Stis More Condition_symptoms

granted by the ABU! Moving

Hello,

We have our approval of the Architects of buildings France. Phew ...

We do regret not having consulted them beforehand, because we finally had a hit in just two months, although the deadlines are standard rather than 3.

Next step, meeting with the leader of the work for development of our plans. As of January 5. . .

is argued, not as fast as hoped, but it motivates the following was the stage that we apprehend the most!

soon for more!

Bowel Cancer More Condition_symptoms

41 rue de Lille (7th arrondissement)


If there had been thirteen guests at the dinner of 2007 - number unfortunately due to two disposals last minute - we were one of eleven this year. Guests included, for the most part, the participants of my little game, with Olivier P., undisputed winner, author of a very consistent number of items that had earned him nearly unanimous vote.
The venue was the old "House of the Ladies of Posts, Telegraphs and Telephones", 41 rue de Lille, built in 1905 by Eugene Bliault - his application for a building permit was issued on 18 May of that year - address certainly less known than many other similar restaurants in Paris. Precisely for this reason that I chose the "Telegraph" in many other restaurants Art Nouveau, believing that the surprise offer a supplement to the party. His name the "Telegraph", once known the original destination of the building, so no surprise anybody.

In this very narrow street, the architect had played the card of verticality, putting most of its originality in the upper galleries, crown-shaped lateral viewpoint (more easily visible from the street near du Bac). It singles out his work by coloring almost unusual red brick facings, amidst the sea of white on a street of very uniform appearance. Unfortunately, for reasons of economy, he could not give effect to the beautiful ironwork specially designed for guardrails; they belong to a fairly common pattern found in an industrial catalog.

A large sign in gold letters out also, nowadays, the original destination of the building, namely: a home for young workers in the mail, mostly of provincial origin, who could find was a single room, but also a large dining hall where they were guaranteed at every meal, ... meat and wine!
Bliault an architect is extraordinarily rare. The small handful of projects identified in Paris - including the home of the Rue de Lille One of the oldest - not located in any district of choice, indicating that its activity was certainly not confined within the perimeter of Paris. Indeed, one of his most important work is the Palacio Portales, a large villa rather late, built between 1915 and 1927 in Cochabamba, Bolivia, it suggests that its activity was geographically very large and that its membership Art Nouveau is a combination of circumstances, both accidental and ephemeral. Should probably learn much more about his apparently very unusual activity in the years to come.

The focus of the rue de Lille was in his time, honors quite flattering to the press. Without doubt the singularity of the assignment gave her a strange character who inspired the journalists of the time, which boasted the highly functional, the existence of a hundred rooms for young postmistress, and the presence of this famous dining which was their common room.
This vast area covering most of the ground floor, has been largely preserved, and until her pretty pavement. It has even been recently restored to the favor of a change owner. It therefore admire the impressive buffet clock that takes up most of one wall, the windows - with stylized plant motifs if they are reluctant to recognize and oranges - and a very fitting "Cubist" for the departures of arches supporting the ceiling, an effect that is simple, functional and very original.

Our dinner took place in the window of the restaurant, which overlooks the small courtyard garden, in an atmosphere that is fresh, the general counting of the decor and atmosphere, with lighting carefully screened.
We have, as it should be, celebrated the success of Oliver, who was happy to offer a very delicate watercolor on tracing model luster pattern of cyclamen. The drawing is not signed, but does not seem to be "school of Lalique", as seemed to me to persuade the market that I had sold a few years ago.

It is generally lends to the rich, but in this case, the fish was obviously too big, so that the lady did not seem to be totally convinced herself. This design could instead be Dampt Jean (1854-1945), a sculptor friend of Charles plume, with whom he had founded in 1896, the group of "art in everything." In that context, he was led to devise several models quite similar fixtures, sometimes characterized by similar plant trees in metal.

Cervical Spondylosis More Condition_symptoms

Entr'acte No. 27 bis: ... always Bléré (Indre-et-Loire)

Just wanted to point out that in recent days, I received exciting information on the grave of Nelly Chaumier by Guimard. I invite fans to come back to this article to find some clarification on a number of important points. I said that, with the exception of a word, I held keep intact my original prose, not to freeze it in a bronze very hypothetical, but to show on this occasion, sometimes tortuous paths of historical analysis: points of departure and arrival does not always come together! But sometimes the darkness can come a little more light. About My
respond in part to some very interesting points in a comment, you can read by opening it.
Thanks again to my correspondents for their generous and effective.

