GUIMARD, Hector

The window was made by the master glassmaker Georges N�ret (active 1850-1919) after the design by Hector Guimard.

Guimard began designing the Castel B�ranger in 1895, and he became involved in every detail of the project: the furniture, ornamental ironwork, carpets, glass, wallpaper, door locks and doorknobs.

The photo shows a balcony in Castel B�ranger.

Guimard began designing the Castel B�ranger in 1895, and he became involved in every detail of the project: the furniture, ornamental ironwork, carpets, glass, wallpaper, door locks and doorknobs.

The photo shows the entrance gate of Castel B�ranger.

Guimard began designing the Castel B�ranger in 1895, and he became involved in every detail of the project: the furniture, ornamental ironwork, carpets, glass, wallpaper, door locks and doorknobs.

The photo shows the entrance hall in Castel B�ranger.

The Castel B�ranger is a residential building located at 14 rue de la Fontaine in the 16th arrondissement of Paris. It was designed by the architect Hector Guimard and built between 1895 and 1898. It was the first residence in Paris built in the style known as Art Nouveau.

The influence of Eug�ne-Emmanuel Viollet-le-Duc is evident in Guimard’s early works, which culminated in the Castel B�ranger block of flats, where his first use of the Art Nouveau style appeared in its decorative elements. After seeing Victor Horta’s H�tel Tassel in Brussels in 1895, Guimard changed the original neo-Gothic decorative elements of the Castel B�ranger. He introduced a colourful mixture of facing materials and organically derived embellishments, based on his belief that decoration is more effective for being non-representational.

Guimard began designing the Castel B�ranger in 1895, and he became involved in every detail of the project: the furniture, ornamental ironwork, carpets, glass, wallpaper, door locks and doorknobs.

The photo shows the fa�ade of Castel B�ranger.

The picture shows the furniture from the bedroom of the H�tel Guimard, reconstructed at the Mus�e des Beaux-Arts in Lyon.

The set of Art Nouveau bedroom furniture was designed from 1909 onwards by the Lyon-born architect Hector Guimard for his new wife, the American artist Adeline Oppenheim. They married in 1909, and the same year he bought a site at 122, Avenue Mozart in the 16th arrondissement of Paris to build a three-storey h�tel particulier, or mansion. When the site was sold in 1948, Madame Guimard gave the bedroom furniture to the Mus�e des Beaux-Arts de Lyon, the desk to the mus�e de l’�cole de Nancy and the dining room furniture to the Petit Palais, Paris.

In May 1909, shortly after his marriage to the American-born painter Adeline Oppenheim, Hector Guimard bought a plot at 122, avenue Mozart and built a fine townhouse.

The building included the architect’s office on the ground floor, which reached through a reception gallery. The first floor consists of a dining room and sitting room in the shape of an ellipse; the third floor was a studio for Madame Guimard. Guimard designed the entire interior: panelling, cornicing, furniture, locks, light fittings and furnishing fabrics. The furniture and panelling are made of pear wood whose soft grain and luminosity are particularly suited to the elegant lines of Guimard’s design style.

Madame Guimard sold the townhouse in 1948. She donated the bedroom furniture to the Mus�e des Beaux-Arts in Lyon, the study to the Ecole de Nancy Museum and the dining room to the City of Paris.

In the years before World War I, Guimard also designed a number of townhouses and blocks of flats. At his own house, 122, Avenue Mozart, Paris, which he built and furnished after marrying the American painter Adeline Oppenheim in 1909, he achieved a synthesis in its furnishings and d�cor, which he was never to surpass. The first-floor plan, with its delightful relationship of two ovals, harks back to the French Rococo tradition.

The picture shows the furniture from the study of Madame Guimard, the desk and a wide and deep armchair.

In May 1909, shortly after his marriage to the American-born painter Adeline Oppenheim, Hector Guimard bought a plot at 122, avenue Mozart and built a fine townhouse.

The building included the architect’s office on the ground floor, which reached through a reception gallery. The first floor consists of a dining room and sitting room in the shape of an ellipse; the third floor was a studio for Madame Guimard. Guimard designed the entire interior: panelling, cornicing, furniture, locks, light fittings and furnishing fabrics. The furniture and panelling are made of pear wood whose soft grain and luminosity are particularly suited to the elegant lines of Guimard’s design style.

Madame Guimard sold the townhouse in 1948. She donated the bedroom furniture to the Mus�e des Beaux-Arts in Lyon, the study to the Ecole de Nancy Museum and the dining room to the City of Paris.

