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Private mansion Malpel

Historic site and monument, Historic patrimony, Mansion in Montauban
  • Among the beautiful residences along the Tarn, the Malpel hotel dominates the left bank with its massive square tower. It is the largest of the private mansions on the Quai de Villebourbon and is distinguished by an original "H" plan between courtyard and terraces.

  • Between 1654 and 1664, Jean de Blasy, adviser to the Cour des aides, bought eight contiguous plots located along the river in order to build a new residence. Although he may be a namesake, Jean de Blasy would also be the owner of the hotel rented by the Cour des aides at the current passage of the old Palace.
    The inventory also reveals the presence of the family's arms in the stairwells of the two hotels: a rooster wearing a crown surmounted by three stars. In the 18th century, the hotel...
    Between 1654 and 1664, Jean de Blasy, adviser to the Cour des aides, bought eight contiguous plots located along the river in order to build a new residence. Although he may be a namesake, Jean de Blasy would also be the owner of the hotel rented by the Cour des aides at the current passage of the old Palace.
    The inventory also reveals the presence of the family's arms in the stairwells of the two hotels: a rooster wearing a crown surmounted by three stars. In the 18th century, the hotel was successively bought by the Lagravère, Bergis and Foissac families, merchants and dyers.
    It was between the end of the 19th and the beginning of the 20th century that the building became the property of Charles Malpel (1846-1926) whose name it keeps. Attorney at the Court of Appeal of Toulouse, Malpel is interested very early in modern art. An informed collector, he was the friend and protector of the "fauve" painters Matisse and Vlaminck.
    The Dutchman Kees Van Dongen (1877-1968), author of the portraits of the Malpel couple, is said to have even stayed in the beautiful hotel, a showcase for the family's collections. On December 26, 1923, Marcel Sémézies described in his memoirs the workshop set up in the lower rooms of the hotel: rooms of his hotel, three rooms with beautiful vaults. The paintings are almost all of this modern art that I do not like, but by a miracle of taste he knew how to make the transition between this decoration of paintings and the general decoration.. ."

    Between courtyard and terraces.
    While the majority of hotels in Villebourbon were remodeled during the 18th and 19th centuries. The interplay of cordwork moldings and brick panels on the facades is comparable to that of the Place Nationale and its staircase has a remarkable ribbed vault with a hanging key. Similarly, the street facade has a curved enclosure wall surmounted by a passageway with a wrought iron railing. In the center, the pedestrian door, separated from the cohere door testifies to an archaism for the 18th century. Note the irregularity of the two wings of the hotel. To the south, the owner transformed the lane, opened in 1688, into a passage on which he extended his residence. Thus, the master of the place while improving the comfort of his home allows his fellow citizens to easily reach the banks of the Tarn. The facades, simply homogenized, suggest that the passage belongs to the hotel. Facing the Tarn, a large terrace is framed by wings in return. Above the left wing is a second terrace. If the nuisances of the industrial activity of the 18th century probably prevented the owners from taking advantage of this airy space, the men of the 19th century were able to invent new uses.