Cellulitis More Condition_symptoms

provisional OK!

Hello !!!!!


We've reached a milestone in the advancement of our project.

Our old apartment was sold to new buyers and we are the proud owners of our land.

Pout building permit, we hope for a response before the end of the year.

Here are the new cool!

Soon afterwards!

Sovim Ville In Vendita A Pedara2004

Thurs 2008: Result!

Here! The accounts are made, the recount is completed.
Warning!
The winner is ...
The winner is ...
(I know: it's unbearable)
The winner is: Olivier P. .., sending ... No. 11 (75 Digue de Mer, Dunkerque).
I thought he could win with another of its shipments Dunkirk (No. 10), but you preferred the latter, which involved actually two houses.
I propose to organize, like last year, a nice dinner in a friendly atmosphere and enough magic, which I urge all participants in the game (not twenty, as most of them have made several shipments), at least for those who will be in Paris in mid-November. This is to thank everyone participation. But only Olivier P. .. entitled to a gift (since he is the winner), you will know the nature at the same time as him. Surprise!
Again thank you for following the progress of this little "competition", to have worked or have simply participated in voting.
And for those who would regret: maybe next year, with a new game, a new idea. Why not?

Dry Mouth More Condition_symptoms

Entr'acte No. 27: .... to Bléré (Indre-et-Loire)


Until very recently, the mysterious tomb of Nelly Chaumier was known only by six drawings of funds Guimard, the Musée d'Orsay. Et encore se résument-ils à quelques croquis en perspective, suffisamment différents les uns des autres pour ne nous donner aucune certitude quant à l’aspect de l’œuvre définitive. Si elle avait été effectivement réalisée ! Le seul dessin assez précis de cet ensemble mentionne le destinataire du tombeau, suggère une date de construction autour de l’année 1897, mais malheureusement rien au sujet de la localité pour laquelle il avait été projeté : “Ici repose Nelly Chaumier (1839-1897)”. Dans la plupart de ses curriculum vitæ connus, Guimard n’a jamais mentionné ses réalisations dans le domaine - mineur - de l’art funéraire And this source was therefore at the outset unusable.

fans of Hector Guimard - pioneers of the 1960s, art historians or even simple newest fans - have long sought this very hypothetical monument, random walks in various cemeteries, mostly in the Paris region or on the Normandy coast, where he developed his main activity. But all hopes were in vain, until its existence was finally reported by an individual to the association "Le Cercle Guimard" in 2007. The mystery was finally lifted : Tomb of Nelly Chaumier has been built, but in a charming little town where there was little chance of finding ... without it serendipity. The drawings
Orsay all offer variations on the motif of the mortuary cross, but with significant differences from one sheet to another. On two of them, the cross is a good reason rather simple and classical, Art Nouveau appears only in the general direction of burial. A third reason for introducing the "ribs" to the slab, in a shorter stele, and the fourth insists on the front facade, giving it a curious look of fireplace. Finally, the fifth sketch - the most extravagant and inventive - is largely project branches of the cross on the sides, and emphasizes some interesting curves.

But ultimately, none of these sketches only served directly to the final realization: the slab has become very simple, only characterized by its peculiar set of ribs, obviously imitating the irregular folds of a shroud, and the cross of the stele is reduced almost to the support of an abstract kind of helmet complicated, the pretty and interesting profile.
Only registration is faithfully preserved in the drawing funds Guimard. This is probably in his characterization of a cute graphic, very guimardien, the most beautiful and most interesting of this curious monument. Who was Chaumier
Nelly? This is still, essentially, a great mystery (1). Nevertheless, thanks to the internet, I was able to find details of the two other occupants of the building, Gabrielle and Rene Lemesle. Indeed, some sought Patricia, through a forum, information on the writer Dominique Dunois Lemesle born Marguerite (1888-1969), who won thanks to his novel "Georgette Garou", the Prix Femina 1928. She gave information Biographical very interesting about this woman of letters, saying she had lived with his mother Bléré, and where his brother was a doctor. Giving the dates of the latter (Paris, May 30, 1874 - Bléré, September 21, 1951), it obviously meant so Lemesle Rene, she did not give the precise identity, but the saying still married .. . Gabrielle Chaumier. Gabrielle Lemesle was so obviously the girl Nelly Chaumier, and his son Rene Lemesle. From all this we must certainly conclude that "Chaumier" was not the maiden name of the beneficiary of the tomb, but the woman's name married (1).

