Arbres au graphite (lAmour des Arbres t. 1) (French Edition)

The lithographic press of Mourlot, as an industrial building, had a share of coal. The photographer had indeed indicated in his book Conversations avec Picasso when asked about how Picasso began to make lithographs, that at that time it was cold in his apartment and he preferred to work in a heated studio. It was for that purely material reason that he devoted himself to lithography Interestingly, Leonhard attributes the beginning of the linoleum career of the painter to the difficulty and delays of transporting lithographic stones from the workshop of Mourlot to Cannes, also following here Brassai He forgets that this difficulty, alleviated by the work with zinc plates and report paper, did not prevent the painter from continuing to work with Mourlot, or to make for example the lithographs of Le Chant des Morts.

Thus, Bernd Rau, in his book Pablo Picasso graphic work, states: As we will see, this is not true at all. The cold theory is just a fabulation of Kahnweiler. And it is easy to prove it, since a simple query to the weather yearbooks shows that when Picasso decides to go to Mourlot, it is not cold in Paris. The meteorological records show that was the warmest year since the beginning of the meteorological data collection in , with temperatures above the average, as pointed out by the portal Meteo- Paris.

In fact, we have the minimum temperatures of Paris day by day. The next day, when the first interview between the printer and the painter takes place, the minimum temperature is 7. And when Picasso joins the workshop to spend several months there, the minimum temperature rises to As for the maximum temperatures, they are those same days of It is not therefore freezing cold. Also, if cold had been the main reason to go to the Rue Chabrol, Picasso would not have left the workshop at the end of February as he actually did, since in March there is a cold wave that covers Paris with a layer of snow of 60 cm As we can see, the cold theory, which critics closest to Picasso blithely disseminate, is completely dismantled.

Besides, we are not talking about the hardest period of the war in terms of access to supplies of coal, food, etc. At that time Picasso could not miss the few sacks of coal or firewood that would have satisfied his austere needs for heat. In fact, as Pierre Cabanne recalls, even in the harshest years of the world war, Picasso had a considerable allocation of coal, achieved through his numerous contacts And we can not forget that Picasso enjoyed, thanks to his buoyant finances and the black market, a comfort far superior to that of any Frenchman. And he even had problems because of that buoyancy.

And ostensibly he refused to receive favorable treatment from the occupation forces. The friend of the painter Pierre Daix, in his monumental "Dictionnaire Picasso", does not make any reference to the cold theory, but he insinuates in fact that the argument is not valid, but of course he does that in , 23 years after the death of the Andalusian.

Daix seems to want to remind critics that they should not give any credibility to Kahnweiler's theory. Daily dataset of 20th-century surface air temperature and precipitation series for the European Climate Assessment. International Journal of Climatology, 22, See table in http: Indeed, in his book Picasso: Do not forget that the secretary is indirectly at the origin of the dissemination of the cold theory given his work as censor of the books published about Picasso.

Despite the war I have hot water. In short, Picasso could not have gone to Mourlot's workshop or take refuge from a cold that did not exist and that would not have affected him, nor to seek a warmth that really did not exist in the printing press. The theory of cold is reversed by the facts: But this evident fabulation of the gallerist takes a long time to disappear from the treaties. In fact, when in Bernhard Geiser published the book Picasso: Fifty-five years of his graphic work, Harry Abrams, Inc.

Again in his work Pablo Picasso: There may have been other reasons that favored Picasso's decision to go to Mourlot's workshop precisely at the end of October , as reported by Gilot in his book: Another reason for being absent from his residence might be the fact that he had just joined the Communist Party, and that many of his new comrades wanted to see him and congratulate him, or perhaps ask for favors.

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Another would be perhaps to provide work to Kahnweiler, who had returned to Paris in October with his wife ill with cancer. Lucie would die seven months later. Kootz occupied the vacuum left by his absence. But definitely, Picasso did not go to Mourlot's workshop to take refuge from the cold. Abrams, New York, , p. The pact of silence Without contradicting the cold theory, but simply ignoring it, from almost all the books on Picasso coincide in pointing out that the Andalusian master launched himself into lithographic production encouraged by his friend and co-initiator of cubism Georges Braque.

Pierre Cabanne, in the Spanish edition of his book 'The century of Picasso', initially published in French in , highlights: In short, after the death of Picasso the authors had no reason to continue hiding the fact of the introduction of Braque.

