l’association des Amis du Musée Horta.
Hôtel van Eetvelde
Cette réalisation, qui s’inscrit dans la grande période créatrice d’Horta, n’est accessible qu’en s’inscrivant aux promenades thématiques de l’ARAU de Bruxelles.
Hôtel Solvay
Il est possible de visiter l’un des plus somptueux édifices d’Horta, magnifiquement entretenu par la famille Wittamer depuis 1957, sur réservation et pour des groupes d’une vingtaine de personnes.
Maison Autrique
Récemment restauré, l’édifice de transition qui précède immédiatement l’hôtel Tassel d’Horta est aujourd’hui ouvert au public.
Maison Cauchie
Vers 1980, Guy Dessicy, un des premiers collaborateurs d’Hergé, sauve de la ruine l’œuvre manifeste de Paul Cauchie et la restaure patiemment ; elle est aujourd’hui ouverte à la visite tous les premiers week-ends de chaque mois.
Hôtel Hannon
Construit par Jules Brunfaut pour un associé d’Armand Solvay, il abrite aujourd’hui l’Espace Photographique Contretype.
De Ultieme Hallucinatie
Le célèbre restaurant où l’on peut, en plus des plaisirs de la table, apprécier l’un des plus beaux décors Art nouveau de Bruxelles.
Villa Jika
Construite par Henri Sauvage pour l’ébéniste Louis Majorelle, la plus belle villa Art nouveau de Nancy est accessible à la visite sur réservation.
Brasserie Excelsior
Le célèbre restaurant nancéen, point de convergence des talents de Weissenburger, Grüber et Majorelle, reste un des endroits les plus emblématiques du Nancy 1900.
Gaudí & Barcelona Club
Les œuvres majeures du chef de file du Modernismo catalan et leurs conditions de visite sont ici répertoriées par une association assurant la promotion de son œuvre.
Casa Batlló
A l’occasion du centenaire de sa construction, ce joyau de la grande période créatrice de Gaudí est enfin accessible au visiteur.
Casa Milà
Ouverte au public depuis 1987 par les bons soins de la Caixa Catalunya, la dernière réalisation profane de Gaudí attire près d’un million de visiteurs par an.
Palau de la Musica
A l’instar du palais Garnier à Paris, il est possible à Barcelone de visiter le rutilant chef-d’œuvre de Domènech i Montaner.
Villa Igiea
Aujourd’hui reconvertie en hôtel de luxe, l’œuvre d’Ernesto Basile, à Palerme, a gardé sa belle salle-à-manger Art nouveau.
Nietzsche-Archiv
La visite des Archives Nietzsche, à Weimar, permet d’apprécier un des aménagements intérieurs les plus subtils et les plus achevés d’Henry van de Velde.
Villa Stuck
La somptueuse villa du peintre fondateur de la Sécession munichoise sert aujourd’hui de cadre à de nombreuses expositions – l’une d’elles, en 1999, a eu pour sujet le Castel Béranger.
Secessions gebäude
L’œuvre-symbole de la Sécession viennoise, conçue par Joseph Maria Olbrich, est encore aujourd’hui dédiée à l’actualité artistique contemporaine ; on peut toujours y admirer la célèbre Frise Beethoven de Gustav Klimt.
Wagner Villen
Les somptueuses villas que le chef de file de la Sécession viennoise, Otto Wagner, s’est construit pour lui-même, abritent maintenant le musée du peintre surréaliste Ernst Fuchs.
Charles Rennie Mackintosh Society
Les œuvres majeures du chef de file de l’Ecole de Glasgow et leurs conditions de visite sont ici excellemment présentées.
Mackintosh House
La maison personnelle de Charles Rennie Mackintosh, aujourd’hui disparue, a été reconstituée au sein du Hunterian Museum.