About Bléré a beautiful house, "The Belvedere", one can learn that the building, built in 1832 for a Henry Marcel (died circa 1874), passed by inheritance to Dr. Chaumier without probably the same one who owned the chateau at Plessis-les-Tours, he transformed into vaccine institute, as evidenced by a postcard from 1903. This man seems to have been an interesting local personality, as the city of Tours gave its name to one of its streets. However, physicians have often found their wives in their own workplace. Rene Lemesle may have married the daughter of a colleague ... The possible relationship with Nelly Chaumier recognized scholar and a doctor (perhaps, given her age, she was his wife or mother) could possibly explain the fact that we have asked a "Parisian" to build this tomb (1).

surprisingly, as often, the cemetery itself can provide valuable information on possible links, neighborhood, friendship or family, different people buried. A few rows of burial Chaumier, we may indeed find that the family Hannequin. However Guimard was built in 1891, two small pavilions housing for some Hannequin Alphonse-Marie, at 145 Avenue de Versailles. This name is not necessarily very common, it could be a possible track, albeit fragile, to understand how Guimard got in touch with the family of Mrs. Chaumier. This seems to have been Hannequin most probably related to Louis Jassedé, the two men working the same way in the grocery store and lives on the Avenue de Versailles, as Hector Guimard himself in the early 1890s. But the Jassedé were, before the adventure of Castel Beranger, the most important clients of the architect, who created for them two houses - in Paris and Vanves - and a tomb in Issy-les-Moulineaux in 1895. Nevertheless, it probably can not overlook another track, that of Augustus Coutollau which Guimard redevelop the armory of the Boulevard de Saumur, Angers, between 1896 and 1898. Angers and Bléré are obviously not very remote communities from each other. All these clues, perhaps equally valid, may allow better linking different projects, both in the Paris region and in the vicinity of the Loire.

Contrary to imply the site of the "Cercle Guimard" Chaumier the grave is not the first work of Guimard Art Nouveau. The house of Vesinet, 1896, can claim more surely as such, and with more authority. This tomb has a style certainly very embryonic, but that impression is probably due to high speed design, as evidenced by the sinuosities a little soft, although disappointing for the Guimard, and perhaps also a certain lack of conviction .. . But perhaps the architect he has not fully monitored the actual construction of the monument, made by the mason Parga - whose signature appears with his own, on the front of the tomb. Would he simply to send some drawings, together with all the technical information to save themselves a trip to Bléré at a time when the Castel Beranger already claimed most of its energy?

If Nelly Chaumier died in 1897, his tomb may date the following year, because we do not find any trace in the resume written by Guimard in November 1897. Yet this is a fairly accurate and the only location mentioned all previously built tombs. It probably would not have forgotten that work very recently, despite its rapid development.
The tomb, located along the main avenue and turning his back to the entrance to the cemetery to receive the rays of the setting sun, remained in fair condition. In a century, we can only deplore the decision by the color gray fine white stone home. By raising the cross, probably put on the death of one spouse Lemesle, we can recover the original color, much more fair. Moreover, the appearance of lichens significantly attenuated the effect of certain grounds of the monument, including the curious coasts of the slab.

Apart House of Versailles, which was destroyed but finally located with the reissue of a German architectural magazine, these are just the monuments that have been rediscovered in recent years. Their main interest is to belong to each of them, one of the great periods of creative activity of Guimard: Tomb Grunwaldt (1907), in the new cemetery in Neuilly-sur-Seine, Puteaux, the War Memorial High School Michelet (1920), Vanves, and finally the tomb of Nelly Chaumier at Bléré (circa 1898). These findings can they offer hope to others? Probably in this field of funerary art: the Cooper-Hewitt Museum preserves, in particular, a handsome design for a monument to the great classical period, very elegant and characterized by the enchanting "shells" so typical of the 1910s. But in the field of architecture itself, these hopes remain obviously weaker Guimard who took care to repeatedly make a list of its buildings. Certainly, his memory was not always very accurate and several of its sites do not appear in its various "inventories". It is not impossible to think he may have worked abroad, particularly in Germanic countries which he visited several times. In these cases, he was able to provide drawings, then forgotten, because they could not go there specifically to monitor the site.