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In fact, after the revelation that Mourlot will make in they will be forced to pick it up. But the role of the French painter in the initiation of Picasso to lithography had not been recognized while the painter was alive. Thus, for example, Picasso's biographer par excellence, Ronald Penrose, omits any reference to the introduction of Braque in his essential Picasso.

His Life and Work, originally published in And in fact he makes a mistake in indicating that the painter had not returned to lithography since the invitation card he had made in for an exhibition in the gallery of Paul Rosenberg. The field offered by etching and aquatints had sufficed for his graphic art Demonstrating the lack of interest of the main critics for the lithographic work of Picasso, the 'expert' has completely forgotten 30 of the 33 lithographs that the Andalusian had done before Note also that we are quoting here a reprint of the book, based on the new English edition of Penrose had 24 years since the publication of the first English edition in to correct the mistake, but did not do so in any of the reissues, and died in without have corrected the error.

Penrose recognizes, however, that the lithographic technique will become one of his favorite means of expression. Some avoid even referring to Mourlot. Even decades after the death of Picasso, there are still some recalcitrants: Critics, who need access to Picasso and his workshop to do their work —this is especially true in the case of critics of graphic work, given that all state proofs never get published— follow direct instructions or hints from the Andalusian. And Picasso learned very well everything that was written and happened in the Parisian artistic environment through the press cuttings service to which he was subscribed.

If any critic skipped the instructions, the painter would soon know, among other reasons because the critics themselves rushed to his residence as soon as they published a book about him. But in addition, the painter was given to gossip and incited his friends and acquaintances to tell him what was happening in the art world and what anyone said about him.

The faithful secretary of Picasso did not limit himself to scrutinizing everything that was published about the painter in the press, magazines or books, but went much further. He, who was responsible for maintaining contact with the authors, asked for their texts, arranged appointments with the painter and prepared him for interviews, in fact subjecting the experts, on behalf of the Andalusian, to an authentic prior censorship. Besides they felt that the secretary's corrections, often limited to anecdotal aspects, did not affect the essence of their books.

In fact, the fact was hidden as one of the many secrets of the painter's life until more than thirty years after his death. The revelation was made by the painter himself just a year before he died and in a private conversation, no doubt thinking that it would never be published. When Miguel pointed out that he had not read the anecdote of the cart in any biography, Picasso replied that of course it was not in them even though he himself had related it several times.

He must have considered that a bullock cart did not fit with my 'greatness'. The painter did not stop there, but added: And he went on to tell how his faithful servant had hidden the existence of an uncle in Malaga who made wooden barrels and who one day built a bathroom for him that made him very happy. He merely recalls that on November 2, , Picasso renews his interest in lithography, appearing at the Mourlot press to smell what was cooking there.

In the first place, there is no record of Mourlot's visit to Picasso prior to that of October 30, In fact, the printer denies having made it. On the other hand, it is absurd to pretend that at the end of Mourlot proposed to Picasso to publish lithographic reproductions of his works.

What Mourlotwanted was for the best painters to make original lithographs in his workshops. Picasso refuses to accept that he was the one who looked for the lithographer, being more comfortable with the version that it was Mourlot the printer who asked him to 'come back' to lithography.

His description of the first meeting is succinct. Although he does point out at whose initiative the first Picasso-Mourlot takes place. It is not from Mourlot, but from the painter himself. Immediately an appointment is set for the next day, on Wednesday the 31st. Mourlot goes as agreed to Grands-Augustins. At that time, the courtyard that distributed the stairs could be accessed directly, although now it is closed by a gate.

The stair for Picasso's studio was the one on the left, a spiral staircase. They then arrive at the painter's studio, where Pablo receives him in his tracksuit and scrutinizes him for more than an hour. Finally Picasso asks him to send him material to work quickly and he announces that he will go immediately to the workshop to begin his learning.

However, he can not attend on Thursday, November 1, because it is a holiday, and therefore fixes himself for the next day, Friday, November 2 in the morning. Although he waits until the death of the painter to reveal the origin of the relationship. And he does it practically with the same words as then, only adding some precisions , especially regarding the reason for the call. In fact, if the two texts, and , are examined attentively, it can be concluded that the first to be written is the second, while the first seems like a shortened or censored version of the second. The reason for the call of Picasso, and therefore the reason that drives the painter to return to be interested in lithography is fully clarified, since one of the first sentences that Picasso addresses to him is the following: The normal edition is published in by A.