This private mansion, one of the interesting buildings by architect Hector Guimard, is located at 60, rue Jean-de-La-Fontaine in the district of Auteuil in the 16th arrondissement of Paris.

Guimard designed the building in 1910 for Paul Mezzara (born in France in 1866), an artistic personality, vice-president of the Society of Decorator Artists. Thanks to a plot of land with a garden at the back, acquired near the Castel B�ranger which made the architect’s fame fifteen years earlier, the H�tel Mezzara reflects the evolution of Guimard’s style. Far from the wild character of the beginnings, now mellowed and elegant, this matured style remains faithful to the constructive principles laid down since 1899. On the street side, the cut stone is used sparingly while Guimard gives pride of place to the discrete silico-limestone brick. While fa�ades and interior spaces show a real decorative refinement, their cost is mastered by the architect who built up a repertoire encompassing all the objects of the architectural decor.

He has created an impressive range of ornamental fonts, hardware, door handles and cremones, decorative artefacts, mirrors, fireplaces, wall coverings, etc. He was able to equip interiorly and externally any architectural program from a modest apartment to a mansion.

This private mansion, one of the interesting buildings by architect Hector Guimard, is located at 60, rue Jean-de-La-Fontaine in the district of Auteuil in the 16th arrondissement of Paris.

While fa�ades and interior spaces show a real decorative refinement, their cost is mastered by the architect who built up a repertoire encompassing all the objects of the architectural decor. He has created an impressive range of ornamental fonts, hardware, door handles and cremones, decorative artefacts, mirrors, fireplaces, wall coverings, etc. He was able to equip interiorly and externally any architectural program from a modest apartment to a mansion.

This private mansion, one of the interesting buildings by architect Hector Guimard, is located at 60, rue Jean-de-La-Fontaine in the district of Auteuil in the 16th arrondissement of Paris.

While fa�ades and interior spaces show a real decorative refinement, their cost is mastered by the architect who built up a repertoire encompassing all the objects of the architectural decor. He has created an impressive range of ornamental fonts, hardware, door handles and cremones, decorative artefacts, mirrors, fireplaces, wall coverings, etc. He was able to equip interiorly and externally any architectural program from a modest apartment to a mansion.

Guimard entered the competition to design Paris M�tro stations in 1896, failing to win but getting the job because the railway company’s president was attracted to the Art Nouveau style. He designed three types of station: a basic open one with steps and railings; another with enclosed and covered steps; and a third with complete pavilions.

The first type, of which 88 survive, was fashioned in various forms, the most interesting of which consists of railings with decorated ‘shields’ incorporating the letter M and an iron arch over the entrance which supports an enamelled sign flanked by ‘stalks’ blossoming into lamps (e.g. Cit�).

The second type consists of an iron frame with decorated enamelled lava panels and translucent wired glass; a ‘butterfly’ glass roof, supported from a central girder, over-sails the enclosure (e.g. Abbesses).

The third type, of which only Porte Dauphine survives, provides waiting rooms and has an enclosure like the second type but with more ample entrance arches and a roof consisting of tiered pyramidal sections reminiscent of covered market structures.

The stations, which were modular and conceived for mass production, were in production until 1913. Together with the Humbert de Romans auditorium (1897-1901; destroyed 1905), an enormous concert hall and chapel with elaborate decorations and fittings, the stations represented the most complete architectural expression of Art Nouveau in France.

Abbesses is a station on Paris M�tro Line 12, in the Montmartre district and the 18th arrondissement. It is the deepest station in the Paris M�tro, at 36 metres below ground, and is located on the western side of the butte of Montmartre.

Paris M�tro station entrances are famous worldwide for their beauty. French architect Hector Guimard produced the first generation of entries between 1900 and 1913. His elegant cast-iron and glass creations, with eye-catching lettering, were designed in the Art Nouveau style and became known as the style M�tro.

The shields on the M�tro entrances show the metro sign “M” that goes into a tunnel with the development of electricity. They are similar to classic ornamentation of the Art Nouveau style, but they refer to modernity.

Guimard entered the competition to design Paris M�tro stations in 1896, failing to win but getting the job because the railway company’s president was attracted to the Art Nouveau style. He designed three types of station: a basic open one with steps and railings; another with enclosed and covered steps; and a third with complete pavilions.