(1) All items indicated in this footnote are fixed in the add below.


PS: The virtues of the Internet are endless, since the article has attracted the attention of Patricia G. - I mentioned earlier - and has given me very interesting additional information, including a very complete family tree of family Chaumier. We learn as well as Nelly, daughter Armand Chaumier-Modeste, had married a distant cousin, Pierre-Auguste Chaumier (1834-1903), whose own parents had also been both Chaumier. This marriage may have taken place in 1859. Nell had three children: Stephen (born in 1861, later Clerk of Court Chinon), Gabrielle (b. 1863) and Henry (born in 1868, a doctor at Issy).
This tree also tells us that Nelly was not, nor wife nor the mother of the famous Dr. Chaumier, called Louis-Edmond-Jean (1853-1931) - as I have assumed in the article - but just his sister: he was the younger brother of her husband. Another oddity: the other brother, Armand Jean-Baptiste, notary at Chinon, was married in 1857 with Nelly's younger sister, Louise, born in 1842.
This tree provides no known name in the universe guimardien. Thus, it draws almost certain assurance that the architect did not get this control in favor of a marriage bond between a parent and a Chaumier one of his previous guests. Nevertheless, we can look to the personality of Henry Chaumier, the youngest son of Nelly. It was indeed a year earlier, the same age as Guimard, and a practicing physician in Issy (Most likely: Issy-les-Moulineaux). This could establish a connection, tenuous but very possible with the Paris region, and specifically with family Jassedé, which was the largest sponsor of Guimard during his first creative period: for Louis, he built the house in the rue Chardon-Lagache, Paris, then a family grave in the cemetery ... Issy-les-Moulineaux, for his cousin Charles, he built a villa in Vanves, cadastral is a chance today on the town of Issy-les-Moulineaux. So think nothing prevents Chaumier Henry has had to treat the family of Charles Jassedé, who would lodge Guimard at the death of his mother. All this is still speculative, but with the confidence to know already a little more.
I left my paper in its original state, ie with all the assumptions that, for some, are already totally flawed. But I thought it was interesting to show the path analysis, with all its stages, to feel that history is not written with a line and pass, sometimes, interesting paths more or less tortuous, with serendipity and frustrating limitations. So there will perhaps result in the sequel. Must be at least hoped.
course: a very big thank you to Patricia for their generous cooperation. His contribution is essential to understanding the history of this tomb, finally quite complex.

Thanks also to M. de Bercy which I accept with pleasure the comments. I would just answer them here, briefly, on several points. First, to apologize for having downplayed Bléré I just stupidly called "village" (that word and I regret that I have voluntarily replaced). For so long a march through the streets of the city, yet I had good overview of its geographical extent. I hope Blérois all forgive me a word a little too quickly written.
On the "discovery" of the grave, I have a little more reserved. Certainly, we know locally there, obviously. Yet it took until the year 2007 and the disclosure Circle Guimard - who was the first, with the newspaper "L'Express", to speak formally - for the fans of the architect finally learn the location. In two publications on real Guimard - and one of them devoted exclusively to its monuments - I have personally discussed the grave of Nelly Chaumier, regretting every time not knowing where she was. But no Blérois had bothered to each of these occasions, contact me to fill my guilty (but necessary) ignorance. In this debate, everyone can claim to be right. But a work of art is really practical when it comes out of oblivion. There is, I think, an interesting difference between a curious tomb in a nice quiet cemetery and an unpublished work of an important architect of the late nineteenth century. It's the same "object", but enjoyed two very different ways. The biographical details
, generously provided by Patricia G., allow Finally, clear family ties Nelly Chaumier. But I have retained the assumptions (actually false) of my original article, explaining this will not rewrite it (at least initially). The history of this tomb and its "beneficiary" are written, little by little, and since a few months. I find it useful to preserve and communicate the steps ... The story has obviously been lived in one go, but it can be told only in fragments, contradictions, checks ... This "history of history" is no less interesting. On removal of
Bléré and in Angers I n'ergoterai not continue to think they are somewhat close to each other than to Paris. I just wanted to emphasize here that by those two cities were certainly places the southernmost of the activity of Guimard, and both located on a fairly straight line on a geographical map.
He probably still has many dark areas exist in my article, and even supplements. That's the risk we must accept in advance when engaging in a study of this type, without a lot of elements to achieve it. But I think, on the identity of Nelly Chaumier, the key is now known and amateur have little need to learn more. But it remains - and is, in my view, the most important - to complete our documentation of the conditions that led Guimard to be offered this command, then accept it. But I think that many important information reaching me quickly past few days, we know perhaps even more soon. If this were the case, I will certainly add a new paragraph.

