Theater of the Champs-Elysées, Paris
René Lalique - Perfume bottles
Phillips "Design" auction, London, 20 September 2017
Dolphin sculpture - Palais de la Méditerrannée (Nice)
September / October is the occasion to publish our new pieces for sale, but also the opportunity to improve the form of our communication with our clients and followers. You will find that our magazine is expanding as far as content, but also greatly changes on form.
With the help of new tools, we decided to change the structure of our magazine. By improving the form, and thus the pleasure of reading, and by including other headings, some of which existed already, but outside of it.
You will find articles on subjects about artists, architectural and decorative movements, manufacturing techniques, as well as announcements of upcoming events, past events, auctions, etc.
But also, new arrivals with the emphasis of a piece chosen by us for which we will develop a number of significant points.
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Théâtre des Champs-Elysées
Architect : Auguste Perret - 15, avenue Montaigne, Paris 8e - Date : 1913
The project was initially entrusted to Henry Van de Velde. Having appealed to the company Perret for the concrete frame, Van de Velde was finally ousted from the project. Auguste Perret compromised a bit on his principles : he later asserted that the "concrete is sufficient in itself," here he dressed athefacade with travertine slabs and proscenium Allier marble slabs, where are built exceptional white marble reliefs of Emile-Antoine Bourdelle. The four interior column groups were left visible. The building has three theaters : a large semicircle hall in the Italian taste with 1905 seats dedicated to opera and music ; a medium hall with 601 seats (la Comédie) and a small hall with 230 seats (le Studio), both devoted to the theater. The interior of the theater includes some works by Bourdelle (bronze and frescoes). Maurice Denis realized the decoration of the dome (1910-1912) : The Greek Orchestique, Opera, Symphony, Lyric Drama, separated by tondi illustrating Chorus, Orchestra, and The Organ Sonata. Painters Édouard Vuillard, Ker-Xavier Roussel3 and Jacqueline Marval (1866-1932) also contributed to the decor.
Auguste Perret, born in Ixelles (Belgium) February 12, 1874 and died in Paris February 25, 1954, is a French architect who was one of the first specialists technicians reinforced concrete.
Long disparaged by historians and theorists of the modern movement, particularly between 1960s and 1990s, more precisely by relatives of Le Corbusier denying what they considered as compromise favored by governments without ambition, it was not until the passage of the different crises of this movement so that the work of Perret regain a place in architectural history more directly oriented heritage logic. Auguste Perret appears in this new context as one of the very few architects who have been able to discern the implications and limitations of the Modern Movement.
In addition to these value judgments inevitably subjective, Auguste Perret has played a decisive role : first architect to take the constructive interest of reinforced concrete (early 1900), he remained attached to this material that is both economical and robust, while posing some principles as the "style without ornement" the post-beam-slab structure or the free plan. Under the sign of historical continuity, the consistency of his work - which spans more than half a century - reflects the desire to place the modern construction within a new architectural order defined as the structural classicism School. This terminology should not hide an exceptional practicality which can equally well be understood as a quest for sustainability and democratization of Modernity; an ideal architectural he fully realized by rebuilding the Havre downtown... full biography
Le Palais de la Méditerranée
This reinforced concrete facade, richly decorated and perfectly symmetrical, has three parts on the horizontal level and three parts on the vertical level, completely independent of the floors of the hotel.
At the level of the street, seven large arcades separated by powerful fluted columns welcome the visitor.
The separation with the upper floor is announced by seven rounded balconies, very ornate. Their role is only decorative. They are there to break the stiffness of the facade. These balconies open onto very large openings, glimpsing the hotel rooms. It is rather the reverse. It is these openings that allow tourists to have a view of the Mediterranean.
The upper floor, the most decorated, welcomes at its ends two pediments adorned with bas-reliefs and other elements carved in high relief overhanging a classic entablature.
The two bas-reliefs of the pediments are the work of the sculptor Antoine Sartorio. They are both very close, showing two majestic horses rearing up in front of the sun, surrounded by two female figures.
These four horses certainly have the role of driving the chariot of Helios, the sun god, guiding the light of the star through the day, humbly making the Palais de la Mediterranee the jewel illuminating the Côte d'Azur.
Female figures do not all bear attributes that are easy to decipher but they can see flowers on one of them, and more explicit, grapes on another. It is enough to recognize another symbol of the passing time, the four seasons.
This magnificent hammered bronze dolphin adorned one of the large glass doors of the Palais de la Mediterranee, a large casino inaugurated in 1929 on the Promenade des Anglais in Nice.
This door handle was mounted as a sculpture on a forged iron frame following the curves of the dolphin.
Full height : 86cm - 34in, Height of the dolphin alone : 65cm - 25.6in, Width : 43cm - 17in, Depth : 25cm - 9.8in
AVAILABLE AT ADCGL