For the first time, and 34 years after the events, the conspiracy of silence is broken and it is revealed for the first time that it was Braque who had pushed Picasso back to lithography and that Picasso has seen Braque lithographs printed by Mourlot. This is the clearest direct source we have of the origin of Picasso's interest in lithography, which Mourlot had revolutionized in the late s and early s. Scholars now have a way to attribute the introduction to Braque, although, perhaps to hide their previous silence, they do not take care of clarifying the circumstances.

The poet and journalist recalls that despite the fact that he was present in the entire interview between the two, after the visit ended the painter refrained from making any comment to him about the printer. This caught his attention without surprising him. If he speaks, he says, it is different, because his ideas are diluted in words because he does not feel the need to go further in the matter. If he controls his loquacity and remains in silence you must assume that the springs of his sensibility are tense, that he reflects and does not want to joke Braque the boss Unveiled, and from an unassailable source that it was Braque who incited Picasso to discover the world of lithography from within, the precise circumstances of this introduction to the technique, which have not been clarified by the authors, remain to be elucidated however.

Braque's proverbial discretion —he passed away ten years before Picasso— did not help reveal the very fact of the introduction. On the other hand, it would seem that until the death of the Spaniard in , no specialist dared to investigate the matter, which Picasso did not wish to air. In fact, he had not made more than four original lithographs before None of course with Mourlot. In fact, of the main lithographs made in his life, two thirds were made in the last five years of his life, between and What could Georges Braque then show Picasso to arouse his interest in lithography to the point to rush to Mourlot's workshop and settle there for months?

It could not be the cover of the book Souspente by Antoine Tudal, which he illustrates the same year of What probably happened is that the lithographic work that convinced Picasso to go to Fernand Mourlot's workshop on November 2, was the one Braque had been doing for years to illustrate a book that, while containing some of the best lithographs that Mourlot would ever make, carried a text whose content —and especially the title— exasperated Picasso: Braque le Patron Braque the Boss.

The key to the matter is twofold: The magazine had used a Braque for the cover of No. Braque had greatly appreciated that first work that chromist Henri Deschamps had done for him. When Mourlot brings the first proofs to his studio-domicile of the Rue du Douanier now rue Georges Braque , near the Parc de Montsouris in Paris, the printer sees that the work of which they had reproduced a fragment from a color photo Figure , was hanging on the wall of the studio. But Braque's reaction was as we saw earlier positive, indicating that Deschamps had managed to 'make a Braque', adding that he would only make some suggestions about the colors to use We recall that in lithography, stones or plates are painted with black ink, and that colors are only used at the time of printing, and can thus be changed or adjusted as many times as you want, even if the same plates are used.

Both have in common the love of boxing, which they have practiced in their youth, Braque as a professional heavyweight and Mourlot as an amateur. And they establish a friendship that their wives share and that will last until the death of the painter in and of his wife two years later. Mourlot remembers that whenever he saw him, he encouraged the painter to make lithographs with him. From , and after a parenthesis that does not appear quantified by the printer or by the painter's biographers, Braque takes the habit of going down the Rue Chabrol to see Fernand, talking with the operators and asking questions to the chromists like Deschamps.

It is in this environment that the idea of making Braque le Patron arises After numerous visits of this type and having confirmed the painter's complete satisfaction for the work done in the printing press, Mourlot proposes him to make original lithographs. But in spite of his curiosity, of his interest in lithography, Braque is a quiet man and artist, he is not in a hurry and he does not let anyone press him.

The interest of Braque in those moments seems to be technical and artistic rather than oriented to the realization of a work or works in particular. He is surprised, fascinated by lithography and the work of the artisans that make it possible and he wants to learn how they do it. But, lacking the impulsiveness of Picasso, he has no plan to do any work or illustrate any book. The initiative to create Braque le Patron comes more than likely from author Jean Paulhan and Mourlot, who already knew each other, and not from the painter.

Typical of commissioned works, to which Picasso was so accustomed: Jean Paulhan had been the promoter of the publication of the first artist's book that Mourlot published, as lithographer and publisher. Actually, it was a Paulhan's service to both painter and the poet, of whom he felt protective Dubuffet's 76 Mourlot , p.

