Chateau de Carrouges, France (by Pom )
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Bodice Ornament & Hair Comb
René Lalique
1903-1904
The Art Nouveau style caused a dramatic shift in jewellery design, reaching a peak around 1900 when it triumphed at the Paris International Exhibition.
Its followers created sinuous, organic pieces whose undercurrents of eroticism and death were a world away from the floral motifs of earlier generations. Art Nouveau jewellers like René Lalique also distanced themselves from conventional precious stones and put greater emphasis on the subtle effects of materials such as glass, horn and enamel.
René Lalique, 'the admitted king of Paris fashions', chose his materials for aesthetic effect and artistic refinement, not for mere preciousness or brilliance. Credited with introducing horn into the jewellery repertoire, he dazzled the public with a collection of ornamental combs made of horn. They were moulded and sculpted in the shape of flowers, waves and butterflies.
Victoria & Albert Museum (M.116A-1966 & M.116A-1966)
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View in the Parc de Saint-Cloud by Alexandre-Hyacinthe Dunouy
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A woman overlooking a snowy mountain pass in The Pyrenees Mountains, France, 1956 - by Justin Locke, American
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The Cathedral of Saint Cecilia Of Albi in France
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There are the same French population living in the green zone (Empty Diagonal) and in the red zone (Paris Region).
Il y a la même population française vivant en zone verte (Diagonale du Vide) et en zone rouge (Île-de-France).
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Sacré-Cœur, Paris, France: The Basilica of Sacré Coeur de Montmartre (Sacred Heart of Montmartre), commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur is a Roman Catholic church and minor basilica in Paris dedicated to the Sacred Heart of Jesus. It was formally approved as a national historic monument by the National Commission of Patrimony and Architecture on December 8, 2022. Wikipedia
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France by Mario. H. ”Quelque part dans le sud”
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Evening Boots
1885-1890
Probably French
While the slipper and the strapped shoe were the most common choice for evening wear in the last third of the 19th century, boots did occasionally continue to appear. As with shoes, the basic evening boot was satin, either plain or featuring an embroidered vamp, usually in floral or foliate designs. Surviving examples of evening boots of the late 19th and early 20th centuries suggest, however, that those daring to wear something already outside of the ordinary often opted as well for unconventionally bold and unusual materials and trimmings. This pair of boots typifies that phenomenon: anachronistic side-lacing, novel and atypically exuberant fret and scroll motifs, and embroidery covering the entire boot, including the heel.
The MET (Accession Number: 2009.300.1477a–d)
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