17th World Congress on Art Deco© – Day Five (Part Two)

After our three-hour walking tour of the Golden Triangle, it was time to board another bus for the short trip to the nearby suburb of Boulogne-Billancourt. There, Congress attendees received exclusive access to the Musée des Années 30. The visit concluded with a reception at the elegant Hôtel de Ville.

Musée des Années Trente (Museum of the 1930s)

Entering the Musée des Années

Arbre Cubist (Cubist Tree) 1925 by Jan and Joël Martel

Created by Alexandre Chemetoff and Marc Mimram and prominently featured at the entrance of the museum is a resin and concrete replica (1998) of an Arbre Cubist (Cubist Tree).

Mallet-Stevens Gardens (photo via https://freresmartel.blogspot.com/2000/03/les-arbres-cubistes.html)

Twin designers Jan and Jöel Martel (1896-1966) created the four original reinforced concrete Arbre Cubist for the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes. Situated in Mallet-Stevens Garden, they towered over fifteen feet high. The “trunk” has a cruciform shape supporting angular panels attached to suggest foliage. More so a curiosity, the Martel trees were not popular with either guests nor the press.

Ushed into the auditorium upon arrival at the museum, Remi de Raphélis, director of the museum, greeted the attendees.

Remi de Raphélis welcoming us to the Museum of the 1930s.

Following the opening remarks was a presentation about the genesis of the museum and how the 1930s proved to be a prosperous time for Boulogne-Billancourt.

Presentation about the Museum and Boulogne-Billancourt

Divided into three groups at the conclusion of the presentation, the original plan called for each team of attendees to spend approximately 25-30 minutes on different floors before switching to the next. This did not work and we swarmed the museum. Although currently under renovation, the fourth floor was opened and some of the exhibits temporarily reinstalled just for us!

Fourth Floor:

The fourth floor contained beautiful, for the most part, high-end furnishings for the home. Featured are designers Émile-Jacques Ruhlmann, Pierre Petit, Jean Prouvé and Jules Leleu, and more.

: Table Basse Colonnette (Collonnette coffee table) (circa 1923) – Émile-Jacques Ruhlmann (1879-1933)

: Dubly Smoking Game Table (1927) – Émile-Jacques Ruhlmann (1879-1933)

Pozzetto (Cockpit) Armchair (1925) and Table (1928) – Pierre Petit (1914-1938)

: Half Moon Side Table (1928) – Pierre Petit

: Armchair (1932) – Émile-Jacques Ruhlmann

: The “Redhead” Dressing Table (1932) – Émile-Jacques Ruhlmann

: Bar Cabinet (1928) – René Herbst (1891-1982)

Cible Table (1935) – Jean Prouvé (1901-1984) and Jules Leleu (1883-1961)

: “Le Triomphe” chair (circa 1934) – Charles Siclis (1889-1942)

: Collector’s Armchair (1925) – Émile-Jacques Ruhlmann

Chaise Longue B306 (1928). Designed by Charlotte Perriand, Le Corbusier, Pierre Jeanneret. Painted bent tubular metal frame with calfskin covering and painted steel sheet base.

Meuble au Char (Chariot Cabinet – 1921) – Émile-Jacques Ruhlmann

: Ivory inlaid panel

: Macassar ebony, gilt wood and ivory

Perhaps the most “interesting” item on display is this marble statue, The Balance. Landscape designer Jules Vachero (1862-1925) and architect André Charles Rioussé (1895-?) designed this as the central fountain figure for a garden situated between the Collector’s Pavilion and the Mulhouse Pavilion of the Exhibition of Modern Decorative and Industrial Arts.

