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Hector Guimard and Muller & Cie at the Castel Béranger: the end of a collaboration.

8 November 2024

As soon as they were completed in 1898, the facades of Castel Béranger caught the attention of passersby on Rue La Fontaine[1]. It must be said that their richness, both in terms of polychromy and ornamentation, was a stark contrast to the facades of the neighboring apartment buildings. At Castel Béranger, aquatic, botanical, medieval, and fantastical motifs[2] intertwine to enliven the cast iron, ceramics, and ironwork adorning the facades. This picturesque style, promoted by the public authorities at the time, even earned Castel Béranger one of the prizes in the 1898 facade competition organized by the City of Paris [3].

However, this rich decoration, which brought international fame to Castel Béranger and Hector Guimard, was not what the architect had originally planned. The elevations of the facades in the building permit submitted by Guimard in March 1895, which can currently be seen on display at the Paris Archives[4], prove this. The existence of these documents is not a discovery, as they have been known for a long time and are available for consultation. However, their high-definition scanning, carried out as part of the organization of this exhibition for the Guimard year, revealed an aborted ceramic decoration project. This was to be carried out mainly in collaboration with Muller & C^ie, a company with which Hector Guimard had been working until then. Recent work by Frédéric Descouturelle and Olivier Pons, published in the book La Céramique et la Lave émaillée d’Hector Guimard[5], identifies most of the models that were to be used.

The initial Castel Béranger project

The Castel Béranger was commissioned by Élisabeth Fournier, a bourgeois woman from the Auteuil neighborhood. A widow wishing to invest her capital in real estate, at the end of 1894 she turned to the architect Hector Guimard, who also lived in the neighborhood, to build an apartment building on Rue La Fontaine.

With no constraints imposed by the client, the young architect designed a project based on the principles of Viollet-le-Duc’s rationalist school. The facade features picturesque architecture with medieval references, combined with a polychromatic effect achieved using different materials, painted cast iron and ironwork, and glazed ceramic decorations.

Before his trip to Brussels in the summer of 1895, Hector Guimard submitted the building permit for the Castel Béranger to the Paris Municipality during the second half of March[6]. This included plans for the different levels (basement plan, ground floor plan, standard floor plans, fifth and sixth floor plans) as well as elevations of the street and courtyard facades. It reveals a U-shaped building consisting of two structures organized around a courtyard, connected by a staircase. The building is aligned with the street, while the courtyard is open on the side of the Béranger hamlet.

 

These drawings from the building permit are detailed enough to give a fairly accurate idea of the design that was planned at the time. The ironwork on the railings and the entrance gate reflect an undefined style that is fairly conventional and less daring than that of the Hôtel Jassedé, built two years earlier at 41 Rue Chardon-Lagache. However, floral stylizations can be seen.

 

The flower and leaves of the sunflower, the main motif of the Hôtel Jassedé decor, can indeed be recognized once again. It is possible that, from an economic standpoint, Guimard had planned to have the central motifs, which are repeated multiple times on the facades, made of cast iron. In any case, this is what he did in the final version of the balcony railings.

 

The ironwork on the gate is also not very inventive, with its evenly spaced vertical bars. Only at the top do two spiral motifs radiating outwards give it a more dynamic appearance.

 

Above the storefronts of the two small shops in the last bays on the right, Guimard planned for a large sign to be inserted in front of a metal lintel. He designed a decoration interrupted by two smaller sign spaces placed in front of the spandrels of the first-floor windows.

 

This decoration is also naturalistic, with repeating floral motifs in two sizes. Probably intended to be in glazed ceramic, they appear to be framed by ironwork ending in semicircles, serrated like certain leaves, and separated from each other by floral spikes.

 

 

Castel Béranger and Muller & C^ie

As shown in the building permit plans, numerous ceramic elements were planned for the facades. Thanks to the book devoted to Guimard’s ceramics and glazed lava[7], several elements of the original decoration have been identified in the Muller & Cie catalogs: metopes adorning the lintels, metopes decorating the spandrels, finials and friezes decorating the vestibule. These elements, produced and marketed by Muller & Cie, were designed and used by Guimard to decorate some of his projects prior to Castel Béranger.

