The Mill, Part Two

For part two of my series on the Mill, I am leading off with a photo of the dining room, which is my favorite room in the house.  Originally slated to be embellished with bold colors, the Duchess decided instead to decorate it in subtle shades.  She employed John Fowler and Mrs. Claude Lancaster of Colefax and Fowler to assist her with this room.  Fowler painted the room's bulrush and shell mural, which provided a charming backdrop for the Duchess's collection of trompe l'oeil porcelain as well as her painted furniture, while the floor's rush matting was another nice, tasteful touch.  As you can see, the room is quite a contrast to the Mill's other rooms, something that the Duchess addressed in her article: "This room is a surprise to everyone- even to me- coming to it as one does from the brilliant colors and homey, chintzy atmosphere of the hall. Sometimes I think the very contrast of the world of one talented decorator like Stéphane Boudin (who worked with me on the rest of the mill) with that of an entirely different talent is more dramatic than anything you might deliberately plan."

Other excerpts from the article that you might find interesting:

"Every house as it is lived in seems to me to take on a personality of its own; the Duke and I have tried to foster for our mill one of serenity and relaxation- with just a touch of gaiety- for ourselves and for our guests."

"I enjoy my own parties but that's usually because everything has been planned down to the nth decimal place."

"Although I can never be casual about entertaining, or about anything in the house for that matter, yet when really terrible things happen, I'm completely calm."

"I am cursed- or blessed, I don't know which- with a photographic eye. I go into a room or a shop and I take in every detail, even without really trying, and can describe it all afterward."

And on that note, let's move on to the photos...


The Dining Room, above and below:

"Even for a small luncheon like this I plan the table setting as carefully as for an important dinner. I like the contrast of the simple Italian pottery, bamboo-handled tableware and basket cornucopias of flowers with the rather elegant French and Italian painted furniture and the taffeta draperies of the dining-room."

Guest Cottage:

"This little sitting-room between the two guest rooms is only about 10 by 12 feet but by using small-scale furniture and rubbing the boiserie with light color, we gave it an air of space. The guest cottage is just one room wide- you enter the small sitting-room from the main courtyard and the French doors you see directly across the room open on the upper garden."

"Trellis bedroom in our guest cottage- we call it this because of the motif in the wallpaper. The dresser and chairs are painted to pick up the pinky-mauves in the paper and the lacquer mirror-stand and Oriental dancing figurines by Tony Duquette give the room a Chinoiserie accent. And notice the wallpaper covered with butterflies in the bathroom- it's my favorite!"

"I love the vibrant red wallpaper in the other guest room. It's cooled off just enough by the tracery of white, the white rug and light blue curtains and bed cover. On the painted Venetian chest are two Lunéville trompe l'oeil dishes- part of my collection of old French faience."


Bachelor Guest Quarters:

"We remodeled the old stables to make the two small rooms you see for bachelor guests. The irregularly shaped room is hung with pictures of the coronation of George IV tying in with the Regency-flavored décor."

"In the other bedroom, woven tapes form the bedspread, cover the bed frame and lend a color accent to an otherwise black and white setting."



Outdoor Entertaining:

"After lunch we often have coffee on the upper terrace just outside the drawing-room. There we not only see and hear the waterfall but we have a wonderful view up the valley of the Merantaise. The Duke and I enjoy most entertaining our friends at the mill in small groups so that we can really talk with each one."

"In late afternoon the trees around the millpond cast shadows across the upper terrace. The wing in the background houses my bedroom and the large door to the right opens into the drawing-room. The stairway in the corner goes down to a little areaway with a door leading to the entrance hall of the mill."

"We turned a small building attached to the old barn into this outdoor dining-room- delightful for entertaining in warm weather. It overlooks a flagstone terrace and the garden; beyond the door in the back wall is a serving pantry. On bad days, the sailcloth curtains are drawn to protect the room's furnishings."

"Our chef, René Legros, who was with the Duke in England, thinks the mill's kitchen much too small as it is, compared to the one in Paris. Here he is preparing a buffet luncheon to be served on the terrace: cold lobster, chicken pie, mixed vegetables, asparagus salad, glacé bananas, little cakes and cheese. The 18 copper pots hanging above are new, but those copper molds under the window are very old ones- they came with the Duke's things from London, and are stamped with the coat of arms of Queen Victoria."