The Balance (1925) – Jules Vacherot and André Charles Rioussé

Third Floor:

Les Plaisirs champêtres (Country Pleasures – 1936) – Pierre Bobot (1902-1975)

: Venus Anadyomene (1922) – George Sabbagh (1887-1951)

: Yoyo (1927) – Albert Braitou-Sala (1885-1972)

: Madam Culot habilee par Maggy Rouff ou La Dame a la rose (circa1940) – Eugene-Robert Pougheon (1886-1955)

Portrait de Thadeus Lempicki (1928) – Tamara de Limpicka (1898-1980)

: Portrait du Comte Pierre de Quinsonas (circa 1913) – Bernard Boutet de Monvel (1881-1949)

: Officer and Lady, Rome (1932) – Yves Brayer (1907-1990)

: Kiki de Montparnasse (1921) – Maurice Mendjizky (1890-1951)

Geneviève Tulpin (1931) – Maurice Ehlinger (1896-1981)

: Tragedy (1926) – Ernesto Canto da Maya (1890-1981)

: Comedy (1926) – Ernesto Canto da Maya (1890-1981)

: The Man in the Top Hat (1922) – Oscar Miestchaninoff (1886-1956)

: The Orangutan (1947) – Paul Simon (1892-1979)

Pastoral or Bas Relief with instruments (1923) – Jacques Lipchitz (1891-1973)

A maquette is usually a smaller, three dimensional model. An artist generally uses these to test and refine their vision for a larger work and also allows the artist to present their vision to a client of a commissioned piece of art. As you will see below, this is not always the case.

Landowski created this maquette, The Phantom, symbolizing the suffering of mankind plunged into war. Constructed on the exact site of a failed German attack, the monument located in Marne, France, depicts seven soldiers rising from the trenches. And in their midst, a naked youth – the martyred hero.

The Phantoms (1923) – Paul Landowski

Sculptor Raymond Delamarre and architect Michel Roux-Spitz won the 1925 Compagnie Universelle du Canal Maritime de Suez. Serene Intelligence (holding the torch) and Severe Force (guardian of the destinies of the country) commemorate the successful defense by the British, Egyptian, French and Italian allied forces repelling attack by the Turkish army. Created the same year as the actual monument’s dedication in 1930 are the maquette named Strength and Intelligence shown below.

Strength and intelligence (maquette, 1930) – Raymond Delamarre (1890-1986)

Serene Intelligence and Severe Force – Suez Canal (photo via atelier-raymond-delamarre.fr)

The bas relief maquettes pictured below are for decorative elements on a war memorial in Vernou sur-Brenne in Touraine.

The Genius (1922-1923), At Mine (1922), The Trench (1922-1923) – Marcel Layou (1895-1936)

: Maquette, Christ des Missions (1930) – Raymond Delamarre (1890-1986)

: Maquette, Christ the Redeemer (1931) – Paul Landowski

Artist Ernest Morenon craved the wooden maquette (below left) of the Alma Gate. Scaled up and installed for the 1937 World’s Fair in Paris, the pilaster is a beautiful example of Art Deco.

: Port Monumentale de l’Alma (1937) – Ernest Morenon (1904-2003)

: Maquette for Le Genie del la Mer (1934) – Carlos Sarrabezolles (1888-1971)

Shown above right is the maquette of Sarrabezolles’ Le Génie de la Mer. It was created as a study for a larger version intended to be installed near the stern of the S.S. Normandie. Unfortunately—or perhaps fortunately, given the liner’s ultimate fate—the sculpture’s considerable weight, combined with vibrations from the ship’s propellers, prevented its installation on board.

Unveiled at the 1937 Paris International Exposition, the full-scale statue was relocated to the Gare Maritime in Le Havre following the close of the World’s Fair.

Model of the S.S. Normandie (1935), my (Anthony) favorite ocean liner.

Second Floor:

The second floor displays a variety of Art Deco works in different mediums. This period embraced the exotic, whether painting, mosaic or sculpture.

