viernes, 20 de mayo de 2016

Mr. W.H. Vanderbilt' House. Smithsonian Libraries. Artistic Houses

Artistic Houses. Vol.1 Pt 2. Smithsonian Libraries mr. W.H. Vanderbilt' House



Pocas veces podemos encontrar la descripción de un edificio del cual tenemos fotos como sucede en este caso.
Al ser una mansión notable por todos los conceptos: Propietario, arquitecto y decorador es comentado su interior en una revista de la época: Artistic Houses. ( Interior Views of a number of the most beautiful and celebrated homes in the United States. Printed for the suscribers D. Appleton and Company)
Smithsonian Libraries nos permite localizar la revista y embed el ejemplar















 

En la primera de las casas, las Twin Houses, indica que el arquitecto era Herther Brothers pero esto no es exacto puesto que esta era una firma dedicada, en el sentido amplio de la palabra, a la decoración pero que,principalmente,  diseñaba muebles. Su estudio era muy importante y trabajaba para las mayores fortunas de la época de ahí, posiblemente, que en el álbum se le cite como arquitecto.

Trained in his native Germany, Gustave Herter first rose to prominence as a cabinet maker in New York City. Soon after being joined by his younger brother Christian in 1864, the renamed firm, "Herter Brothers", began to create entire decorative schemes of astonishing opulence for the wealthiest families in America.
The Herter Brothers became the best-known interior furnishings firm in New York during the second half of the nineteenth century. German-born and trained, Gustave (1830-1898) and Christian Herter (1840-1883) opened their New York business in 1865. The Herter Brothers firm established its reputation for exquisite marquetry (decorative inlay) by furnishing the mansions of the New York elite in the popular Renaissance Revival style. Following the Civil War, several revival styles became fashionable in furniture design. The Renaissance Revival style was based loosely on the architecture of sixteenth- and seventeenth-century Italy, and often incorporated Greek, Moorish, Egyptian, and other historical motifs.
Their client list reads like a Who’s Who of Gilded Age millionaires: Vanderbilt, Morgan, and Gould of New York; Crocker, Stanford, and Huntington of San Francisco; Potter Palmer of Chicago.


Traducción libre

Formado en su país natal, Alemania, Gustave Herter primero destacó como ebanista en New York City. Poco después  junto su hermano forma  en el año 1864, la empresa  "Hermanos Herter"
Comenzaron a crear fastuosas decoraciones para las familias más ricas de América.
Los Hermanos Herter se convirtió en la empresa más conocida de muebles de interior en Nueva York durante la segunda mitad del siglo XIX.  

La empresa Hermanos Herter forjó su reputación en su  exquisita marquetería (embutido decorativo) . Después de la Guerra Civil,  se puso de moda en el diseño de muebles. El estilo del renacimiento estaba basado libremente en la arquitectura de los siglos XVI y siglo XVII-Italia, y con frecuencia se incorporan influencias griegas, árabes, egipcias, y otros motivos históricos.
Su lista de clientes era el "Quién es Quién" de los millonarios de la Edad Dorada: Vanderbilt, Morgan, y Gould, de Nueva York; Crocker, Stanford y Huntington de San Francisco; Potter Palmer, de Chicago.

     Archivos Directorio para la historia del coleccionismo en América: Hermanos Herther

.... Los hermanos utilizaron materiales tales como madera de ébano, incrustaciones de marfil y oro, y otros dispositivos ostentosos para satisfacer los gustos de sus clientes ricos. .
 

....The brothers used such materials as ebonized wood, inlays of ivory and gilt, and other ostentatious devices to satisfy the tastes of their wealthy clients. French, English, and Japanese influences are evident in the furniture designs.....

 


 Twin Houses. Las casas gemelas Nueva York

.....W.H. Vanderbilt purchased the block between 51st and 52nd Streets in 1879, and the brownstones he built there were divided by an atrium that separated his residence from that of his two sons-in-law, Elliot F. Shepard and William D. Sloane. The twin houses came to be known as the “Vanderbilt Twins” or the “Triple Palace,” because the northern house was a double unit. W.H. Vanderbilt’s residence, (which he hoped would outshine Alexander T. Stewart’s extravagant, white marble palazzo on 34th Street,) showcased his art collection, which he opened to public viewing on Thursdays via invitation..........

