Cafe de Flore

Pick any four 4-inch tiles — National Parks you've been to, a Smokies set, the four seasons of one place. $ for a set of , cork-backed, ready to live on the table.

Each tile ships in a kraft box, tied with cream ribbon, with a handwritten note from the studio if you'd like to add one.

Three or five different vistas, hung together — a chapter of places you've been, or want to go.

Café de Flore stands at 172 Boulevard Saint-Germain in the sixth arrondissement of Paris, on the corner of Rue Saint-Benoît in the Saint-Germain-des-Prés neighborhood. Métro Saint-Germain-des-Prés on Line 4 is across the street. The Église Saint-Germain-des-Prés, the oldest church in Paris, sits about a hundred metres west.

Jean-Paul Sartre and Simone de Beauvoir kept a regular table on the upper floor through the 1940s and wrote significant portions of their work there. Albert Camus, Pablo Picasso, Ernest Hemingway, Truman Capote, and Lawrence Durrell were among the other long-term regulars across the twentieth century.

The café opened around 1887, during the Third Republic, and was named for a sculpture of Flora, the Roman goddess of flowers, that once stood across the boulevard. The current Art Deco interior dates to 1939, when Paul Boubal acquired the café and ran it with his family for over four decades.

The Prix de Flore is a French literary prize founded at the café in 1994 by the novelist Frédéric Beigbeder. It is awarded each November to a young French-language author and includes a daily glass of Pouilly-Fumé at the café for a year. The winner is announced at the café itself.

Yes. The café operates every day of the year, from seven-thirty in the morning until nearly two the following morning. The Siljegovic family has owned it since the mid-1980s. The marble tables, red leatherette banquettes, and mahogany paneling of the 1939 interior remain in use.

The quietest stretch is between mid-morning and noon, after the breakfast crowd thins and before the lunch service begins. Weekday afternoons in the upstairs salon, the room Sartre and Beauvoir worked in, still keep a study-hall quiet. Tourist density peaks in summer and on weekend mornings.

The two cafés sit a hundred metres apart on Boulevard Saint-Germain and shared most of the same intellectual clientele for a century. Les Deux Magots leans slightly older (founded 1885) and awards its own literary prize. Sartre, Beauvoir, and Camus moved between both rooms by season and by mood.

It has been a meaningful gift for many of our customers with ties to the city. Café de Flore is part of the muscle memory of Saint-Germain-des-Prés: the red leatherette, the marble tables, the upstairs room. A Small or a Coaster with a handwritten note from the studio carries well.

Its colour signature, old reds with warm mahogany browns and soft creams behind stained-glass blues, settles into rooms that already lean Parisian, Old World European, or warm-traditional. It also reads well in a Jewel-tone Maximalist room. It pulls away from cool Scandinavian minimalism.

It belongs to the Parisian-apartment look that has stayed in rotation through every shelter-magazine cycle: warm reds, dark woods, gilt mirrors, café-society objects with provenance. It also sits inside the broader Old World Revival movement that the design press has tracked since around 2023.

A single Large reads as an art object above a console or a desk. Above a standard three-seat sofa, a 4-tile Mural at roughly twenty-four by twenty-four inches holds the wall. Above a longer sectional, a 9-tile Mural at roughly thirty-six by thirty-six inches is the next step up.

Yes, in the Dura Satin or Matte finish. Both are scratch-resistant and humidity-tolerant, suited to backsplashes and powder-room walls. The Glossy finish is reserved for framed wall pieces in dry rooms. A Small tile above a home coffee bar is a quiet placement.

Microfibre cloth with water for everyday dust. For kitchen splatter or shower buildup on the Dura Satin or Matte finish, a damp cloth with mild dish soap clears it. Skip abrasive pads and ammonia-based glass cleaners; both can dull the surface over time.

Yes. Every WenderVista piece is created by Reid Wender, the studio's curator and eye, in our distinctive stained-glass and alcohol-ink visual language. The work is slowly infused into the ceramic surface in-house in Knoxville, Tennessee, beneath a thin glossy, satin, or matte finish.