 

In the initial project, Guimard had planned to reuse the lintel design created in 1893 for the Hôtel Louis Jassedé on Rue Chardon-Lagache[8]. As two years earlier, the metope model listed as number 13 in the second Muller & C^ie catalog was to adorn the metal lintels of the windows of the Castel Béranger. The design of the facades shows that the metopes were to be enclosed in screwed iron frames, similar to the corbelled lintel of the Villa Charles Jassedé, also built in 1893.

 

The model used to decorate the spandrel of certain windows is metope no. 35 by Muller & Co. It was also used at the Hôtel Jassedé to embellish the base of the building. Although its appearance contrasts sharply with model no. 13, it was indeed designed by Guimard, as evidenced by the price list in the 1904 Muller et Cie catalog, which associates each model with the name of the architect who designed it.

 

As is the case today, the pavilion roof at the left end of the building bordering La Fontaine Street was to be crowned with a ridge finial. Unlike the current finial, which appears to be made of cast iron, the original was to be made of ceramic and manufactured by Muller & Co.

The lack of detail in its representation in the building permit elevations makes it impossible to identify with certainty the model that was to be used. However, we can still hypothesize that it was a new transformation of finial no. 23 designed by Gustave Raulin[9] for the schools in Ivry-sur-Seine (1880-1882).

 

After using this model at the café-concert restaurant Au Grand Neptune in 1888, Guimard also used it to crown the roof of the Charles Jassedé villa in Issy-les-Moulineaux[10].

 

Shortly before, for the Hôtel Jassedé, he had transformed this finial by removing the side scrolls and adding scrolls taken from finial no. 22 in the Muller & C^ie catalog.

 

Although seemingly quite different from this latter variant, the design of the first version of the finial for Castel Béranger bears many similarities to the original finial no. 23. Like Raulin’s model, Guimard’s design features an end that resembles a flower bud. Both prototypes feature a spread of leaves at their base. The main difference lies in the round[11], elongated section and the absence of scrolls on the shaft.

 

The walls of the vestibule, meanwhile, were initially intended to feature a design very different from the current one, consisting of bubbling sandstone panels created by Bigot. In a more traditional style, the walls were to be decorated with five horizontal floral friezes. Their appearance is similar to that of the vertical cloisonné panels used by the architect in 1891 to border the windows of the veranda of the Hôtel Roszé[12]. This is the model published under No. 127 in the second Muller & C^ie catalog. Guimard seems to have planned to separate these friezes with beds of glazed bricks, in the style of the vestibule at 66 rue de Toqueville in Paris, created by Muller & C^ie in 1897 under the direction of architect Charles Plumet[13].

 

Two tympanums and a ceramic metope model, visible on the facade elevations of the Castel Béranger building permit, have not yet been identified in the Muller & C^ie catalogs. It is likely that these pieces were also to be produced by the company[14]. However, it is also possible that Guimard had already planned to commission Gilardoni & Brault to produce them.

 

During his stay in Brussels, Hector Guimard had the opportunity to meet architects Victor Horta and Paul Hankar, leading figures of Belgian Art Nouveau. In particular, he found in Horta’s work an integration of decoration and structure that was unparalleled elsewhere and which revolutionized his vision of modern architecture. After this trip, Guimard abandoned the figurative botanical decorations designed under the influence of Nancy[15] in favor of ornamentation that tended more toward abstraction. He borrowed the whip-like line motif from Horta, but he also drew on other, older sources[16].

Thus, upon his return to Paris, Guimard redesigned the entire interior of the Castel Béranger, following the principle of the total work of art that had so impressed him in Horta’s work. In addition to designing the elements for the decoration and layout of the apartments (wallpaper, window handles, door handles, stained glass windows, fireplaces, etc.), the architect transformed all the ornamentation on the facades and in the vestibule.