Available online at http: Dubuffet returns the insult: But Dubuffet was a novel painter and Mourlot, although he does not confess it in his memoirs, was committed to making a model book with a great painter. Braque was for this purpose his closest option, the only one of the great masterss with whom he shared friendship. However, Braque, despite being flattered by Paulhan's text, does not seem willing to make a show, out of modesty or perhaps because he felt that the book was going to irritate more than one.

To illustrate a book dedicated to oneself, an original signed lithograph appears as a justified courtesy, almost obligatory, while illustrating it in its entirety could be interpreted as excessive. Braque therefore attends to the long process of elaboration of those lithographs of interpretation as a spectator, but reviewing each stage and with the right of correction that the fact of being the author of the canvas that the chromist is reproducing gives him. According to Tate Gallery curator Jennifer Mundy, Braque le Patron's publication took place on February 13, , but its genesis goes back several years Although Mourlot has not given any concrete data, 78 Which was apparently a love relationship, if one judges from the tone of their correspondence.

Printmaker, Tate Gallery, Londres, Mourlot points out that the making of the book took 'more than three years' This places the beginning of the work towards the end of or January That is, the lithographic work, since the text would be published in October in a magazine. That is, Mourlot began to work the lithographs of interpretation even before Paulhan's text was published, which seems logical, since Mourlot's idea was to reproduce in lithography the most recent works of the painter.

When Paulhan's work is published, it becomes the ideal complement for the lithographs that were being prepared in the printing press. The process of making the lithographs is slow and laborious. Recall that the essence of the work is carried out during the German occupation of Paris. It is not easy to procure the necessary paper, and often there are power cuts, during which only the machines that could run on pedals worked.

Each reproduction of a canvas requires the preparation of numerous lithographic stones, one for each color, and each color test must be approved by the painter, although this is facilitated by the fact that Braque often goes on his old bicycle to the Rue Chabrol. The production cost of the book continues to increase and Mourlot tries to sell it to a large publisher. Fernand proposes therefore to this last publishing house the book on Braque that he is producing, but Gallimard refuses, alleging according to Mourlot that he does not see the economic interest in publishing a "book" with a very high production cost of and a circulation of only copies.

Mourlot is therefore forced to continue financing the book, edit it himself and sell it outside the traditional distribution channels. But the enterprise is not ruinous either. In fact, Mourlot will sell each copy at 7, francs dollars at the time, about 1, today if we take inflation into account and distributes it directly through gallerists, collectors and librarians. And above all there was no one to pay other than his own operators and suppliers. This issue is key to the extraordinary rise of the 82 Mourlot, , pp.

As was the case with most artist's books, according to Mourlot, neither the author Paulhan nor Braque charged a single franc for the book, receiving in payment only some copies of the work This second edition contains 56 illustrations in black and white and a frontispiece in colors, but the circulation is short, since the publisher does not have a wide distribution network. Gallimard takes a while to react, but finally publishes the book in his pocket collection in , making reprints or periodic re-editions, the last one in Maurice Gieure points out in his work G.

Braque, that while Henri Deschamps executed the stones of the great album Braque le Patron, for Braque it was a pleasure to follow his execution. He discusses non-stop with the chromist and with Mourlot himself on the techniques used and adding small additional touches to reach 'almost the matter of the painting' And once finished and printed, and to enhance the lithographs of interpretation, Mourlot and his workers decide to give them a little relief by applying them one by one a retouching varnish, which gave them a certain thickness and made some colors shine.

If the painter had been pleasantly surprised by the first work of Deschamps in , when he sees the final result of the lithographs of interpretation of the book Braque le Patron, his reaction is much more enthusiastic, telling the printer: If following all the authors since we accept the fact that it was Braque who led Picasso to the Mourlot workshop; if Braque is so impressed with the lithographs of interpretation of the book and had, as we have seen, proofs of the lithographs in his house during the elaboration period from to the end of ; if we also know that Picasso has told Mourlot that he has seen the work that the printer had done for Braque, and if we take into account the absence of Braque's original lithographs before , the only thing he could talk about to the Spaniard on this technique was necessarily the exceptional lithographic 83 Mourlot , p.

Undoubtedly, Braque had to show the Andalusian proofs of the lithographs of the book, as both did when they visited their respective studios, because otherwise the introduction would lack any sense. We will also recall that Deschamps, author of the feat, was the only person to whom Picasso authorized him to sign several works with him, essentially posters. Probably what Braque transmits to his friend Picasso while showing him the lithographic proofs of the book is the discovery of the technique, the environment of the Mourlot printing press, the smell of the inks, the slow work of the printer and the wonder of seeing the work 'stuck' on paper after passing through the stone, everything that fascinated him during his constant visits to Rue Chabrol in the long period that took the preparation of the book.