Les Ouled-Nails (1932) – Léon Cauvy (1874-1933)

: Le Tigre (circa 1930) – Paul Jouve

: Panthère (1920) – Paul Jouve

Panthère noire combattant un python (mosaic,1932) – Paul Jouve (1887-1973)

: Rhonda, view of Spain (circa 1935) – André Maire (1898 –1984)

: Pigalle Place Metro Station (circa 1920) – André Devambez (1867-1944)

La brousse et les roniers pres de Fatik (The bush and the fan palm near Fatik, circa 1931) – Roger Nivelt

: Cacatoès (bronze, 1927) Corbeau (bronze, 1912) – Édouard-Marcel Sandoz (1881-1971)

: Corbeau (bronze, 1912) – Édouard-Marcel Sandoz (1881-1971)

Though never completed, Landowski planned the panels below to decorate and celebrate the human history in a secular temple.

Psyche’s Door (maquette, 1925) – Paul Landowski (1875-1961)

Wall of Prometheus (maquette, 1925) – Paul Landowski (1875-1961)

The Hero’s Wall (aka, Wall of Legends, maquette, 1925) – Paul Landowski (1875-1961)

Wall of Christ (maquette, 1925) – Paul Landowski (1875-1961)

A finished version made of ivory is on the left. Compare this to the larger maquette of patinaed plaster on the right.

: Hymn to the Dawn (1950) -Ivory – Paul Landowski

: Hymn to the Dawn (maquette,1909) – Paul Landowski

First Floor:

The museums’ collection contains over one thousand sculptures representing a diverse range of artists. Featured on the first floor are examples of their “Monumental Art” collection.

Danse triomphale de Pallas Athéné – Carlo Sarrabezolles

Dunoyer de Segonzac et Boussingault (1914) – Bernard Boutet de Monvel (1881-1949)

A fragment of the bas relief l’Apollon Musagète (below left) from the Théâtre du Palais de Chaillot, Artist Évariste Jonchère designed this for the 1937 International Exhibition.

: Bas Relief – Évariste Jonchère (1892-1956)

: Maternity (circa 1925) – Alfred Muller (1882-1955)

: Women and Love or Eros (1921) – Alfred Janniot (1889-1969)

: Maternity (1931) – Jacques Zwobada (1900-1967)

Though classically trained, some artists would experiment with various styles. such as Neo-Classics, Neo-Modernism, Cubism, etc.. Their goal? To simplify content and form; a huge change moving away from often used classical themes to individual representations, often, but not always, the female nude.

: The Pugilist (bronze, 1920) – Paul Landowski

: The Pugilist (1920) – Paul Landowski

Interior gates, wrought iron and gilded plaster (circa 1940) – Raymond Subes (1893-1970) and Jean Mayodon (1893-1967)

Art became architecturally sculptural using clean lines and geometric shapes. And artists experimented with new materials such as reinforced concrete.

: La Trrinite (Trinity, circa 1930) – Jan and Jöel Martel

: Cubist interpretation of the Trinity

And if you want to take a piece of art home with you, copies of the Arbre Cubist (Cubist Tree) are available in the gift shop.

This piece of equipment is on display on the lower level. Anthony knows it well.

Taking a last look at the Arbre Cubist (Cubist Tree) in evening light as we leave Musée des Années Trente.

Hôtel de Ville Boulogne-Billancourt Town Hall

The front facade of the Hôtel de Ville Boulogne-Billancourt.

Right after our tour of the museum we went next door to the Boulogne-Billancourt Town Hall for the evening reception. Opening in 1934, the town hall is the design of architect Tony Garnier (1869 – 1948) and Jacques Debat-Ponsan (1882 – 1942). In the 1920s, André Morizet, mayor of Boulogne-Billancourt, wanted to consolidate the municipal facilities in the heart of the city. Built on the site of a former quarry construction began in 1931 and completed three years later. The building’s layout consists of two reinforced concrete rectangular blocks, with the rear section taller and wider than the front.

: Huguet Quarry, circa 1931

: Huguet Quarry, start of construction on the town hall, December 1931

: Town hall under construction, rear façade, circa 1932

: The grand staircase under construction, c. 1932

: Grand staircase, July 1934

: Main facade of the town hall during construction, 1934

All the above construction photographs come from boulognebillancourt.com

When entering, don’t forget to look down. This is quite the “Welcome” mat! The design is the town crest celebrating their connection to trade and the Seine.