Joint Pain More Condition_symptoms

Thurs 2008: That's it! (Instructions for the vote)


That ... I just put online the latest shipment arrived before 1 October. 20 buildings are in competition. And I hope that, like me, you've enjoyed originality, diversity of styles, the eclectic geographical ... Thank you to the brave who have not hesitated to submit their images and, in advance, congratulations to everyone: we have made nice discoveries and fact, imagination, these trips more or less distant than we realize maybe not true.
Having realized it was difficult to note each issue during his appearance on the blog, I am lined up behind the suggestion of some of you, who campaigned instead for a joint vote. They had obviously not wrong.
So I handed over the counters, to discriminate against someone (and especially the last participants). So now to you, choosing your favorite building (you are entitled to select up to three if you really can not decide!). Just send me a comment, exclusively on the mall's blog ("lemateur.denouilles @ laposte.net") with the number of items that have collected on your preference. I confine myself, then, to make "sticks" for each of your votes and send the most acclaimed ... will have won!
To view all the items, simply click on the label "Game 2008" and the 20 posts will appear on your screen. Thus, none of them will escape your appreciation.
October 20, I'll additions ... and I will be releasing, in addition to the winner's name (or pseudonym, if he wants to remain anonymous), the nature of the gift that I will be happy to provide. What? Patience. Another brief fortnight and you'll know.

If, by mistake, I forgot to publish an item, thank you let me know soon.
And pardon me that some Nathalie announced its participation (it will recognize) ... but I can not wait.



Meanwhile (and make you dream again a little), I close the competition as I had opened with two pictures of another curious church. This one is Lafrançaise (Tarn-et-Garonne). It was built by architect Bréfeil in 1877, in a pleasant style composite, which scored its orientalist dome is not the least charm. The author of the murals in the choir is probably Cazotte Louis, a painter from the region of Montauban, which made many religious settings (but I could not get confirmation of this information, so I give it with caution). Overlooking the valley and vast fields of corn, the church of La Perouse (his name) has just been reopened after a long restoration. We can visit it again, under the enlightened and passionate volunteer members of an association that handles open to the public every Saturday and Sunday afternoon. Hoping that my two shots not relieve anyone to go there ...

Anaemia More Condition_symptoms

Thurs 2008 - Dispatch No. 20: 2 bis Avenue Victor-Hugo (Dijon - Cote-d'Or)


Let me say that I liked, in itself, sending PW, who just sent me some pictures of a building valued at a business trip . Some pictures, an address and a little like sharing an emotion stealth. As fast and easy as this ... Was not one of the purposes of this game?
Our friendly correspondent admits to not knowing the identity of the architect of this imposing building, built at the corner of the square-Auguste Dubois Street in Montmartre. Fortunately for us, some works, more or less important, already exist on Art Nouveau Dijon, which allow to know the author, Eugene Brey, and date of construction: 1903-1904.

When I photographed the building a few years ago, he had not been cleaned and still kept in a gray "Picturesque" which emphasized the simplicity of its floral decoration, especially around the corner oriel. I confess to having completed the shipment, which did not allow savor the details, with these older images, they easily identify with their darker tone.
We can easily speak of a Modern Style provincial, who might have become an important work of the "noodle style" if the sculptor had more talent and extravagance. But it must be said that the architect has not much helped by genuine inventiveness in volume, remaining a manufacturer of a very ordinary wisdom. A Scarcely has he had fun piercing angles with the roof, each time, two windows as round as the eyes.