Unlike the interior design, it was impossible for the architect to modify the plans that had already been drawn up, as the structural work had begun as soon as he returned from Belgium. A careful comparison of the plans and facades drawn up for the building permit with those published in the Castel Béranger portfolio[17] reveals that the layout of the spaces and the overall volume of the buildings are almost identical. The slight notable modifications (openings, turrets, chimney stacks, volume of the courtyard side of the building) are certainly the result of the natural process of the project, leading the architect to constantly question his work. These therefore undoubtedly appeared during the drawing up of the working plans for the structural work craftsmen, probably produced before Guimard’s departure for Belgium.

 

If we compare the drawings of the facades in the building permit application with those published after construction in the Castel Béranger portfolio, we see that all of the ironwork originally planned was replaced by alternative designs. The floral character disappeared in favor of a new style, partly abstract and partly fantastical.

 

Similarly, all the ceramic decorations specified in the building permit were replaced. Guimard then ended his collaboration with Muller & C^ie, even though a few months earlier he had been considering placing an order with them. This break was all the more surprising given that, until then, he had exclusively used Muller & Cie for all his projects requiring architectural ceramics: the café-concert restaurant Au Grand Neptune (1888), the Roszé hotel (1891), the Jassedé hotel (1893), the Charles Jassedé villa (1893), the Delfau hotel (1894), and the Carpeaux gallery (1894-1895). This change of suppliers benefited two competing companies. The first was Gilardoni & Brault, a tile factory which, like Muller & Cie, had diversified into architectural decoration. Metopes No. 13, produced by Muller and initially intended for window lintels…

 

…were thus replaced by new metopes, also encased in iron blades.

 

As for the metopes No. 35 planned as spandrels for certain windows, they too have been replaced by new models.

 

The second company Guimard turned to was Alexandre Bigot’s, which was still new but whose reputation was rapidly growing. It worked exclusively with glazed stoneware and was firmly positioned in the modern style.

 

 

Why did this collaboration with Muller & C^ie come to an end?

There is no obvious explanation for this breakup. The reasons cannot be technical, since Gilardoni & Brault offered the same types of products as Muller & C^ie, available in plain terracotta, glazed earthenware, and glazed stoneware. It is also doubtful that the break was solely for stylistic reasons. While Guimard’s sudden change in style may have come as a surprise to Muller & Cie, we know from its catalogs that the company welcomed new stylistic trends and produced a considerable number of modern designs.

On the contrary, until then, Gilardoni & Brault’s products had remained rather cautiously eclectic. Could this tile factory, suddenly enamored with modernity, have “poached” Guimard? In any case, the large order for his stand at the 1897 Ceramics Exhibition[18] confirms his interest in the architect’s new style, as he did not hesitate to bear the cost of manufacturing numerous molds. For several years, the company even supported Guimard’s research into shaped pieces, particularly vases.

Other, undoubtedly more petty reasons can be put forward to explain the emergence of a disagreement between the architect and Muller & C^ie. First of all, Guimard may have been annoyed by the liberties taken by the tile factory with regard to his designs. The company did not hesitate to modify some of the architect’s designs and to create new models in a similar style, undoubtedly without paying him for them[19].

From Muller & Cie’s point of view, Guimard’s previous models had probably not been as successful as expected. When Guimard, instead of continuing to amortize them at Castel Béranger, proposed to create and publish new ones, the company may have backed away from an investment it considered too risky, choosing to end its seven-year collaboration with Guimard.

Maréva Briaud, Doctoral School of History, University of Paris 1 Panthéon-Sorbonne (ED113), IHMC (CNRS, ENS, Paris 1).

Notes

[1] “Curious onlookers and astonished passers-by stopped to examine this original façade at length, so different from the surrounding houses.” L. Morel, “L’Art nouveau,” Les Veillées des chaumières, May 17, 1899, p. 453.

[2] This aspect will be discussed in a presentation at the Guimard study day organized by the Paris City Hall on December 3, 2024, and in the article that will follow.

