Jonathan Preece Does It Again

Passover might have ended this past weekend, but it still seems a good time to show photos of a Passover table conceived by Jonathan Preece.  Jonathan, as you will recall, is Creative Director and Special Projects Designer for Bunny Williams Inc. and Bunny Williams Home.  He is also the mastermind behind a number of highly-clever table settings, many of which have appeared previously on my blog.  If you remember those Jonathan Preece-designed tables, then you know that Jonathan draws inspiration from history and the decorative arts, two subjects that certainly influenced the Passover table you see here.

Jonathan's clients, whose Park Avenue apartment was decorated by Bunny Williams, wanted a Passover table that was colorful, unique, child-friendly, and evocative of Damien Hirst's spot paintings.  Keeping in mind both the clients' wishes as well as the meaning of the holiday, Jonathan first settled on a theme for the table: the second plague of Egypt.  According to the Book of Exodus, God unleashed ten plagues against Egypt as a result of the Pharaoh's refusal to free the Israelites from slavery.  The second of the ten plagues involved masses of frogs that emerged from the Nile and overran Egypt.  After the tenth plague, the Pharaoh finally freed the Israelites, an event which is commemorated during Passover.

Of course, considering that this was to be a celebratory table, Jonathan softened the plague theme with whimsy and animation.  Jonathan was reminded of the famous Green Frog Service, which was the Wedgwood china service commissioned by Catherine the Great. The Green Frog pattern features a naively-painted jumping frog within a heraldic emblem, and it was this non-menacing frog that inspired Jonathan's table.  He sought the assistance of his artist friend, Liz Fleri, who made both papier-mâché and ceramic versions of frogs.  Down the center of the table stood the papier-mâché frogs, which were encrusted with Austrian Glass dust, faux cabochons, and glass beads.  (It was both Damien Hirst's bejeweled skull sculptures and Judith Leiber's animal minaudieres that inspired this decorative finish.) 

Nestled between the frogs were ceramic lily pads by Global Views, in which Jonathan planted exotic orchids, succulents, mosses, pods, and date palm seeds.  Damien Hirst's spot paintings, or, at least, the idea of them, were introduced via the polka-dot table cloths, whose colorful spots informed the color scheme of the setting, including those fuchsia ballroom-chairs.  And in lieu of place cards, place settings were marked by small ceramic frogs etched with guests' names.

If only real frogs looked as charming as those imagined by Jonathan.

The Inspiration:

A color engraving depicting the Second Plague of Egypt.

Two images of Catherine the Great's Green Frog Service.  Note the frog emblem at the top of the platter.


Table setting photos courtesy of Jonathan Preece.

Celebrating Sukkot with Jonathan Preece

Many of you likely remember my blog posts that featured Jonathan Preece's beautiful holiday decorations. Jonathan, who is Creative Director and Special Projects Designer at Bunny Williams Inc. and Bunny Williams Home, has become a go-to person for creative and well-researched holiday decor. Over the years, Jonathan has done Thanksgiving tables, Passover tables, Saturnalia-themed vignettes, and Christmas decor.  And now, we have Sukkot to add to the list.

In 2006, long-time clients of Bunny Williams decided to expand their Park Avenue apartment by buying the penthouse above them.  Bunny was responsible for the decoration in this newly combined apartment, which you'll likely remember as it made the cover of Elle Decor in 2010.  During the renovation process, the clients requested that part of the apartment's rooftop terrace be set aside for the annual assembly of a Sukkah, in which they could celebrate the Jewish holiday, Sukkot.  (Click here to read the Wikipedia entry on Sukkot.)

Bunny recommended to her clients that they engage Jonathan to create and decorate the Sukkah, and they readily took her up on her suggestion.  First, Jonathan created a tent in which the clients could host their Sukkot dinners.  The tent is quite small, measuring little more than 8' X 10'.  The exterior, which you can see above, was made of 19th century raw silk linen bed hangings that are embellished with strie ribbon detail.  (The hangings were part of an antique canopied bed that Bunny Williams purchased from an English estate sale.)  A Sunbrella waterproof "rain coat" was made for use in inclement weather, which can be fitted over the silk linen hangings.  The inside of the Sukkah changes from year to year.  A few years ago, Jonathan purchased twenty Queen-sized printed Indian bedspreads from Urban Outfitters and hung them on the tent's interior walls in a pinch-pleat fashion.  Most recently, Preece chose to adorn the interior walls with something more durable: canvas murals painted by artist Liz Fleri.  The murals were meant to make guests feel as though they were seated in a wooden structure while looking out to the desert beyond.  The mural's imagery was inspired by 19th century Orientalist art, while the paintings' style was evocative of the work of Chagall.

