Architectural project for the house of P.J. Hetzel, Eugène Emmanuel Viollet-le-Duc, French, 1814 – 1879

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Credit
Cooper Hewitt, Smithsonian Design Museum
Licence
CC0-1.0
Evidence
api.si.edu openaccess v1.0: content.descriptiveNonRepeating.metadata_usage.access=CC0 on record chndm_1984-116-2 (read 2026-09-01)
Record
https://collection.cooperhewitt.org/view/objects/asitem/id/180906
Architectural project for the house of P.J. Hetzel, Eugène Emmanuel Viollet-le-Duc, French, 1814 – 1879
Architectural project for the house of P.J. Hetzel — Eugène Emmanuel Viollet-le-Duc, French, 1814 – 18791874

Also by Eugène Emmanuel Viollet-le-Duc, French, 1814 – 1879

1
Architectural project for the house of P.J. Hetzel, Eugène Emmanuel Viollet-le-Duc, French, 1814 – 1879
Architectural project for the house of P.J. HetzelEugène Emmanuel Viollet-le-Duc, French, 1814 – 18791874Cooper Hewitt, Smithsonian Design Museum

Within fifty years of 1874

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A Cockney & his Wife going to Wycombe, James Gillray
A Cockney & his Wife going to WycombeJames Gillray1824–27Metropolitan Museum of Art, New York, NY
Ploughing Scene in Suffolk, John Constable
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Sampler, Unknown
SamplerUnknown1824, completed early 20th centuryCooper Hewitt, Smithsonian Design Museum
Design for Snuff Box, Cardinal Consalvi, Papal Secratary of State to Pius VII, Unknown
Design for Snuff Box, Cardinal Consalvi, Papal Secratary of State to Pius VIIUnknown1824Cooper Hewitt, Smithsonian Design Museum
Album Cover Design for Le Zodiaque Travesti (The Farcical Zodiac), Jean Charles Develly, French, 1783 - 1849
Album Cover Design for Le Zodiaque Travesti (The Farcical Zodiac)Jean Charles Develly, French, 1783 - 18491824Cooper Hewitt, Smithsonian Design Museum
Design for a Painted Porcelain Plate, Le Lion (Leo) from the Le Zodiaque Travesti (The Farcical Zodiac) Service, Jean Charles Develly, French, 1783 - 1849
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Also at Cooper Hewitt, Smithsonian Design Museum

6936
Tiraz fragment, Unknown
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Textile, Unknown
TextileUnknown700–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1000–1450Cooper Hewitt, Smithsonian Design Museum
Vessel, Unknown
VesselUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Vessel, Unknown
VesselUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1100–1400Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1100–1500Cooper Hewitt, Smithsonian Design Museum

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

Garden Pavillion, Franz H. Heissinger
Garden PavillionFranz H. Heissingerca. 1909Cooper Hewitt, Smithsonian Design Museum
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Architectural project for the house of P.J. Hetzel, Eugène Emmanuel Viollet-le-Duc, French, 1814 – 1879
Architectural project for the house of P.J. HetzelEugène Emmanuel Viollet-le-Duc, French, 1814 – 18791874Cooper Hewitt, Smithsonian Design Museum
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Peep-Show Print, Unknown
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McCool's Farmhouse, Harry Fenn, American, 1845–1911
McCool's FarmhouseHarry Fenn, American, 1845–19111887Cooper Hewitt, Smithsonian Design Museum
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Elevation of the Facade of a Theater, Prague, Cesare Recanatini, Italian, 1823–1893
Elevation of the Facade of a Theater, PragueCesare Recanatini, Italian, 1823–1893ca. 1860Cooper Hewitt, Smithsonian Design Museum
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Print, Unknown
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Print, Jean Marot, French, 1619 - 1679
PrintJean Marot, French, 1619 - 1679Cooper Hewitt, Smithsonian Design Museum
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Print, Jean Marot, French, 1619 - 1679
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In the stacks

Not yet checked
1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. Religious art in France, 13 century · Emile Mâle

    Viollet-le-Duc does not bring forward a single fact in support of his 1 It is evident that Viollet-le-Duc remembers * Diet, raisonne At rarchiuct., viii. p. 144 sq., Victor Hugo. l866- 395 RELIGIOUS ART IN FRANCE theory, and we think we may lay claim by the preceding study to have proved its error. The mediaeval artist was neither a rebel, nor a " thinker," nor a precursor of the Revolution.1 To interest the public in his work it is no longer necessary to present him in such a light. It
    0.70

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Made in the nineteenth century, like Architectural project for the house of P.J. Hetzel.

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