[3] The results of the competition were not announced until 1899, and Guimard immediately had them engraved on the façade of the Castel Béranger.

[4] Guimard, architectures parisiennes, exhibition at the Archives de Paris, organized in partnership with Le Cercle Guimard, from September 20 to December 21, 2024. See also the exhibition journal available on site: Le Cercle Guimard. Exposition aux archives de Paris, no. 4, September 19, 2024.

[5] F. Descouturelle, O. Pons, “Guimard et Muller & Cie,” La Céramique et la lave émaillée d’Hector Guimard, Paris, Le Cercle Guimard, 2022.

[6] The building permit plans are dated March 10, 1895, and the facades are dated March 15, 1895.

[7] F. Descouturelle, O. Pons, op. cit.

[8] Ibid., p. 34.

[9] Hector Guimard was attached to Gustave Raulin’s studio during his studies at the École des Beaux-Arts.

[10] F. Descouturelle, O. Pons, op. cit., p. 42.

[11] The current finials on the roof of the Jassedé hotel garage are round in section. They are finial no. 4 in the 1903 Muller & Cie catalog, pl. 16, and may be the version of the model redesigned by Guimard ten years earlier.

[12] F. Descouturelle, O. Pons, op. cit., p. 31.

[13] Ibid, p. 21.

[14] Muller et C^ie was able to produce any model on request.

[15] Guimard’s representations of flora are figurative but do not achieve the precision of Émile Gallé’s naturalistic drawings. They even slightly anticipate the stylizations of Eugène Grasset.

[16] See the article “Guimard and the auricular style” published on our website.

[17] H. Guimard, L’Art dans l’habitation moderne/Le Castel Béranger, Paris, Librairie Rouam, 1898. These watercolor plans are generally accurate but occasionally deviate from reality.

[18] National Exhibition of Ceramics and All Arts of Fire in 1897 in Paris, at the Palais des Beaux-Arts.

[19] F. Descouturelle, O. Pons, op. cit., p. 48.

Translation : Alan Bryden

Acquisition of a previously unseen copy of a Hector Guimard’s Cerny vase

2 April, 2025

As the deadline for submitting bids for a long-term lease on the Hotel Mezzara was rapidly approaching we continued our efforts, with regard to enriching our collections. Following the purchase of a section of a candelabra and its glass cover from the metro by Le Cercle Guimard[1], it is now the turn of our partner Fabien Choné to acquire, this time at auction[2], a new work by Guimard: a period copy of the Cerny vase.

Cerny is one of three designs created by Guimard for the Manufacture de Sèvres around 1900[3]. Production spanned a decade, and our research in the institution’s archives has enabled us to estimate that no more than fifteen copies of the vase were manufactured by Sèvres during this period[4].

The appearance of an original copy of Cerny’s vase is therefore a minor event in itself, allowing us to identify and document the tenth copy to have survived to the present day. Made of glazed stoneware, it is characterized by a mustard yellow glaze enhanced by discreet blue crystallizations nestled in the hollows of the neck and highlighting its base, a color scheme that brings it closer to the examples preserved by the museums of Sèvres and Limoges.

At its base is the traditional HG monogram—which adorns all of Guimard’s Sèvres productions—as well as the Manufacture’s own marks on the bottom: the triangular S 1904 stamp, which allows it to be dated, and the rectangular SÈVRES stamp.

 

 

An accident in the past necessitated restoration work last year—which we will return to shortly—involving the partial reconstruction of one of the four handles forming the neck.

The originality of this vase lies in its history and provenance, which, unusually for this type of object, are known thanks to family accounts.

Through direct descent, this vase comes from the former collection of Mr. Numa Andoire (Coursegoules 1908 – Antibes 1994), a soccer player and professional coach, famous for winning the French Championship in 1951 and 1952 while coaching the Nice team, OGC Nice, as well as the French Cup in 1952.