The Duke's Room:

"This big comfortable room, once the mill's barn, is more than forty feet long. Most of the things here came from Fort Belvedere, the Duke's home in England. You can step through French windows to the garden and the Duke's desk is placed so he can look out on it. The small bookcase in the far corner holds the American and British, as well as the many foreign-language editions, of his book, A King's Story."

"The huge map over the mantel is one the Duke had in London of the pre-World-War-II world- now appropriately antiqued. On the bookcase in the corner are folders containing addresses of welcome given to him as Prince of Wales on his world travels- also some more recent ones. The portrait head was done in the Bahamas."

"You enter the room from the main courtyard through the wide French window. On either side of it are Grenadier Guards drums and bugles; on the wall mounted on shields are shoes of the horses the Duke rode in steeplechases he won. The trompe l'oeil painting over the table hid the pipes of an organ in our former Paris house."

"The most historic piece in the room is the table at the left of the fireplace- the one at which the Duke signed the Instrument of Abdication. The map above the mantel shows off his official engagements as Prince of Wales. On the left wall hang three of his collection of ceremonial bagpipe banners; the coffee table is made from a drum of the Welsh Guards."



The Bahamian Bar:

"We call this tiny room off the drawing-room our Bahamian bar because of the map of the Islands over the sofa and the other souvenirs of our five years in Nassau. The ceiling is less than six feet- tall friends have to stoop- but everybody seems to love this room, crouch and all."


Outbuildings:

"By turning left, from the garden you also get this view of the barn with the flagged terrace and awning. Beyond the barn you see part of the guest cottage and upper garden. At the bottom of the slope too low to show here is another small branch of the river."

"Here you see the wing for bachelor guests from the garden. The tall trees behind it- some are weeping willows like that in the foreground- shade the millstream. Beyond the tool house is the old river gate and an old stone bridge over the Merantaise River."

Have You Noticed?

Have you noticed that geraniums seem to bloom profusely inside many a charming English country house? They certainly did at Daylesford, the John Fowler-decorated house of Lord Rothermere, seen above.

And at Deene Park, Northamptonshire.

Nancy Lancaster had some scraggly ones at the Coach House.

More lush were those at Bentley in Sussex.

There were some tucked away near the bookshelves at Wellingham House.

Nicky Haslam has a basket full of them at his Hunting Lodge...

...while Lady Caroline Somerset chose a terracotta pot for her fiery crimson specimen.

David Hicks supercharged his Britwell House dining room with bold crimson walls and curtains and bright pink geraniums placed directly on the floor.

But what has to be one of the most charming displays of geraniums is seen in this bedroom, which was decorated by David Mlinaric.  The chintz? Colefax & Fowler's " Climbing Geranium", sadly discontinued.

Nicky Haslam's Folly de Grandeur

I recently spent the most enjoyable evening reading Nicky Haslam's newly released (as in today!) book, Nicky Haslam's Folly De Grandeur: Romance and Revival in an English Country House. As most of you are probably aware, the book profiles the Hunting Lodge, Nicky's enchanting country house that once belonged to John Fowler.  Perhaps it was the allure of these two designers that had me eagerly anticipating the release of this book.  Whatever the reason, the book turned out to be exactly as I had hoped: interesting, inspirational, and hands down a fun read.

Nicky's book is charming and engaging for a number of reasons.  First, he is an excellent writer, one who throws out all kinds of interesting historical tidbits and practical decorating advice along with humorous, and at times naughty, quips thrown in for good measure.  For those of you who are eager to learn about Nicky's thoughts on fabrics, floors, and like, you won't be disappointed as he includes numerous chapters focused on such aspects of decorating.  And if you are a devotee of the country house style, then you'll enjoy reading about the evolution of the house as well as studying the luscious photos of forty years worth of decorative layers.

In fact, even without Nicky's well-written narrative, the book would still be a success, I think, because of Simon Upton's photos.  There are large room shots as well as many detail photos that capture all of Nicky's amusing and entertaining mementos.  There is just so much to look at in this house- and this book- that one could spend hours studying these pictures.  Wait, I did spend hours studying the book's pictures!