Traducción libre 

W.H. Vanderbilt adquirió la manzana comprendida entre las calles 51 y 52 en 1879, y las casas de piedra que construyó allí estaban divididos por un atrio que separaba su residencia de la de sus dos yernos, Shepard Elliot F. y D. William Sloane. Las casas gemelas llegaron a ser conocidos como los "Gemelos Vanderbilt" o el "Palacio Triple", porque la casa del norte era una unidad doble. W.H. Residencia de Vanderbilt, (con la cual  él esperaba eclipsar el extravagante y blanco palacio de mármol de  Alexander T. Stewart  en la calle 34) ......

 

Sin embargo, segun bibliografía el arquitecto fue, Atwood en colaboracion con John B. Snook.


..........Architects John B. Snook and Charles Atwood designed twin houses connected by a glass atrium and entrance vestibule, and the famed Herter Brothers decorated the houses with such extravagance that Artistic Houses devoted 17 pages to its interiors upon their completion in 1883............

.....The structure, which Vanderbilt lived in for only three years until his death in 1885, took two years to build and involved an estimated 600 to 700 workers. .........


John Butler Snook (1815-1901)

 .......The subject, a native of London, was brought to New York as a child. . Snook was architect of A. T. Stewart's department store (1846), Niblo's Garden Theatre, the Metropolitan Hotel, Grand Central Depot (1871-72), All Angel's Church (1886), and the Vanderbilt mansions on Fifth Avenue between 51st and 52nd streets. .....
























































































































































































 The College of Saint Rose Image Collection 

Se puede ver otra imagen de este edificio así como una breve historia del mismo.

The mansions pictured here once stood on the west side of Fifth Avenue between 51st and 52nd streets. The property was purchased by William H. Vanderbilt in 1879, and he commissioned the architects John B. Snook and Charles Atwood to design twin houses connected by a glass atrium and entrance vestibule. The Herter Brothers decorated the houses extravagantly. W.H. Vanderbilt and his wife lived in the southern house, while their two daughters and sons-in-law occupied the other. The mansion depicted on the right side of the image was also commissioned by W. H. Vanderbilt, and designed by Richard Morris Hunt in 1881. It was demolished in 1926.






















Esta foto muestra los pisos elevados del edificio donde podemos ver la geometría que predomina en la fachada, los altos ventanales de las plantas principales y lo que parece ser una terraza superior con balconada.
































Detalle de la pagina del álbum "L' Architecture Americaine" mostrando como figuran los datos de las fotos




PLANCHE ARCHITECT OWNER, BUILDING LOCATION DATE
1 Herter Brothers William H. Vanderbilt residence New York, New York 1880 - 1884
2 Herter Brothers William H. Vanderbilt residence New York, New York 1880 - 1884
3 G. B. Post Cornelius Vanderbilt residence New York, New York 1879 - 1882
4 G. B. Post Cornelius Vanderbilt residence New York, New York 1879 - 1882
5 G. B. Post Cornelius Vanderbilt residence New York, New York 1879 - 1882
6 R. M. Hunt William K. Vanderbilt residence New York, New York 1879 - 1881




L'Architecture americaine


 ssssssssssssssssss

Albert Levy. The photographer




"Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He (John Carbutt) was preceded in this effort, as far as I can definitely ascertain, only by Albert Levy of New York, who began the manufacture of gelatin dry plates in 1878'. Page 371.
(6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention of the Levy dry plates and cameras can be found in Philadelphia Photographer  v.16, p. 95 (1879). As the notice appears early in 1879 and states that Levy is well known for his dry plates, it is quite evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.
(7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In fact the earliest manufacturers of dry plates (Levy and Carbutt) sold their products rather largely to amateurs. Early in 1879, Levy followed up his plates with a small camera designed for amateurs trade. This was described as “a unique little camera for dry plates- and he (Levy) offers camera and lens for $12.00 for plates 4x5 inches: For this sum a half a dozen plates, developer, pyro, and hypo are included, with full instructions for working the same". The following year T.H Blair of Chicago place on the market a camera for “amateurs photographers, college boys and artists “ which became well known.'. Page 375.