Welcome!

The grand staircase has changed little since 1934. Pictures do not do justice to the broad and elegant sweep that invites visitors up from the lobby and into the reception area above.

: Views of the main staircase

The lobby houses a small exhibition space as well.

Hôtel de Ville Boulogne-Billancourt in miniature

The town in miniature

The guest arriving

: Anthony has a photo op with some new friends. Meanwhile, hopelessly lost, Chris asks for directions.

: Heading up. Two views…

: …leading to the reception area.

The main reception area greets guest at the top of the staircase. Art deco furniture creates small pockets of comfort for party-weary guests.

Upper reception area

Entering the main hall

An impressive meeting room with towering ceilings greets guests. Though the room is quite large, we quickly filled the space.

Several food stations with temptingly delicious food surrounded the perimeter: Wine and cheese with fruit, an array of sandwich-like hors d’oeuvres, and decedent desserts.

Just one of the many food tables

Champagne tower – a forest of glass

: Taking a break from the festivities…

: …and memorializing the moment.

Right next to the reception hall was what appeared to be a courtroom. They were kind enough to leave it open for us, so we could take a few photos.

: Courtroom just next to the main reception room.

: Detail of the courtroom’s bench with a bas-relief of the town’s symbol on the front.

: Saying goodnight to new friends…

: …as we slowly head back to our hotels.

Au revoir, Hôtel de Ville Boulogne-Billancourt

An exhausted crowd waiting for their bus.

We hope you enjoyed coming along with us for today’s adventures. Please join again in our next post and our last day of the congress.

Chris & Anthony, (The Freakin’ ‘Tiquing Guys)

Sources

Online

boulognebillancourt.com

earlofcruise.blogspot.com

knowltondl.osu.edu

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17th World Congress on Art Deco© Program

The 17th World Congress on Art Deco© – Day Five (Part One)

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Poster art for the 17th World Congress on Art Deco.

Poster art for the 2025 World Congress. Image courtesy of the Paris Art Deco Society and ICADS.

Day Five – Friday, October 24th

While there will still be a lot to see and do over the next two days, Friday is the last day of morning lectures, a sure sign that the Congress is nearing its end. Even though we’ve seen so much, the week is going by too fast and in a couple of days we will be flying back to the U.S. But we are not trying to think about that as we settle into our seats for another round of wonderful presentations.

Lectures

Heritage of the Exposition Gardens

Camille Lesouef, a doctor in art history, lecture focused on the gardens at the 1925 exposition and their influence on landscaping in France and the United States in the years leading up to the Second World War.

Jacques Gréber, Garden for Casa Serralves, Porto, 1940. Showing the 1925 Exposition’s influence on its design.

Déco, Go West

The Oviatt Building brought the modernism of the 1925 International Exhibition of Modern Decorative and Industrial Arts to Los Angeles in 1928.

Presented by Marc Chevalier, president of the Art Deco Society of Los Angeles board and a historian of Souther California. This presentation showed the influence the fair had on Jame Zera Oviatt and his building. The lecture also addressed some long held misconceptions about the Oviatt Building’s design.

1925 – From Paris to Bombay

Founding administrator of the Art Deco Mumbai Trust, Atul Kumar was the first speaker after the mid-morning break. His lecture explored the emergence of modernity in India beginning in the mid-1920s, shaped in large part by the influence of European artists and designers.

Revisiting the Muse

Robert Rose presented on the Art Deco legacy of his family’s business, Rose Iron Works. In his lecture, Rose explored the collaboration between his grandfather, Martin Rose, and master metalworker Paul Fehér. Together, they created some of the most iconic Art Deco metalwork pieces, including the celebrated Muse with Violin screen.

Rose concluded by describing how Rose Iron Works continues to produce Art Deco creations today, highlighting the debut of two new muse screens—Muse with Flower and Muse Dancing. The latter created for a private client features a previously unused central figure design by Fehér.

