So many choices
Walking along the Avenue Montaigne inevitably means window shopping. How could it be otherwise? But it’s not out of the question to let ones eyes wander elsewhere –
beyond all of the displayed riches, buy cialis to the facades, troche of course, but also to more discreet decorative details. Doors, which have become sorrowfully banal in modern buildings, present a seductive array of styles here. Minimalist works in glass with golden handles stand next to monumental double doors teaming with motifs. There are also classic, solid oak doors (for example, at addresses near the beginning of the Avenue, on the Seine side, or at number 56), as well as great compositions in wrought iron (particularly at numbers 33 and 44), a technique that has, unfortunately, been abandoned today.
Marvels of Art Déco
The most remarkable creations date back to the Art Déco period (from 1925 to the war). At number 26, there are intertwining scrolls crowned by three muses sculpted in bas-relief. This building, which was recently cleaned, is the work of Louis Duhayon.
An unknown? not really. We owe him, along with Marcel Julien, two Parisian hotels, the Royal Monceau and the Plaza Athénée! At number 34, the property of the Mutuelle des Cuisiniers de France (an insurance mutual for French chefs), the wrought iron double doors are organized in square modules interlaced with circles to break the strict geometry. The creator of this building is also far from an unknown. his name was Charles Plumet (1861-1928), head architect of the 1925 exhibition of “Arts Décoratifs”, and the man who was largely responsible for launching the Art Déco style. he also supervised the four tours of the Invalides esplanade.
The Door of the Callot Sisters
The masterpiece of the Avenue is, without doubt, the door that hides the entrance to number 41, just next door to the restaurant L’ Avenue. It is a veritable manual of Art Déco style. Geometric motifs frame frosted glass: spirals, herringbone, saw tooth…
This was the address of the Maison Callot Soeurs, one of the world’s most renowned couture houses in the 1920’s. It was here where Madeleine Vionnet learned her art. She was fond of saying that without the Callot sisters she would have continued making Fords instead of Rolls-Royce’s. The four Callot sisters used metal and geometric motifs. A text from the Offi ciel de la Couture of September 1934 read – “the line of the Callot sisters has great elegance (…); stripes create diagonal effects (…), lattice patterns” – nearly a description of the door before ones eyes here.
A Tree Door
The rue François 1er boasts a creation just as spectacular. It decorates number 35, now the home of Guy Laroche. Already here when Pierre Balmain occupied this address, it is an extremely original composition of luxuriant vegetation with asymmetrical branches climbing up the door, but also invading the banister of the staircase. Those who take the time to look a little closer discover a whole inner world, a menagerie of tiny animals hidden in the branches of the metallic tree. All sorts of creatures are represented, mammals,
batracians, or insects. There are butterfl ies, frogs, chameleons, marmosets, hummingbirds and sea horses.