Built by Swiss architect Ramelli in 1913 for Ernest Javelly, a former merchant in Mexico, the large Javelly villa has a symmetrical design on three levels, including an attic floor.
It is flanked by two square belvedere towers pierced by a triple bay and covered with a gently sloping pavilion roof.
Inside, the glass roof of the semi-circular bay window above the grand staircase features the first work in the valley by the master glassmaker Jacques Gruber from Nancy.
A large floral composition, framed by the mullion that echoes the shape of the bay window, grows denser towards the top. It frames two birds of paradise facing each other under a canopy of stylised ribbons, resting on a basin from which garlands of woven leaves escape, enriched with cabochons standing out against a geometric pattern using a technique often used by Gruber. Despite a certain stylisation of the floral motifs, such as the rosettes inspired by dahlias, the stained glass window is still considered Art Nouveau. It underwent major restoration when the villa was purchased in 1998 by the Chambre de Métiers de Seine-et-Marne Sud (South Seine-et-Marne Chamber of Trades).
The start of the carved walnut banister features a fantastical hybrid animal with the head and paws of a lion and the tail of a reptile, whose style bears no relation to that of the window. Once again, we see ‘a beautiful blend of Italianate, Art Nouveau and picturesque styles that shows a lack of overall aesthetic bias’.
Inside, the glass roof of the semi-circular bay window above the grand staircase features the first work in the valley by the master glassmaker Jacques Gruber from Nancy.
A large floral composition, framed by the mullion that echoes the shape of the bay window, grows denser towards the top. It frames two birds of paradise facing each other under a canopy of stylised ribbons, resting on a basin from which garlands of woven leaves escape, enriched with cabochons standing out against a geometric pattern using a technique often used by Gruber. Despite a certain stylisation of the floral motifs, such as the rosettes inspired by dahlias, the stained glass window is still considered Art Nouveau. It underwent major restoration when the villa was purchased in 1998 by the Chambre de Métiers de Seine-et-Marne Sud (South Seine-et-Marne Chamber of Trades).
The start of the carved walnut banister features a fantastical hybrid animal with the head and paws of a lion and the tail of a reptile, whose style bears no relation to that of the window. Once again, we see ‘a beautiful blend of Italianate, Art Nouveau and picturesque styles that shows a lack of overall aesthetic bias’.
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