The reason behind the Andalusian's interest in not remembering the introduction of Braque could be sought in a general way in the rivalry between the two painters. The artistic competition between them since they leave cubism is well documented. According to Gilot, the jealousy that Picasso felt towards Braque manifested itself in a special way in his relations with common friends of the two painters.

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He was so worried about the matter 86 Mourlot , p. Dora Maar told John Richardson that when Braque was hospitalized in , a nurse had prevented Picasso from entering his colleague's room, claiming that Madame Braque was with him at the time. And in a dedication of a copy of Braque le Patron, Jean Paulhan comments ironically: Braque is the woman who has loved me the most.

To which Braque responds: Richardson tells several anecdotes about the relationship between Picasso and Braque: One day, at his home in Cannes La Californie, Picasso invited Braque and Richardson to come to his studio to show them his latest production. Braque declined he had promised to try David Douglas Duncan's new Mercedes , which made Picasso furious and jealous Pierre Cabanne says that the book had upset him and his anger lasted several days.

Mais pour s'en apercevoir, quel ennui! PDF 91 Richardson, , p. And Picasso naturally turns against Braque, who really has nothing to do with the strategy Although the Spaniard claimed that he had never read the book, this statement must not be trusted. In fact, the relative personal distancing with Braque is due to the political circumstances of the moment, but it crystallizes precisely with the book, whose text had already been published by the author in We are interested in particularly in all the contacts between the two friends between January and November , that is during the period that separates the beginning of work in the lithographs and the arrival of Picasso at Rue Chabrol.

Or simply because since the appearance of Paulhan's text, biographers and critics knew that Picasso could not be asked about Braque. It was a taboo subject from a political, personal and artistic point of view. Hence in the literature on Picasso a blank appears on contacts between the two painters, especially at that time. Due to the heavy political environment of the time, the deliberate attempt to conceal Picasso's contacts with Braque during the period of German occupation, and also the proverbial discretion of the French painter, there is not much evidence of personal visits between the two painters in the period that interests us.

But there is a lot of evidence that the contacts were not broken at all. Pierre Daix points out that the relations between Braque and Picasso were closer than appearances suggested. Penrose himself recalls for example that Picasso and Braque were often seen together in the cafes where the Surrealists met The Briton also points out how 93 Cabanne p. And Picasso had continued to live in this apartment until the beginning of Even after that date, the painter often goes there to have lunch with DoraMaar. A testimony confirming contacts in the years and has recently appeared.

Note also that despite the war and the German occupation, French cultural life continued to be very active. There were still exhibitions, concerts and theatrical performances, and Picasso took part in them as all the other actors in the constellation of artists and intellectuals who dominated artistic life. If Picasso was formally excluded for two years from exhibitions of State halls, his works continued to be sold in private galleries and as part of collective exhibitions in the period The inaugurations constituted for important painters and intellectuals 'legitimate' opportunities to see themselves in this difficult period.

Among the main ones we can quote the following exhibitions of Picasso's works: Galerie Rive Gauche May Presentation of the illustrated book by Picasso 'Buffon' October Exhibitions and charity sales at the Martin Fabiani and Drouin galleries. Exhibition Le Cubisme at the Galerie de France.

Another proof of the contacts between Picasso and Braque prior to is the death of the poet Max Jacob. When, on February 24, , the friend of Picasso and Braque from the time of the Bateau Lavoir was arrested and sent to a concentration camp because he was a Jew by birth he was a militant Catholic and Picasso had been his baptism godfather , his friends are mobilized in the way they can.

But Jacob dies on March 5 of pneumonia in the Drancy concentration camp. And the two painters go to the funeral on the 18th of the same month, meeting again ten days later at a mass in homage to Jacob. If they had been estranged, Braque and his wife would not have come to the appointment. Alex Danchev relates in his recent biography of Braque that Picasso visited Braque at his residence in Varengeville shortly before he made public his adhesion to the French Communist Party on October 4, The Spaniard would have spent a week with Georges and Marcelle trying to convince him to take the step together with him, in order to cause a greater impact Marcelle Braque thought, however, that what happened was that Picasso was afraid to do it alone.