Thus, as presented to us, building a few surprises with daring, but still confined in a very measured registry, printing is widely supported by the presence of ironwork wise enough, and belonging part to a widespread industrial model. One is almost tempted to call all this "shy". But this is it what is its charm: an Art Nouveau dare not openly develop, remaining in the punctuation, such growths in training. A Living Art Nouveau? Reassuring? The masterpieces of the genre do not always have this quality home, it must be acknowledged.

style Dijon 1900 was a very worthy representative Louis Perreau who built in 1906, the jewel that is the building at 9 rue du Chateau, with its pretty roof shaped umbrellas. I will certainly tell some day, but the impatient can already find some pictures by going to 'thistles under the balcony, "a blog friend who also speaks of Art Nouveau. Perreau distinguished himself, the same year, construction of the imposing position of Granger Place, which is mainly for decoration carved Gasq Paul, one of the most delicious sculptors as style 1900 has given us. Moreover, we find other interesting buildings, like the 24 and 25, rue Jacques-Cellerier, or at 4, Avenue Victor-Hugo, just next to the strange work of Eugene Brey. Dijon deserves not she a little visit? And that made a friendly suggestion for the beautiful fall Sunday that will give us maybe.

Safenet Ultrapro Emulator

Thurs 2008 - Dispatch # 19: 81 Fulham Rd (London - Great Britain)


Second set of DM, I was a little more difficult to trace the whereabouts of this strange curiosity for the London pub Fox & Anchor. But still ... we succeed in everything with a little effort.
Obviously, Michelin House was not originally what it is today, ie a restaurant, oyster bar and cafe. It was good, when it was built in 1909, the London headquarters of the Michelin home. We do not know the name of the architect, who was perhaps exclusively tied to the firm.
How could accurately define the style of this building to both commercial and advertising? The decoration of ceramic and metalwork items belong to the world of Art Nouveau, but its windows are already Art Deco, as the general line of the building. Obviously, the declination of fun because of the tire - and the character who is made - makes the evaluation rather difficult style, but definitely gives the whole an obvious originality Bibendum in the window showing a fancy boxer is really hilarious, that 'he would not miss if you go to Fulham Road.

The house has been fully Michelin map color, the bricks and glazed pottery, which thus give red, yellow, green, blue and white tiles but also "historical", referring to the main motor racing where, no doubt , Michelin tires had to make exploits! These little animated landscapes have a simple grace, enhanced by their plant management, typically Art Nouveau.

From what I understand, the house was deserted places Michelin in 1985. Their transformation into restaurants have thus saved from possible threat of destruction, and maintaining the bulk of the interior, strangely anachronistic for oyster lovers. But obviously it is not surprising that one can not enjoy the French cuisine. Such a place could still become a fast food!

The Michelin House obviously has no relation to Art Nouveau in London. What I have suggested previously on the Modern English Style does not apply to this building, designed by the French and probably built with materials from the mainland. Small scenes of car racing, also captioned in French, have certainly been built by us, perhaps in one of these potteries in the East, so if successful.

PS (10 October 2008): A generous correspondent informs us that the architect François Espinasse be called curiosity. Thank you to him.

Poliestry Biodegradowalne

Thurs 2008 - Dispatch No. 18: 115 Charterhouse Street (London - United Kingdom)


Art Nouveau in London is quite a story, original and complicated. Original, first, because the New British Art found a deep seated in the Arts & Crafts movement, who recently - and brilliantly - renewed the decorative arts relying heavily on the long medieval tradition English level forms and iconography, as well as by the spirit. From this point of view, we see that from that side of the Channel, there was never a follower of any break, and artistic development took place always in a constant concern for continuity. The complication, for its part, comes from the shadow cast on the style 1900 by the great exception that represents the modernity of Mackintosh in Glasgow and, for many, just to summarize and represent the Art Nouveau in the United Kingdom .