 

The family story has it that the vase was given to Numa Andoire in 1927 by French President Gaston Doumergue (1863-1937) during a soccer tournament held to mark the unveiling of Antibes’ World War I memorial. The monument, whose centerpiece is a statue of a soldier sculpted by Bouchard[5], was built at the foot of Fort Carré and still overlooks the football field of the same name.

The regional and local press reported on the event, which took place on Sunday, July 3, 1927, with the usual patriotic speeches, troop parades, and medal ceremonies to the sound of the Marseillaise.

 

In attendance were a former undersecretary of state for war, who presided over the ceremony, a senator, a member of Parliament and a general representing the minister of defense, but no president of the republic… who was certainly represented by proxy, as is often the case for this type of event.

The presence of such a valuable Cerny vase as a gift from the state on the occasion of a relatively insignificant competition may seem surprising. But it should be seen in the context of the long (and sometimes unusual) history of generosity granted by the authorities on the occasion of cultural, scientific or sporting events. It should be remembered that the State, the sole shareholder of the “Manufacture de Sèvres”, used it primarily to provide valuable diplomatic gifts, but also a large number of art objects presented on behalf of the authorities at cultural and sporting events. World, international, and regional exhibitions were thus an opportunity to present numerous vases, statuettes, and other decorative dishes—most often with the famous blue background of Sèvres—whose size and decoration were more or less correlated with the importance of the prizes awarded to the winners, rewards that were variously appreciated by the artistic community…[6].

As for our Cerny vase, presented more than 15 years after the last one was made in Sèvres, this was probably one of the many occasions on which the State drew on the reserves of official manufacturers to award first prizes, when it was not the institutions or ministries themselves that disposed of certain acquisitions. In 1927, at a time when Art Nouveau was already well out of fashion, the authorities probably did not realize that they were offering an object that, a century later, would acquire such significant artistic and financial value.

Why did our vase become the property of Numa Andoire rather than another player? As the family story is not sufficiently clear on this point, we can only speculate. Was it to reward the short but promising career of the young prodigy player from Olympique d’Antibes, or rather to offer him a farewell gift as he completed his seventh and final season with the Antibes team before joining the Nice team? Probably a little of both… In any case, it is touching to note that this vase was kept for a long time as a family heirloom before the heirs finally decided to part with it.

This unique Cerny vase now features prominently in our museum layout project for the Mezzara hotel.

Olivier Pons

Notes

[1] https://www.lecercleguimard.fr/fr/une-verrine-en-verre-du-metro-de-guimard-pour-notre-projet-museal/

[2] Sale on March 23, 2025, Metayer-Mermoz auction house in Antibes, expert E. Eyraud.

[3] The other two forms are the Chalmont plant pot and the Binelles planter.

[4] For more information on the history of this collaboration, readers are referred to the book published in 2022 by Éditions du Cercle Guimard: F. Descouturelle, O. Pons, La Céramique et la Lave émaillée d’Hector Guimard.

[5] Henri Bouchard (1875-1960) had a studio built in 1924 at 25 rue de l’Yvette in Paris (75016), opposite the property of the painter Jacques-Emile Blanche, for whom Guimard carried out decorative work. The sculptor’s studio, which became the Bouchard Museum, closed its doors in 2007 before being transferred to La Piscine in Roubaix.

[6] One of the most famous cases is probably that of François-Rupert Carabin (1862-1932), a rebellious sculptor who, in 1912, received a blue-bottomed Sèvres vase as the “Prix du Président de la République” (President of the Republic Award), which he considered “very ugly and second-rate.” He then created a pedestal consisting of three female figures turning away in horror and exhibited it shortly afterwards at the Salon de la Société nationale des Beaux Arts in order to display it during the presidential visit. The pedestal and the vase now belong to the Perrier-Jouët collection in Épernay.

[7] In 1905, for example, the Ministry of the Navy acquired a Cerny vase that had left the Sèvres workshops a year earlier, and was therefore dated 1904, like our vase…

Translation: Alan Bryden