Danchev cites as a source the diary of Dominican friar Marie- Alain Couturier. Indeed, we see that this diary indicates in the entry of 99 Danchev, Alex Braque: A life, Arcade Publishing, New York, , p. Braque tells me that three years ago Picasso came to spend eight days with them in Varengeville. It was to convince Braque to join the Communist Party with him. The friar obviously confused Marcelle's information: In any case, Danchev also cites recordings of his conversations with Mariette Lachaud, Braque's secretary, to corroborate Picasso's stay with the Braques.

It does not seem logical however that Picasso thought that Braque could take the step of joining the party with him, since he was very far from the postulates of the PCF, but it seems plausible that the Spaniard would like to explain his reasons to his friend, and perhaps to know at first hand what would be the reaction of Braque, and by extension, of the intellectuals not linked to the party, to his eventual decision to join the PCF in a formal way.

There is also another testimony that because of the temporal proximity to the Autumn of is definitive to establish the link. It is also contributed by Alex Danchev in his Georges Braque: A life, in which he does not deal at all with the subject of Picasso's introduction to lithography.

The author notes that in August , Braque underwent a complex stomach ulcer operation. His doctors feared a fatal outcome, although in the end the operation did not incapacitate him more than a few weeks. The documentary source of this statement are two letters from Braque wife Marcelle precisely to Jean Paulhan dated August 20 and 28, , that is, just when Braque is prostrate.

It is not therefore a memory evoked in a subsequent conversation, but letters written at the time. The reason is that she did not move to live with the Spaniard until the end of May Until then, the social life she does with Picasso is limited to what the painter decides. The Zervos hated her, and Christian described her the first day he saw her: Gilot herself attests to this when she says that Picasso decided to introduce her to Braque only a few weeks after she went to live with him, that is, in the summer of , when they had been dating for three years.

He adds that the Spaniard wanted to see his friend's reaction when he saw her. In a typical maneuver, Picasso presents himself without warning at the home of the Frenchman at number 6 on Rue du Douanier now Rue Braque. The initiative to carry out an unannounced visit can also indicate that their meetings at that time are usual and not sporadic. Lot Maximilian Pfeiler Prague Lemons, pears, a fig, a watermelon, plums, and grapes in a metal vessel on a Lot Sir Joshua Reynolds, P.

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This extensive collection features the handmade look, feel and texture of real ceramics and terracotta planters, but with none of the disadvantages. Lightweight, waterproof, frostproof, UV stable, almost unbreakable and available in any colour or finish; now you can specify ceramics anywhere. A strong statement for feature planting. Polished finishes take full advantage of the reflective patterning. Specify textured for a smoother, rippled look or natural finishes for rustic stoneware.

A perennial bestseller and ceramic style alternative to the Kubik from the Spirit range. Featuring stylish barriers and troughs to complement tall ceramic vases. Strong, close ribbing makes this a contemporary classic and favourite for tree planters and roof gardens. Features a huge range of standard sizes and the option to build any other size to order. However, these ranges have a distinct exterior flavour with design influences from throughout the world.

Inspired by the Medieval rose and based on ancient lead panels, these incredibly detailed planters can also be specified as both watertanks with optional lid and self contained fountains with optional backplate. Add your own initials, dates or names for a personalised planter that will last a lifetime. Accurate replicas of Elizabethan original lead panelling creates a splendid selection of period planting boxes and troughs. Decorated with Tudor roses, Cardinal planters have been crafted from an original 16th Century lead original pattern to create a flexible range of ancestral planters.

All the beauty of the originals but in every colour and finish. The only choice for modern and historic industrial architecture. A classical yet modern design suitable for town and country. Available as cubes, tall towers, barriers and window boxes. Bespoke sizes available to order. Tailles sur mesure disponibles sur demande. Greatly expanded due to popular demand, Chelsea panel planters are now available as large troughs, tree and tall tower planters. The range offers the flexible tools that, together with informed planting, help define space and movement and inspire the design of high quality environments within a wide range of public and commercial projects.

A wide range of colours is available to order. Table tops, made from hard wearing compact laminate, are available in white as standard. High quality, easily maintained faux leather is used to cover all seat pads. Une large gamme de couleurs est disponible sur commande. The drawings below illustrate some of the possibilities but Terraces is about using the shapes to create novel solutions to interior space planning and letting your imagination run free.

