Designed by Henry La Coste
Pavilion reception itself was part of a square 32 meters out. It was preceded by a paved terrace dominated by a 50 meters mast carrying the national flag. A barrel of gilded bronze gainait the mast like a rostral column where the spurs of ancient ships were replaced by colossal heads of animals. Basically a fountain that the sculptor J. Berchmans had adorned eaters and sea horses. L. Hoffman and E. Nootens had modeled for the other angles of the terrace graceful nymphs who tended flowers. The floor was paved with a polychrome pavement bordered by a parapet tile Kortrijk. The door of the Palace was 9 meters wide and 11 high. A huge bronze lintel concealed a store that moored in the mouth of five golden lions. The porch was paneled in black marble that enhanced the freshness of frescoes. One of them, the Fabry master, recalled the joyful entry of Leopold III in Brussels. In the center, the figure of the king on horseback; the characters who acclaim occupy the lower register and the mass of flags merges with the warm tones of brick. An ideal figure and all white horizontally through the sky. Opposite P. Artot had represented the oath. The King left, dominates the meeting, the Queen and the Princes are placed front, dignitaries right. We guess the columns of the Chamber of the House which fade in an apotheosis of the three kings who preceded our Sovereign. The decoration of the lobby is complemented by two panels: one spoke of Saint Michael, the patron of the capital. It was the work of Mr. Counhaye. The other, due to Stroobants painter, was a lion figure. The doors had been forged by L. Francis on drawings of Paulis and above the marble archivolt with gold rosettes Engels moved the clock monumental built by Tordoir. The great hall of honor was red and gold. The center of a rich mosaic marbrite, gushed a crystal column that symbolized by its three drums the three kingdoms passed and opened buds of blue flowers to 8 meters above the ground, the reign picture that had just begun. A huge luster of silver and gold referred to the center of the room, the thousand fires of the sun captured on the terraces at the four cardinal points. the grand octagonal hall was surrounded by four small rooms of the same shape. A large rectangular living room of 8 meters and 16 meters in response to a dining room of equal extent. Two squares fairs, open houses, kitchen and outbuildings occupied the rest of the ground floor. The great hall was covered with red marble Merbes-Sprimont, red marble and paved with Rance marbrites Fauquez. The spandrels of the arches were decorated with animals painted by M "e MJ van der Haeghen, the underside of the arches, medallions, works of F. De Pooter, Colfs, De Roover, Gaillard L. Gilsoul, P.-A. Masui, Moitroux, Spillaert, Sterck-mans and Max Van Dyck. the iron gates forged by Alexander, were embellished with medallions embossed lead by Aebly. A frieze wrought iron and carved was the work Alfred Francis. Galler had balconies. one of four small rooms had a library of Paul Pelseneer whose fine cabinetry showcases contained rare bindings R. Simonson, under lock chased by Menzel. green chairs Bouy around a fireplace Henry Losange. another formed a small pink satin boudoir furnished and decorated by Beirnaert. all very civilized in front of him, was Robert Decerf and Rosel had equipped the last small room with a view radio-phonic auditions. the high windows of the living room, until they discovered tops of remarkable trees. Curtains of velvet woven Achel was lined trimmings Joseph Clara. Above a fireplace Ermans, which contained a pair of andirons wrought iron snakes and control room quite out of hand Costermans, unfolded / large tapestry painted by R. StrebeHe and woven by G. Chaudoir . Other tapestries were woven lounge by G. De Wit on cartons of P. Vaucleroy. The general decoration staff had been executed by P. Colleye. On a carpet of Peeters-Van Roye and dot rugs knotted Guillon were divided furniture of our best cabinetmakers: Blondel, sofa and ivory satin chair, a metal table and amboine, stools upholstered in tapestry; G. Carle, a fishing velvet sofa and table in mahogany and ice of Desire, lambskin chairs, a mahogany pedestal table and metal; G. Desneux, a wooden desk with pink, a morocco leather chair green armchair and stool tapestry of Ch Rosel, decorated furniture of the shells of eggs, a crystal console. H. Wallaert, table violet wooden play, two armchairs and two large the same wood-trimmed velvet. Two ceramic vases H. Javaux, the luminaire de Winter, binders Miss Godart, completed this beautiful set that still rehaussaient LL busts. MM. Albert and Elizabeth Vinçotte, Leopold III and Astrid by Adolphe Wansart. The square room, which made her suite, was designed and executed by Servranckx marble in collaboration with Van Haegenborgh. From the Grand Lodge open to the gardens we discovered the Furniture Gallery, which was spread over a length of 120 meters between two circular porches painted by Georges