The three Muse Screens by the Rose Iron Works

It was the perfect ending to the series of morning lectures.

Walk on the “Golden Triangle”

After lunch we gathered in front of the Palais d’Iéna to begin our second walking tour of the congress. This afternoon we explored the elegant neighborhood just south of the Champs-Élysées, known as “the Golden Triangle”.

The district exploded with growth during the first decades of the twentieth century, as luxury brands, celebrated couturiers, and prominent figures from the music industry established themselves there. Their arrival transformed the area into a showcase of modern taste and ambition. Appropriately, the architecture reflects the au courant spirit of these businesses—bold, refined, and unmistakably modern, embodying the glamour and confidence of the era.

Meeting Place – Palais d’léna

The northern facade of the Palais d'léna.

The northern facade of Auguste Perret’s Palais d’léna the meeting place of our tour.

Unfortunately we did not go into the Palais d’léna, one of the buildings planned for the 1937 World’s Fair. The first section did not open though until 1939 as the National Museum of Public Arts. The rotunda was completed in 1943 and other sections were added in 1962 and 1995. Today it houses the French Economic, Social and Environmental Council. Designed by Auguste Perret (1874 – 1954) in exposed concrete with rounded ends with columns inspired by Egyptian palm trees.

Detail of the upper portion of the northern facade.

: Sol et Colombe

: Another view

Martial Raysse (1936-) created the bronze statue Sol et Colombe (Ground and Dove) also known as The Birth of Thought between 1989-1992. Set at the entrance to the French Economic, Social and Environmental Council it is an allegory of the living forces of the nation.

Musée Guimet

The tour officially began just across the street. Leonie, our guide, began with a history of the Musée Guimet. Emile Guimet (1836–1918) created the museum to house his collections of Asian, Egyptian, and Classical artifacts. Originally displayed in Lyon in 1897 it moved to the current Paris location in 1889. But it was not part of the tour and we did not go inside.

: Musée Guimet

: George Washington Statue

Opposite the Musée Guimet in the center of the roundabout is a statue of George Washington designed by Daniel Chester French. A woman in the United States gifted it to France in 1900 to commemorate France’s help during the American Revolutionary War.

Former Post Office

Facade of former post office P.T.T. 34. Today it is an Agnès b. store.

Leonie briefly paused our tour at the Agnes B. boutique. This company tries to preserve and incorporate elements of the original structure into their space. In the case, a disused Post Office is reborn as a high-end clothing boutique for women and men.

Fresco of St Gabriel

An original fresco by Edmée Larnaudie is prominently on display and represents of Saint Gabriel, the patron saint of postal workers.

Modernistic bas-relief crowning the bay windows on the former post office building.

One of the modernistic bas-reliefs on top of the bay windows of the former post office building.

Palais Galliera

: Two Views of the Galliera

: Oh, look! The Eiffel Tower!

The Palais Gallera is a museum of fashion and fashion history but unfortunately, it was not part of today’s tour. It has an interesting history involving a mis-written land deed and exiled royalty. Léon Ginain (aka: Paul René Léon Ginain, 1829-1898) designed it and though construction began in 1879, it was not completed until 1894. The steel under-structure was built by the Eiffel Company and clad in cut stone in the Italian Renaissance style.

Small parks throughout Paris pay homage to historical figures. Sculptor Fernand Hamar (1869-1943) pays tribute to Jean-Baptiste Donatien de Vimeur, (Comte de Rochambeau) who helped fight for our independence at Yorktown during the American Revolutionary War.

Avenue Pierre ler de Serbie

The affluent Avenue ler de Sebie is named for King Peter I of Serbia (1844-1921) a member of the Foreign Legion and who fought with the allies during World War I. The Austrian Embassy, Palais Galliera, production company Les Films du Losange and former apartments of several notables are located on this street.

Hôtel Pierre

Example of the Haussmann style of architecture

The original marquee and entrance to the Hôtel Pierre, Paris.

Original Entrance of the Hôtel Pierre,Paris, France, 1925-35. Bonney, Therese. 1925. Therese Bonney photographs, 1925-1937. Image from library.si.edu.