What has been built in London around 1900 is therefore difficult to appreciate a simple glance. First, it is not very important, and it certainly suffers some continental influence that gives it a nice oddity. We can easily convince ourselves by going to see what remains of the pioneering works of Charles Harrison Townsend (1851-1928)). The Whitechapel Art Gallery, designed in 1895, is unfortunately now partially disfigured, having lost its superb mosaic of Walter Crane. Fortunately remain intact the Horniman Museum, began in 1896. We will not forget to go take a look at the famous fountain in Piccadilly Circus, sculptor Gilbert fantastic representative of the New English Art Sculpture and author of the great tomb of the Duke of Clarence in the chapel at Windsor.

pub "Fox & Anchor" (Fox and Anchor, in French) was sent to me by PM, no information or even a specific address. But still ... It always happens to find information, by taking time. As to the date of this building from 1898, you can read it on the tiles of its pediment, showing clearly and prominently, the famous fox and anchor who gave their name to the place ...

With some subtlety, this facade combines virtuosity with a fairly composite of diverse influences, from the Middle Ages - as represented by the gargoyles, and mullioned windows - and Orientalism - the central window of the first floor. But the crowning ceramic mentions specifically some buildings in Prague and Central Europe more generally. Regarding the details of the decoration, sober and discreet, but ultimately quite lush once it is noticed, it oscillates between a continental influence frankly - the heads of women are almost "Italian" - and style typically English, where flora, highly stylized, complies with the demands of an extraordinarily graphic elegance.
The only view that was sent to me from the inside shows the detail of a beautiful ceramic coating, typically British in tone, brilliant without ever being aggressive. and always with the sense of graphics that can not be English.

Rosacea More Condition_symptoms

Thurs 2008 - Dispatch No. 17: Villa Sticchi ( Santa Cesarea Terme - Italy)


The few buildings of Arabian influence, already published on the occasion of this game seem to have liked, since AR sent us this impressive villa built in a resort (And thermal) of Apulia, near Otranto. Its name comes from the contractor Oronzo Sticchi, who was the builder, probably also the designer and certainly the lucky recipient.
The building is well before the era of Art Nouveau, it dates from 1885, but is involved in this taste "exotic" that allowed to escape the Academy: Neo-Gothic and Orientalism, by This desire for renewal picturesque, have largely contributed to the emergence of the Modern Style.

The Arab influence allowed the introduction into the architecture Western original forms, but also the color, not only through the ceramic. Blue and ocher, the villa Sticchi play this game completely oriental architecture of fantasy, with its imposing dome, its different galleries with beautiful columns carved differently, the quality of some of its decorative elements. It will be noted in this connection, the beauty of geometric ornaments exterior stairs, the beautiful stone lace covering some panels, the gold-plated from the loggia of the main facade.
Sticchi built the baths of this charming little town, from 1899. It was therefore a personality local, even if AR informs us that his company was still based in Maglie.

Many of these follies have unfortunately disappeared. The Lille region - to make a comparison with France - was literally covered with these strange oriental palaces the now extinct. But elsewhere, there are countless imitations of the palace of Bardo, which was built in the fifteenth century in Tunis, which was one of the main models of this mode, which was always temporary, but cyclical, since the late eighteenth century.

Gifts For Stroke Patients

Thurs 2008 - Dispatch No. 16: 26 boulevard Gambetta (Troyes - Aube)


At Troyes, there is also Art New! That's what GM tells us that sends us some pictures of the Villa Viardot. It derives its name from the Trojan architect Gaston Viardot, who built it in 1908 for a druggist and merchant of colors named Isidore Xavier Perron. Other sources, probably less reliable, you will say it was quite dealer sponsor meat ... What exactly do we know?
The certain thing is that its takeover by the Caisse d'Epargne in 1984, saved the building from demolition promised. Once, narrowly averted! A museum is also open for a short time, which should be able to afford to enjoy the interior, it has been preserved - and, of course, if it has a potential interest. The museum tells the story of the French Caisses d'Epargne, from 1822 to today.

The house appears as a kind of puzzle fun in a variety of architectural forms, with little relation to each other. Large arched bay tripartite loggia, round tower, roof quadrangular an elegant and impressive height, all the paraphernalia of classical architecture is here at the rendezvous, under the delicious pastries made by sculptor E. Boulin - who had the wise idea sign of the villa along with the architect.
So especially for carved decoration, in addition to the delicious complexity of volume and a very charming metal fence, as the Villa Viardot should hold our attention, in particular female heads picturesque, so typical of the Modern Style. If this work is far from being uninteresting, there is still a little heavy, which is still not without charm.