I'm not sure what Nicky's follow-up book is going to be, but whatever it is, I am eagerly awaiting that one too.

© Nicky Haslam's Folly De Grandeur: Romance and Revival in an English Country House by Nicholas Haslam, Rizzoli New York, 2013. Images © Simon Upton may not be reproduced in any way, published, or transmitted digitally without written permission from the publisher.

Taking a Stand

Here in Atlanta, we finally got a taste of fall a few days ago.  With nightly temperatures hovering in the 30s, it was time for my pretty potted geraniums to come indoors.  Unfortunately for them, though, they went from a comfortable balcony to the floor of the kitchen, the only spot that I could find for them where they would get sun.  And because I do find geraniums to be a genteel plant, they really have no business being unceremoniously dumped on the floor.

I could always find a narrow table like the one in the illustration above, one on which I could park a few plants, but the problem is that such a table takes up space, something in short supply around my home.  What I want, and think that I need, too,  is a good old-fashioned plant stand, one dignified enough for geraniums, not to mention my living room as well.  Of course, what I covet is a stand much like that owned by the late John Fowler, seen immediately below this text.  That has to be the all-time best looking plant stand that I've ever seen. 

While looking for other photos of plant stands, I realized that the best examples I could find were featured in books on English and Irish design.  Not surprising, really, as a pretty stand holding a flowering plant seems made for both quaint country cottages and grand country houses alike.

For all of you who are being affected by Hurricane Sandy, please stay safe and be well!

John Fowler's stand in the hall at his Hunting Lodge.

A plant stand in Lady Gunston's drawing room in Pelham Crescent, decorated by John Fowler.

A wire plant stand on a table in Fowler's home-showroom at 292 King's Road.

A modern scheme includes a column supporting a potted urn, decorated by David Mlinaric.

A stand with what looks like a terrarium on top, in an 18th century lodge decorated again by Mlinaric.

The charming and much-photographed living room of the late Mark Hampton. The curvy plant stand in the window held a pot of pretty paperwhites.

A fountain converted into a plant stand, at Killadoon, County Kildare

And a Victorian looking stand at Birr Castle, County Offaly.


Image #1 and #7 from Colefax and Fowler: The Best in Interior Decoration by Chester Jones. #2 from Nancy Lancaster: English Country House Style by Martin Wood; #3 and #4 from John Fowler: Prince of Decorators, also by Wood; #5 and #6 from Mlinaric on Decorating; #8 and #9 from The Irish Country House.

The Stately Shugborough

I recently stumbled upon a 1969 copy of The Great Houses and Finest Rooms of England. Written by the late British House & Garden editor Robert Harling, the book profiles some of England's most beautiful stately homes including Hatfield House, Charlecote Park, Blenheim Palace, Leixlip Castle, and Sezincote. The book (which is now on my top twenty list of favorite books- it's that good) is an interesting mix of interior and exterior photos plus text that includes interviews conducted with each of the estate's owners. Downton Abbey fans take note: as these interviews took place during the late 1960s, the then-owners (including the Duke of Marlborough, The Marquess of Salisbury, and the Duke of Argyll) recall what life was like at their respective homes during the early part of the 20th century, a time when houses were tended to by large staffs like those at the fictional Downton Abbey.

If you're also a fan of John Fowler and David Mlinaric, then you're really in luck. The work of both designers appears in this book, including the Mlinaric designed private quarters of Shugborough, a Staffordshire estate once owned by the Earl of Lichfield. That's him, below, with his Swinging Sixties hair and attire. (Lord Lichfield was a prominent celebrity photographer whose professional name was Patrick Lichfield.) I'm showing a few photographs of Shugborough here so that you can get a taste of this book. If you're as enchanted by these country estates as I, then you should try to get your hands on a copy so that you can see it for yourself.



Lord Lichfield




The Bird Room




Lord Lichfield's bedroom





The private study.




The circular breakfast room.




A guest bedroom.









Two of the estate's follies, the Temple of the Winds and the Doric Temple, were built by James "Athenian" Stuart. The Chinese House was transported from the Far East by one of Lord Lichfield's ancestors.

The engraving at top depicts Shugborough.