: Right: La Construction Moderne n°5 1928 featuring the Hotel Pierre (all photos via ebay.fr) Above: View of the Lobby

: Hotel Pierre Dining room (photo via ebay.fr)

: A game or smoking room (photo via ebay.fr)

The Anthony’s Residence and Monak Restaurant shown above is located on the Avenue 1er de Sebie and was originally the Hôtel Pierre. Architect Louis Brachet (1877-1968) designed both the exterior and interiors. The exterior is in the Haussman style which combines cream colored limestone, precise lines, ornate iron work and period functionality. It creates a harmonious streetscape and is a favorite style for Parisian buildings.

Upper floor details of the Hôtel Pierre.

Hôtel Pierre upper floors detail, showing stylized eagle head and geometric iron railings.

Saint Pierre de Chaillot Church

Tower of the Saint Pierre de Chaillot Church peeking above the roofs of the buildings on Avenue ler de Sebie.

While walking down the Avenue ler de Sebie, even before we reached the Hôtel Pierre, we caught sight of a church tower peeking above the surrounding rooftops. At the time, it was just an intriguing detail on the skyline—little did we know it would soon become the next stop on our tour.

Rounding the corner onto the Rue de Chaillot, we arrived at the Saint-Pierre-de-Chaillot Church. Émile Bois (1875 – 1960) designed the church. It was built on the site of an earlier, smaller parish between 1931 and 1938 and financed entirely through donations.

The facade of the Saint Pierre de Chaillot Church.

The façade of the Saint Pierre de Chaillot Church.

The façade is immense, dominated by three semi-circular arches over the porch and topped by a tympanum depicting the life of Saint Peter, sculpted by Henri Bouchard (1875 – 1960).

Detail of the tympanum.

The main altar is in the neo-Romanesque-Byzantine style and constructed mainly of concrete. Stained glass windows by the Maumejean firm complement the surrounding structure.

The view toward the main altar from the church entrance.

Looking toward the main altar from the entrance.

A sweeping view of the church

: Various views of the church

The Maumejean firm created the mosaic, glass and metal-work. Below are some examples of their work.

And don’t forget to look up!

One of the many carved capitals

Jazz moderne interpretation of sacred iconography in one of the ceiling domes.

The pipe organ bay

We were unable to stay longer due to a scheduled funeral. However, we paused long enough to take a last look of this beautiful building.

Hotel George V & Hotel Prince de Galles

Coming up next on our tour would be the Hotel George V and its next door neighbor Hotel Prince de Galles.

Hotel George V – 31 Av. George V

The Hôtel George V was commissioned by American businessman Joel Hillman and designed by architects Constant Lefranc (1885 – 1972) and Georges Wybo (1880 – 1943). Catering primarily to a clientele of wealthy American tourists, the hotel initially prospered. However, Hillman was forced to relinquish ownership to his lenders following the Wall Street Crash of 1929.

: Main facade of Hotel George V

: Balcony and stonework

: Beautiful grillwork on the doors

: A doorman greets his guests

The hotel hosts high-end boutiques for its guests

French hotelier, art collector, and thoroughbred horse breeder François Dupré acquired the property in 1931. He expanded the hotel with the addition of a new nine-story wing, further enhancing its scale and prestige.

Hotel Prince de Galles (1929) at 33 Av. George V.

Hotel Prince de Galles – 33 Av. George V.

Immediately next to the Hôtel George V stands the Hôtel Prince de Galles. Opened in 1929, it served as the flagship property of the hotel group owned by André Million.

The site on which the hotel rises was once part of the Chaillot quarries, whose stone helped form the foundations of some of Paris’s most iconic monuments, including the Arc de Triomphe. Its name pays tribute to the Prince of Wales—later Edward VIII, also known as the Duke of Windsor.