Certainly, as we remember our friendly match with flavor, the house is quite typical of these plush villas for new rich that you could then build in Good prefectures of our regions. So there is hope of finding many other Art Nouveau buildings of the same kind, and for the same type of ownership as we have already met in Orleans, or even in Agen in Roubaix. Unfortunately, urban development has often been cruel to these properties, often very well located, but were often the target of an indifference - when he was not acting from a deep disgust - for an artistic style very quickly regarded as outdated, ridiculous, outrageous, vulgar Their number fell out in alarming proportions, and an irreversible way, unfortunately. The latter, with its wrong Mediterranean air, well deserved to be preserved. Its current status, in addition to allowing us to penetrate easily, it finally seems to provide a long-term conservation.


PS: After some well-deserved vacation (I think), I will publish the latest posts (if any). As I returned on October 1, you have a little more than a good week for me your findings. After this date ... it will be too late. But you can still vote, obviously. I will tell you how (Very simple), the time came. See you soon.

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Entr'acte # 26: ... Zakopane (Poland)


The weather has cooled. Autumn arrives. And the holidays are over for most of us. But that prevents us from there, even in imagination, to continue walking through the world of Art Nouveau? And wait a little more wintry weather to get on our walks in Paris?
For today, I suggest you go to Poland, the strange discovery of two villas in the charming town of Zakopane, a renowned ski resort, located a few kilometers to the north the Slovakian border. It
were both built by Stanislaw Witkiewicz (1851-1915), which is certainly better known in his country as a writer and as a painter than an architect. However, it is considered as the creator - or only the best representative? - What is called the "Zakopane Style". But is it a style that can easily relate to Art Nouveau?

Witkiewicz The first building, the Villa Koliba, is now a museum are exhibited many paintings of the artist, which can be attached to the realism Polish, powerful and sometimes dark, but where some Thanksgiving 1900 are not entirely absent, especially in some of his portraits. The house is characterized by its architecture almost entirely of wood and the multiplication of its picturesque roofs. At first glance, we are dealing with a traditional construction, very well adapted to the harsh climate of the mountains.

But some details can only disturb the mind, as the sophisticated decor of the railing of the terrace or staircase, but all parties engraved or perforated inside the home. Yet it was built in 1892-1893 at a time when Art Nouveau was just emerging in the countries of Europe where the style began to emerge. How to explain, and the amazing decoration wrought iron gateway, which can be guessed very amusing stylized lizards, or floral - also metal - some windows?

The strangeness of the villa also comes from its furniture, maybe later, but where an Art Nouveau further characterized relates to all styles developed in Scandinavia or Finland, where structure, simplicity and strength are the watchwords of great originality. This furniture has the advantage that we learn the roots basically popular and traditional Polish Art Nouveau, and the famous "Zakopane style" in particular.

We find confirmation of this in the Pod Jedlami villa, built in 1896-1897 by Witkiewicz. We find, especially at the carved wooden panels, everything that Art Nouveau is the local traditional crafts. But the powerful foundation of the building stone, adorned with buttresses many architects more "Latin" has been used and sometimes abused afterwards. A curious wrought iron railing, iris pattern, completes bring confusion in our minds? And though it really is Art Nouveau?


Witkiewicz has built several other houses in Zakopane, but also the charming little chapel Jaszczurowce. It includes all the features of his talent as an architect: beautiful stone foundations, with arches curiously shaped wooden panels decorated radiant with metallic elements strange resonances.



Doubtless we must reject, finally, the "Zakopane style" outside the bounds of the Art Nouveau style, in all its other European definitions. Born too soon, still largely subject to more traditional styles in Poland, it is nevertheless troubling, confirming the ancient origins, diverse and sometimes obscure the Modern Style. It is obvious that variations thereof, in the Nordic countries, are perfectly linked to ancient traditions and are tied more authentically than in Latin countries. Zakopane remains Perhaps a mystery ... I invite you to pierce yourself. This winter, perhaps, if you also like to ski!