Schirren and Creten. the booth was a bold Seasons gazebo built in the center of a pond. Sixteen iron columns sheathed wall Fauquez glass, were to 15 meters above the pavement mirror ceiling and a glazed tile roof. The construction was the work of JF van der Haegen engineer and his pupil De Mol. The beautiful wrought iron railings ironwork came from schools in the kingdom. Four statues resting on marble pedestals justified the name given to this building: Spring, Eric Wansart, highly original interpretation; Summer, by F. Meek, author of four selected sketches; Autumn by J. Beernaerts, and Winter, J. Witterwulghe. From the booth, we overlooked the gardens, ably directed by René Péchère and decorated with charming fountains red circular black fish. These fountains, studied by André Hermant, for architecture, modeled by Tony Hermant, had been made by the ceramist Helman. Frescoes still covered the walls of the open houses and special mention is due to the talent of the painter Léon Navez . His work was dedicated to LL. MM. Albert and Elizabeth, protectors of Arts and Sciences. She was perfectly tuned to the architecture of the lodge and related materials. In front of him R. Van Cauwenberghe had represented the return of the monarchs in towns reconquered after the war and Mr. Langas-kens had framed the front door of the lodge allegorical figures. The balconies were executed by Cruls. The ironwork was Alexander. Giant flower in copper projectors fountain and bees balconies were beaten by hand by Lacoste. The gold of these bronzes enhanced the rich polychrome columns coated glass wall, red for the lodge and blue for the fountain. We left the lodge to cross the travertine pavement square room that did honor to the taste of Mr. Baugniet, and thus arrived at the large dining room. The centerpiece was certainly the tapestry commemorating the institution of the Albert National Park. She had been woven by Braquenié after cartoons of Paul Leclerc. The lighting was pleasantly diffused by six appliques placed on the pilasters and many broadcasters battery concealed in the woodwork. This interesting realization that combined the semi-direct lighting to lighting diffusion was the work of V. Winner. The realization of the fireplace andirons which were decorated with stainless metal balls was entrusted to Costermans. Sobriety reigned here as mistress and hearth gave this soon before his logs will be lit, an honest impression and wellness franc. Finally two mirrored panels engraved by Ch. M. Brunard, refined and effect pleasant fantasy, fell within the sumptuous paneling in sycamore directed by Van Calster. the floor was coated on its perimeter, special black Eternit plates in high thickness. A compass rose in soft colors was embedded in the pavement. The doors were also covered by Eternit, the diversity allowed a coating to fresh colors. The floor to abouts bent, with a nice design and quiet enough was due to the chapel. The natural copper also played its part in this set either as qu’encadrement door or fireplace, or in the frame for windows executed by Menzel. The curtains were reduced to the role of clouds, they softened daylight and intercepted the view from outside. These curtains of 10 meters high, a series of broad bands common in the low enriched, were weaving a miracle performed by Van den Hole, through Sétilose, aspect and silky touch, spun Tubize. the furniture struck by its simplicity and robustness; it was made of rosewood almost united by Stevens. The tables had been studied so as to be placed end to end with a lengthening system, so as to give place to a number ranging from 4 to 50 people. The wide chairs with low backs, supported by flexible steel bars were covered with a harness. The glaze had a happy variety, it was woven by Marie-Louise Zimmer or embroidered care Yvonne Kaufman. porcelain services, crystal and silverware had been carefully tended. It is not a retail department of the glasses that had been advanced studies, examinations and sampling of the Val-Saint-Lambert. The dishes were of a beautiful china and a decoration executed entirely by hand by Demeuldre-Checked, who once came home the "old Brussels". Silverware, studied by Marcel Wolfers, with a desire for simplification coupled with great finesse forms, proved that the lack of ornaments is not misery and a beautiful metal treated with love can comfortably do without all carvings and all guilloche. Among the exhibits on display, the vegetable dishes in perfect curve, the interiors of which are Pyrex, reflected the spirit of this set. But sober form of refinement, matter; sumptuousness respecting the utility side, the life side of each object, whether crystal, porcelain, silverware and furniture. Such was the reception Pavilion Commissioner General of truly fascinating beauty. © The Guest Book of the Brussels World Fair 1935
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Posted by spiderorchid on 2016-01-15 04:18:09
Tagged: , press photo , art deco , art , deco , architecture