The first type, of which 88 survive, was fashioned in various forms, the most interesting of which consists of railings with decorated ‘shields’ incorporating the letter M and an iron arch over the entrance that supports an enamelled sign flanked by ‘stalks’ blossoming into lamps (e.g. Cit�).

The second type consists of an iron frame with decorated enamelled lava panels and translucent wired glass; a ‘butterfly’ glass roof, supported from a central girder, over-sails the enclosure (e.g. Abbesses in Montmartre).

The third type, of which only Porte Dauphine survives, provides waiting rooms and has an enclosure like the second type but with more ample entrance arches and a roof consisting of tiered pyramidal sections reminiscent of covered market structures.

The stations, which were modular and conceived for mass production, were in production until 1913. Together with the Humbert de Romans auditorium (1897-1901; destroyed 1905), an enormous concert hall and chapel with elaborate decorations and fittings, the stations represented the most complete architectural expression of Art Nouveau in France.

The station Cit� on Line 4 of the Paris M�tro is in the 4th arrondissement of Paris. It lies underneath the Île de la Cit�, one of two islands on the Seine within the historical boundaries of Paris.

Guimard’s M�tro entrances - fantastic shapes that are almost a metamorphosis of architecture and nature, ornamentation with a practical application - made him immortal and led to French Art Nouveau being at times called Style M�tro.

The letters of the stations and the famous “Metropolitan” were also invented by Guimard.

Guimard entered the competition to design Paris M�tro stations in 1896, failing to win but getting the job because the railway company’s president was attracted to the Art Nouveau style. He designed three types of station: a basic open one with steps and railings; another with enclosed and covered steps; and a third with complete pavilions.

The first type, of which 88 survive, was fashioned in various forms, the most interesting of which consists of railings with decorated ‘shields’ incorporating the letter M and an iron arch over the entrance which supports an enamelled sign flanked by ‘stalks’ blossoming into lamps (e.g. Cit�).

The second type consists of an iron frame with decorated enamelled lava panels and translucent wired glass; a ‘butterfly’ glass roof, supported from a central girder, over-sails the enclosure (e.g. Abbesses in Montmartre).

The third type, of which only Porte Dauphine survives, provides waiting rooms and has an enclosure like the second type but with more ample entrance arches and a roof consisting of tiered pyramidal sections reminiscent of covered market structures.

The stations, which were modular and conceived for mass production, were in production until 1913. Together with the Humbert de Romans auditorium (1897-1901; destroyed 1905), an enormous concert hall and chapel with elaborate decorations and fittings, the stations represented the most complete architectural expression of Art Nouveau in France.

The station Porte Dauphine is the western terminus of Line 2 of the Paris M�tro. It is situated in the 16th arrondissement under the Place du Mar�chal-de-Lattre-de-Tassigny. It is named after Porte Dauphine, a gate in the 19th-century Thiers wall of Paris. The station was inaugurated in December 1910.

This vase was manufactured in the S�vres Porcelain Factory.

The name of the vase evokes the Castel Henriette built rue des Binelles, in S�vres, between 1899 and 1903 by the architect Hector Guimard, destroyed in 1969. As with all Guimard’s architectural creations, his intervention is a total art that links all elements of the project: from architecture to garden ornaments, including furniture, right down to rugs and hangings. During the same years, Guimard supplied three models of vases to the factory: the Cerny vase, the Chalmont vase and this Binelles vase, produced in five copies only.

The vase was produced in the S�vres porcelain factory; the form and decoration are by Hector Guimard. The crystalline glaze, developed at the end of the nineteenth century, features iridescent crystal particles that create a sparkling effect.

The name of the vase evokes the Castel Henriette built rue des Binelles, in S�vres, between 1899 and 1903 by the architect Hector Guimard, destroyed in 1969. As with all Guimard’s architectural creations, his intervention is a total art that links all elements of the project: from architecture to garden ornaments, including furniture, right down to rugs and hangings. During the same years, Guimard supplied three models of vases to the factory: the Cerny vase, the Chalmont vase and this Binelles vase, produced in five copies only.

This vase (produced in the S�vres Manufactory, weight 39 kg) is an extraordinary feat of Art Nouveau ceramics by the French architect Hector Guimard, who designed the iconic Paris M�tro entrances. Monumental in scale, the Vase des Binelles has an architectural presence and an organic form. The curvilinear handles are evocative of the ornate cast-iron elements of Guimard’s buildings. The specialized crystalline glaze, developed at the end of the nineteenth century, features iridescent crystal particles that create a sparkling effect. Only five examples of this model were made.