Extérieurs
Intérieurs
Sculptures
Meubles
Décorations
Etc., Etc



Janvier 1887.

Je réclame pour ma collection de photographies, aujourd`hui composée de plus de 2500 sujets différents, et qui s’augmentera progressivement :



Prix modérés et sur demande

D`un format uniforme 20cent.   Sur 25 cent.

  

Composition

France, Architecture Ancienne
Elne, Montmajour, Arles, Toulouse ,Narbonne,, Angoulême, Albi, Avignon,  Bordeaux, Tarascon, Poitiers, Ruffec, St. Gilles, Villeneuve-les-Avignons, Beaucaire, Azay-le Rideau, Saumur, Mont-St.- Michel, St. Brienne, Angers, Rennes, Vitré, Tours, Plessis-les-Tours, Amboise, Le Mans, Beaugeney, Loches, Orleans, Beaulieu, Langeais, Chenonceaux, St. Antonin, Périgueux, Angoulême, Senlis, Chars, Laon, Crépy-en Valois, Soissons, Amiens, Abbeville, Nîmes, Perpignan, Paris.
264 photos

Versailles Vues d`Intérieurs et d`Extérieurs des Palais de Trianon
227 photos

Blois Vues d`Intérieurs et d`Extérieurs de Château de Blois
133 photos

Chateau de Chaumont
12 photos
 
Château de Chambord
23 photos

Angoulême
9 photos

Château D`Azay-le Rideau
7 photos

Château de Chenonceaux
8 photos

Amboise
16 photos

Angers
16 photos

Tours
28 photos

Poitiers
25 photos

Moisacc
84 photos
 
Montmajour
12 photos

Elne
24 photos

Arles
35 photos

Carcasonne
27 photos
 
 
France Architecture moderne
42 photos


Italie
Rome
105 photos

Florence
95 photos

Orvieto
4 photos

Pise
33 photos
 
Sienne
46 photos


Belgique
121 photos


Anglaterre
42 photos


Allemagne
172 photos


Hollande
41 photos


Autriche
78 photos
 
 
Amerique du Nord
Maisons prives
Washigton,Baltimore, Boston,New York, Philadelphia,Albany,Chicago, Cleveland, Brooklyn N.Y.,Rochester, Buffalo,Detroit.Cincinatti.
207 photos
 
Maisons de campagne
Elberon, Long Branch,Orange,Hartford,Newport, Dorcester, Pride Crossing, Jamaica Plain, Beverly fram, Cincinatti,North Easton, Milwaukee, Cleveland,Bar Harbor,Monmouth Beach, Stokem`s N.J., Manchester Mss., Longwood Mass,Cambridge Mass., Mount Auburn, o, Walnut hills, Avondale. Buffalo, Lafayette, Pittsburgh, Chicago, Mount Desert.
231 photos

Maisons de commerce et a loyer
Boston, Albany, Chicago, New York, Baltimore,Cincinatti, Pittsburg,
40 photos

Maisons de banque et de bureaux
New York, Albany, Boston, Chicago, Baltimore, Philadelphia, Cambridge mass,
43 photos
 
Edifices publics divers
Baltimore, New York, Washigton, North easton, Nouevelle Orleans, Boston, Topeka, St. Louis, Woburn, Little Rock,Providence, Avondale, Haartford
72  photos

Interieurs divers
North Easton, Albany, New York, Washington,Detroit, Cleveland, Detroit, Chicago
36 photos
 
Eglises etc
Boston, Philadelphia. New York, Detroit, ST. Louis, Chicago, Hartford.
44 photos