We classify a tree planter as at least 80 x 80cm and capable of taking at least a 3m specimen. All are suitable for both interior and exterior use in the most demanding of environments. Such is our skill with tree planter design and fabrication we were chosen to create special planters for the James Bond film, Casino Royale.

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All tree planters are available in the finishes shown below. Certain models are available in further finishes see page Please check before ordering. BLOB02 x x Irrigation: All watertanks can also be used a planters. With professional product designers on our team, we can take a sketched idea and using our CAD facility provide you with drawings and 3D models for approval prior to manufacture in glassfibre composites, metals, wood or any combination of these as required.

Any size and finish can be supplied, with glassfibre composites particularly suitable for roof gardens or anywhere where weight is an issue. Lighting can easily be incorporated if required as can logos and memorable dates see page Design sur mesure Taille, forme et finition sur mesure Livingreen Design offre un service complet de design sur mesure ainsi que des conseils aux prescripteurs. Ce service est disponible pour. An extremely complex job involving the creation of large multilevel highly curved planters, built in sections to be joined on site.

Made for an interior atria space, the beds had the added difficulty of needing to form around fixed pillars so an exact fit was required — something accomplished first time without the use of templates. Here we took a drawing concept and engineered a solution creating sectional planters that would fit together to form sinuous beds making full use of the narrow space. Seating units were formed to exactly match the shapes of the planters allowing a perfect fit and full implementation of the design concept. Created for Heathrow Terminal 5, these giant letters and numerals are fully 2.

All engineering and design was carried out in house by our professional team of product designers. This BALI Grand Award winning scheme incorporated large modular planter beds, designed to allow multi depth compartmentalised planting. They were produced in our Corten Steel rust finish that is indistinguishable from the real material in looks but a fraction of the weight or cost. These units were designed to fit exactly over deck uplighters and incorporated slopping cut outs, painted in different colours for a magical night light show.

Bespoke roof garden on suspended glass roof. Bespoke 'Cog' Tables and curved planter runs in our unique Corten steel finish Bottom: Castor bases can easily be included for any size of unit - even the 4m long diamonds pictured below. Please see our TreeKit brochure on www. Incredibly simple to use, all Tanker systems consist of a tank or reservoir positioned under the rootball of the plants and linked to the surface by a flexible or rigid filler pipe. Water is then transported from the tank to the soil as required via a specially designed Geotextile wick which works with any reasonably good soil or compost.

Fitting Tanker Modular network up to 4m long with full automation to restricted depth roof garden for fine turf. For private gardens, home owners halve the burden of keeping their planters watered and can go on holiday in the summer with less worry about what they will find on their return. When you take into account that plants establish faster and are healthier long-. Soil moisture is optimised and the plant does not experience water stress.

Modular Network is popular for Schematic of how water cell should be filled in tall planter designs. Special units up to 4m long can be specified to irrigate lawns, bowling greens, golf greens etc. Additional modular sizes up to 4 metres long available on request. Typical Water Cell installation. Like Modular, Cylinder is available in Solo and Network forms but its larger, circular calliper lends its use to very large tree planters, tree pits, car park beds, roundabouts etc. Each system can be specified with a number of accessories to fit different requirements. A no cost choice of flexible or rigid filler pipe is.

The flexible pipe is supplied in lengths up to 50m and. The flexible pipe can be fitted with a water level indicator which is manually cut to size. Rigid pipes are pre-. A choice of caps is available including Freeflow, Standard and Funnel. The Freeflow cap was designed specifically for use by interior landscapers. Open to the air securely to either the rigid or flexible pipe. Also available as a filler pipe with a removable lid and no indicator mechanism. The Funnel is essentially an open version of the Freeflow cap and is fitted as standard to hanging baskets and pillar planters.

A cover cap is available for the funnel making it a suitable alternative to the standard cap. Tanker Wick are geotextile strips fitted to every Tank and are the heart of the system. As they are manufactured. However where frequent replanting of planters is necessary, for example, hanging baskets and containers planted with bedding. This can easily be carried out for all the Water Cell systems and wicks are supplied for each unit size precut to length.

Modular systems, due to their design, are much less likely to require new wicks but if. Polystyrene floats suitable for use with the flexible. Interior planter clearly showing superior plant development in Tanker bottom fitted planters after 70 days of trials. Tanker fitted window boxes - Day Supplied FOC with new flexible filler pipe installations where requested.