Two-tone decorative and functional metal work

Designed by architect André Arfvidson (1870 – 1935) in 1928, the hotel reflects a refined balance between classical tradition and modern sensibilities. From its earliest years, it attracted an international clientele and quickly became a favorite among celebrities, including Errol Flynn, Charles Laughton, Gina Lollobrigida, Lana Turner, and Marlene Dietrich.

Golden topiary flanking the doors by Delisle (2013)

Designer Bruno Moinard, under artistic director Pierre-Yves Rochon, renovated the hotel in in 2013. Lighting specialist, Delisle, produced the elegant golden topiary flanking the main entrance.

Maison François 1er

Maison François 1ER

Being midday and walking for quite some time, our tummies began to rumble! Fortunately our next stop was at Maison François 1er.

A popular local establishment Located at 64 Rue François 1er, a delicious array of desserts and drinks were on hand: Tarte Tatin (Caramelized apples, golden puff pastry, fresh cream), Coupe de fruits rouges, Chantilly (Cup of red berries, whipped cream), Tart au citron (Lemon tart) and Mousse au chocolat (Chocolate mousse) as well as coffee, espresso, tea and soft drinks.

: Mousse au chocolat (Chocolate mousse)

: Tart au citron (lemon Tart)

A full bar service is also available but not included in the tour.

Ready to serve your choice of libation

This is not a large establishment but offers patio dining when the weather is pleasant. We were tightly, but comfortably seated. This offered us the opportunity to engage with our fellow travellers.

And we enjoyed the touches of Art Deco throughout. Indirect lighting behind decorative stepped coving gave a soft glow even during the day.

Indirect light glows softly above detailed coving

And don’t forget to look for “hidden” art deco accents!

: Small details easily overlooked

: Thoughtfully designed hardware

After our pastry and coffee break, we arrived at the Champs-Élysées, the next stop on our tour of the “Golden Triangle.” Crossing this iconic boulevard offered a perfect photo opportunity, with a clear, striking view of the Arc de Triomphe rising at its western end.

Crossing the Champs-Élysées near the Arc de Triomphe.

Les Arcades des Champs-Élysées

Just inside the entrance to Les Arcades des Champs-Elysées.

Our tour guide Leonie giving us the history of the the famous arcade.

Just across the Champs-Élysées stood our next destination: Les Arcades des Champs-Élysées. Constructed in 1926, this elegant shopping arcade occupies the site of the former Hôtel Dufayel, a private mansion purchased in 1924 by diamond and real estate magnate Léonard Rosenthal. He commissioned architects Charles Lefèbvre, Julien Marcel, and Louis Duhayon to demolish the mansion and design the building that stands today which is a mix of Neo-classical and Art Deco influences.

Mixed high end shops line the mall and cafes fill the corridor

René Lalique designed the refined lighting fixtures within the arcade.

: René Lalique light fixtures.

: Featured throughout the arcade.

Between 1928 and 1933 the complex housed Arcades du Lido (Le Lido), a lavish spa adorned with Venetian-inspired décor. Thoughtfully preserved and incorporated into the new structure are elements of the original Hôtel Dufayel including eight striking columns of Scottish granite.

The Scottish granite columns from the Hôtel Dufayel.

Master glassmaker Fernand Jacopozzi crafted the building’s elegant glass roof.

Fernand Jacopozzi’s glass roof.

: Corner detail of Jacopozzi’s roof above. And beautiful mosaic tilework floor to the right.

First National City Bank

The western end of the Galeries Lafayette, formerly the First National City Bank.

Constructed in 1931 as the Paris headquarters for the American, First National City Bank, today this building houses the annex of Galeries Lafayette. André Arfvidson (also the architect of the Hôtel Prince des Galles) designed a massive structure in a simplified, classical form.

: Art Deco metal work over an entrance to the building.

: Detail of the façade.

Clad with Tynos green marble, the hexagonal main lobby rises 40 feet and features a monumental staircase. A skylight covers the space. The hall’s original architecture still shines through the department store’s contemporary additions.

: The grand staircase in the main hall of the former bank building.

: The skylight of the marble clad main hall.