Suisse
25 photos


Maisons prives Maisons de comerce et loyer Maisons de campagne
Allen et Kenway C. Peiffer Arthur Little
Bruce Price C.L. Carson Bruce Price
Burham et Root C.W. Romeyn Burham et Root
C. Fehmer Cook et Babb C.a. Wallingford
C.E. Cassell D. Adler C.s. Luce
C.M. Palmer H. Fernbach Cabot et Chandler
C.S. Luce H. Kafka Cobb et Frost
Cabot et Chandler H.H. Richardson Coburn et Barnum
Cobb et Frost J.F. Steen E.A.P. Newcomb
Cudell et Richardson J.M. Slade E.P. Treadwell
Chas. B. Atwood Peabody and Stearns F.C. Withers
D. Adler Potter et Robertson G. Keller
E.H. Kendall S.Hannaford G.B. Post
E.T. Potter S.J.F. Thayer G.H. Smith
F.K. Schock W. Schickel G.W. Lloyd
G.B. Post W.W. Smith H.E. Ficken
G.E. Harney-Mckim Maisons de Banque et de Bureaux H.H. Richardson
Geo. Edbrook Bradlee, Winslow et Wetherell H.M. Stephenson
Herter freres Burham et Root J. Douglas
J.C. Cady Cabot et Chandler J.A Schweinfurth
J.G. Hill Cook et Babb J.A. Fox
J.H. Besarick D. Adler J.F. Steen
J.H. Moore E.H. Chandler J.G. Cutler
J.J. Flanders E.H. Kendall J.H. Besarick
J.L. Silsbee F. H. Kimball J.L. Silsbee
J.M. Van Osdel G.B. Post J.W.Mclaughlin
J.W. McLaughlin G.E. Harney Kimball et Wisedell
L.T. Scofield G.R. Et R.G.  Shaw Lamb et Wheeler
Lamb et Wheeler Geo. Edbrook Mason et Rice
Mckim, Mead et White Hartwell et Richardson McKim, Mead et White
Mead et Bigelow J.C. Cady P.J.Boticher
Peabody et Stearns J.J. Flanders Peabody and Stearns
R.H. Robertson J.W.McLaughlin Potter et Robertson
R.M. Hunt Peabody and Stearns R.M. Hunt
S. Hannaford R.M. Hunt S. Hannaford
S.S. Godley Russell Sturgis S.Edwin Toby
Scwarzmann et Buchman Silliman et Farnsworth V.C. Taylor
Sturgis et Brigham Th. P Chandler W. Scott et Cie
Th.P. Chandler W.H. Dennis W.A. Bates
Treat et Foltz W.L.B. Jenney W.A. Potter
Vaux et Radford W.W. Boyington W.R. Emerson
-W. Scott et Cie Wheeler et Clay W.R. Emerson
W. Schickel Wm. G. Preston W.Whitney lewis
W.L.B. Jenney Edifices Publics Divers Eglises etc
W.R. Emerson Burham et  Root C.H. Marsh
W.W. Lewis F. U. Walter Fernbach et Eidlitz
Ware et Van Brunt F.H. Kimball G.W.Lloyd
Wheelock et clay Fuller et Laver Geo. F. Meacham
Wyatt et Sperry G.a. Clough H.A. Sims

G.B. Post H.H. Richardson

G.J. Metzger Hartwell et Richardson

H.H. Richardson J. Notman

J. C. Cady J.W. McLaughlin

J.G. Hill P.C. Keely

J.J. Flanders Peabody and Stearns

J.W. McLaughlin R.H. Robertson

JH. Wolters R.M. Upjohn

Kimball et Wisedel Th. P. Chandler

L.J. O`Connor W.A. Potter

McKim, Mead et White W.W. Smith

Peabody and Stearns Interieurs divers

R.M. Upjohn A.Fiedler

S.J.F. Thayer G.W. Lloyd

Sturgis et Brigham G.W. Lloyd

W.A. Potter H.H. Richardson

W.M. Poindexter H.J. Schwarzmann & Co

W.w. Boyington J.H. Duncan

Ware et Van Brunt L. Eidlitz

Wheelock et Clay L.T. Scofield

Wilson Freres Peabody and Stearns

  • References:
    (1) - George Eastman House
    (2) - 1880's United States Federal Census
    (3) - Bibliothèque Nacionale de France
    (4) - "International guide to the nineteenth century photographers and their works", by Gary Edward. (Boston: G.K. Hall, 1988)
    (5) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He (John Carbutt) was preceded in this effort, as far as I can definitely ascertain, only by Albert Levy of New York, who began the manufacture of gelatin dry plates in 1878'. Page 371.
    (6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention of the Levy dry plates and cameras can be found in Philadelphia Photographer  v.16, p. 95 (1879). As the notice appears early in 1879 and states that Levy is well known for his dry plates, it is quite evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.
    (7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In fact the earliest manufacturers of dry plates (Levy and Carbutt) sold their products rather largely to amateurs. Early in 1879, Levy followed up his plates with a small camera designed for amateurs trade. This was described as “a unique little camera for dry plates- and he (Levy) offers camera and lens for $12.00 for plates 4x5 inches: For this sum a half a dozen plates, developer, pyro, and hypo are included, with full instructions for working the same". The following year T.H Blair of Chicago place on the market a camera for “amateurs photographers, college boys and artists “ which became well known.'. Page 375.
    (8) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'The Levy and Blair cameras brought in a host of others, and E. and H. T. Anthony, and the Scovill Manufacturing Company, among the largest or the American photographic houses, were quick to follow with similar device.' Page 375.
    (9) - Eastman-Butterfield Collection
    (10) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. '[...] credits him with making first dry plates in U.S., for amateur and personal use. Also put out #12 camera in 1879'. Page 371.
    (11) - Ministère de Culture de France
    (12) - New York Passengers list 1820-1957.
    (13) - "Photographic Documentation and : Relationships Past and Present" by Phyllis Lambert. At the beginning you can read: 'There seems little doubt that the centennial encouraged a flowering of pride in American architecture, of which the most interesting example is provided by the American counterpart to Alinari, Albert Levy, who published a photographic series on architecture in the 1880...'. See pdf for more information.
    (14) - Boston Public Library.
    (15) - Art Institute of Chicago (HALIC archive).
    (16) - Centre Canadien d'Architecture
    (17) - "On the Origins of Architectural photography", by James S. Ackerman (Centre Canadien d'Architecture). See pdf.
    (18) - Culture France. Joconde archive. See pdf for print screens of the data in the web.
    (19) - "American Victorian Architecture", by Arnold Lewis. Dover publications, 1975

    Por otra parte hay una publicación americana American Victorian Architecture de 1975 dedicada en su integridad a documentar todas las fotos de estos álbumes 

    (20) - Avery Architectural and Fine Arts Library.
    (22) - "Contestating images (Photography and the World's Columbian Exposition)", by Julie K. Brown (The University of Arizona Press. Tucson & London). Pag. 153. ( notes to pages 93-96). 'The response by the Ways and Means Committee of the Chicago Board to Sir Henry Trueman Wood, British Commissioner to the Fair, was reproduced along with a letter by Albert Levy, a leading french photographer, protestating the imposition of such regulations.  "Photographing at the Chicago Exhibition" American Photographer 5 ( March 1893): 135; see also A. N., "The  Possibilities of the World's Fair" Photo Beacon 5 (Feb 1893): 47-49'
    (23) - New York City directories (Levy, Albert, photographer. Books).
    (24) - Division of Rare and Manuscript Collections. 2B Carl A. Kroch Library, Cornell University. Ithaca, NY 14853

COMENTARIO FINAL.

Hace unos años, cuando compre este álbum por la calidad de sus fotos.

Luego dedique tiempo y esfuerzo a localizar los datos de este fotógrafo. 

English
FINAL COMMENT.A few years ago, I bought this album for the  quality of his photographsThen take me long  time and effort to locate the data of this photographer.Since the album has the photos without photographer's name the beginning was very difficult. The location of the book "American Victorian Architecture" allowed me to contact the author Arnold Lewis who guided me to Albert Levy. Subsequently the Library of Congress facilitated the Levy's authorship of these pictures. Interestingly, as mentioned in the post, this library has albums 2 and 3 and lacks the first.From that time, slowly, but steadily went locating his work in numerous American museums and libraries. A very important step was also the location of its catalog in the National Library of France that allowed me to know that Albert Levy had  two studies,  in Paris and New York, which is very rare for the time and demonstrating the importance of this photographer's studio
Also noted that  Albert Levy documented the  photos:  identifies location, owner and, less often the architect.It strikes me security in choosing to photograph buildings given the time the photos are made where information was absent Levy knows the important building in each city. I have no data that allow me to identify the selection process but everything makes me think that he had some background in architecture or contact with that world. Do not forget that the Faculty of Fine Arts in Paris and his school of architecture was a necessary step in the formation of importan American architects.His" Albert Levy's Photographic Series of Modern American Architecture" provide a wide selection of the best architecture that took place in the United States at that time.