Galeries Lafayette’s Champs-Élyées façade.

41 Av. Montaigne (1924)

41 Av. Montaigne (1924).

This building located at 41 Avenue Montaigne, was constructed in stages with the first section completed in 1858. And over time was home to some very famous luxury houses, such as Louis Vuitton, Chanel and Dior. Additional floors, four in all, were added to the building In 1924. L’Avenue, an upscale and trendy restaurant, currently occupies the first two levels.

Detail of the Art Deco cornice.

Done in the emerging French Moderne style, this was likely the first Art Deco building on the avenue.

: Side façade of 41 Av. Montaigne.

: Detail of the upper floors side façade with its stylized owls.

Jeanne Paquin plaque

Our guide stopped briefly to point out this important and significant stone tile embedded in the walkway. Jeanne Paquin (1869-1936) was the first major female fashion couturier. Especially known for her luxurious deco designs, she operated her fashion house from 1891 until her death in 1936. The business continued for 20 more years before closing in 1956. Paquin employed a unique, for the time, marketing strategy of sending models out of the “house” and to public events.

33 Av. Montaigne (1935)

33 Av. Montaigne

Our tour’s penultimate stop was at Henri and Renée Bodecher’s luxury building located at 33 Av. Montaigne.

The front façade of 33 Av. Montaigne, completed in 1935.

After going through the wonderful metal work doors, one enters a long, marble hallway that leads to an interior courtyard.

33 Av. Montaigne's decorative metal work over and of the entrance.

The decorative metal that is used on and above the main doors to 33 Av. Montaigne

A very Moderne console table with an uplighter lamp.

Indirect lighting baths the marble hallway in a subdued glow.

Main hallway looking towards the courtyard doors.

: 33 Av. Montaigne’ interior courtyard

: Metal and frosted glass light hanging in courtyard vestibule.

Notable about this area is it is a rare oasis of urban space in a bustling city. The interior consists of greenery, water features and illuminated fountains.

Courtyard lighting

A look back toward the courtyard entrance

: Hallway looking back toward the main entrance.

: Detail of the main entrance ironwork.

This was one of our favorite buildings on the “Golden Triangle” tour.

Théâtre des Champs-Elysées

Théâtre des Champs-Élysées, front façade.

Detail: marquee.

Various façade bas-reliefs

Opened on April 2, 1913, with a season that included the infamous performance of Stravinsky and Nijinsky’s The Rite of Spring, this was the first theatre in Paris to be constructed completely from reinforced concrete. Travertine slabs cover the façade adorned by five Antoine Bourdelle bas-reliefs depicting the arts. This large building comprises three auditoriums: Théâtre des Champs-Élysées, the Comédie de Champs-Élysées, Studio des Champs-Élysées plus a restaurant.

Corner entrance to the Comédie des Champs-Élysées.

Henri Fivaz, Roger Bouvard and Henry Van de Velde designed the theatre complex. However, the Perret brothers completed the project. We could not enter the main lobby as the theater was closed. But we could take photos of it through glass doors. This space is a terrific example of a modernist take on classical architecture. Two bas-reliefs adorn the bottom of each of the staircases going up to the balcony.

The bas-reliefs at the bottom of the staircases.

A closer view

: Théâtre des Champs-Élysées lobby.

: Detail of the iron staircase railing.

Ticket lobby for the Comédie de Champs-Élysées

The Théâtre des Champs-Elysées is one of the best examples of the earliest expression of the Art Deco style. And it was a wonderful conclusion to our over three-hour walking tour of “The Golden Triangle”. Now it was time for us to board the bus to takes us back to the Place du Trocadéro.

: Anthony getting a few more pictures

: Chris waiting on line for the bus to take us back to the Place du Trocadéro.

Even through our walking tour was finished, our day was hardly done. Once we arrived at the Place du Trocadéro we immediately boarded another bus to take us just outside of Paris for a visit to the Museum of the 1930s and a reception at the Boulogne-Billancourt Town Hall. But that is for Part Two of Day Five.