 I have located more than 600 photos-36-series dedicated to this subject.Personally I think that Albert Levy is one of the great photographers of architecture in the XIX  century and, of course, an excellent photo-documentary which, however, has not had the recognition it deserves.The reasons are not hard to imagine:
References about Albert Levy in the Philadelphia Photographer


The second exhibit on this screen is a collection of Architectural views by Mr. Albert Levy 77 University Place New York two frames being marked "United States" and the third "Europe"

https://archive.org/stream/philadelphiaphot1879phil#page/n7/mode/2up/search/Albert+Levy
https://archive.org/stream/philadelphiaphot1879phil#page/176/mode/2up/search/Albert+Levy

https://archive.org/stream/philadelphiaphot1879phil#page/310/mode/2up/search/Albert+Levy
 dry plates: Mr. Albert Levy of New York,Mr. t.H.Mc Collin of this city and in fact all dealers suply the paper already sensitized,and for experiment, perhaps, that is the best way to get it
Important: For sale very cheap.  A splendic collection of about twelve hundred negatives of architectural views from Europe and the United States Size 8x10. Adress : A. Levy 4 Bond Street New York
https://archive.org/stream/philadelphiaphot1882phil#page/n147/mode/2up/search/Albert+Levy
https://archive.org/stream/philadelphiaphot1878phil#page/148/mode/2up/search/Albert+Levy
Levy's french photographic emulsion
 Levy' add:
77 University place N:Y.
Preservative for dry plates ( more rapid than wet) also prepared dry plates ready for use and photographic chemicals at olwest market prices always on hands
Price list on application
N.B. All dry plates made with my emulsion bear my signatura

https://archive.org/stream/philadelphiaphot1878phil#page/n705/mode/2up/search/Albert+Levy
Volume: 1878 v.15


LÉCOLE CENTRALE D’ARCHITECTURE


constituée sur la base d’une société anonyme. Sur les 140 administrateurs, 12 furent architectes, le reste était constitué d’ingénieurs et d’industriels, ce qui suscita de vives critiques. Pour E. TRELAT, larchitecte va plus loin que l’ingénieur, larchitecte est un artiste, l’ingénieur ne se préoccupe que des exigences pratiques. La formation dure 3 ans, les élèves doivent être présents 8 heures par jour avec une heure de théorie par jour, le reste étant des leçons de dessin et d’atelier. La différence fondamentale entre lEcole Centrale d’Architecture et l’Académie des Beaux-Arts se fait sentir par l’approche plus universelle et contemporaine de larchitecture et de son histoire alors que les Beaux-Arts restent fidèles au classicisme. Bien que conscient du manque de connaissances pratique dans son enseignement, Emile TRELAT était convaincu que les futurs architectes avec un bagage académique conséquent et une ouverture toujours maintenue allaient bien rapidement combler leurs lacunes. C’est en 1868 que Stephen SAUVESTRE achèvera ses études à l’ECA. Peu d’informations sur les autres architectes ayant terminé leurs études avec S. SAUVESTRE ont été trouvés. Lécole a toujours voulu rester contemporaine de l’époque et les élèves devaient rester au courant de l’actualité tant qu point de vue technique qu’artistique. En 1869, lécole instaura des leçons sur l’utilisation du métal et en 1913, ils conçurent une chaise de professeur en béton armé. En 1887, 1888, lécole créa un certificat « d’Architecte de Salubrité, Architecte Hygiéniste ». Les projets proposés aux élèves de lEcole Centrale d’Architecture étaient souvent d’utilité publique comme des hôpitaux, écoles, et habitations sociales.




Les architectes élèves de l'Ecole des beaux-arts, 1793-1907 (1907)