Jonathan informed me that the Sukkah's ceiling must always be made of natural material, hence his use of bamboo for the ceiling.  Also, tradition calls for three stars to always be visible from within the Sukkah.  During the first Sukkot celebration, Jonathan hung mercury glass stars within the tent, while in later years, the murals, which featured three painted stars, satisfied this religious requirement.  And finally, the Sukkah beams are always covered in a decorative technique known as Schach, which is comprised of natural materials like fruit, leaves, and flowers that are representative of the Harvest.

There are many other religious symbols that can be seen in these photos.  There is always a tied bouquet of Palm, Myrtle, and Willow, known as a Lulav, that is placed by the host's seat.  Also, you'll see lemons, which refer to the Citron fruit known as Etrog.  Together, the Lulav and Etrog are symbolic of the Four Species, which are the four plants that are part of the Sukkot ceremony.

Now, I'm sure that some of you are questioning the safety of this rooftop tent.  Well, Jonathan paid as much attention to that as he did the tent's decor.  The tent is tied-down and secured tightly, while the candles that you see in the photos are battery-operated.  It really does seem that Jonathan thought of everything.  And whether you celebrate Sukkot or not, I think you'll find a great deal of beauty in these photos, which span six years of the celebration of Sukkot.

All photos copyrighted Jonathan Preece and Elizabeth Swartz

Walking in Jonathan Preece's Winter Wonderland

I know that many of you, like me, are always enchanted by the vignettes and table settings created by Jonathan Preece, Creative Director and Special Projects Designer at Bunny Williams Inc.  Through the years, Jonathan has conjured up fantastical Thanksgiving and Sukot tables for clients not to mention magical holiday vignettes.  This year is no different, with Jonathan turning Treillage, Bunny and John Rosselli's delightful shop in New York, into a winter wonderland.

What makes Jonathan's creations so special, and what might also be one of the secrets to their success, is that a great deal of research goes into his work.  History, literature, and traditional art forms frequently figure into these tableaux, and this year is no different.  For the Treillage windows, Bunny requested that Jonathan include snowflakes.  From that kernel of inspiration came Jonathan's clever idea to use magnificent quilled paper snowflakes that were hung throughout the store.  Quilling, as Jonathan informed me, is a traditional paper craft in which strips of paper are tightly coiled around a quill in order to shape them, with each strip then being attached to one another to create a work of paper art.  (I doubt that I'm adequately explaining the process, so click here to read the Wikipedia entry.)  Jonathan eventually found a woman in Idaho who was a fourth generation quiller and commissioned her to make these magical snowflakes that, thankfully, are for sale at Treillage.

Also taking a cue from C.S. Lewis' The Lion, the Witch, and the Wardrobe, Jonathan designed a snowy scene reminiscent of that in Narnia that the children encounter upon stepping out of the wardrobe.  Even the lamp post that figures into the story makes an appearance at Treillage.  There is also a Pied India Blue Peacock in one of the windows, although I can't say whether the peacock was a character in Lewis' novel or not; it's been ages since I read the book and my memory of it is a little fuzzy.

Those of you who live in New York have probably seen Treillage's Winter Wonderland this season, but for those of you who have not had the opportunity to do so, I'm including numerous photos to give you a sense of Jonathan's handiwork.  I hope it's a nice respite from that last minute shopping that many of you are doing today!

All photos courtesy of Jonathan Preece

A "Rite of Spring" Table

My friend Jonathan Preece's creativity never ceases to amaze me. A very talented designer on staff at Bunny Williams, Jonathan is known for creating the most amazing and theatrical tablescapes. I think that what fascinates me most about Jonathan's handiwork is that it's not just about striking colors, pretty linen, and fetching china. There is always an underlying theme that inspires the various elements of the table decor. And believe me, the theme is always well researched. When Jonathan tells me about his various inspirations, I usually have to visit Wikipedia to figure out what he is talking about.

A few years ago, Jonathan was responsible for decorating the Passover table for clients of Bunny Williams. The apartment was in the throes of demolition, undergoing a major transformation that was recently unveiled on the cover and in the pages of the February/March issue of Elle Decor. As Jonathan assisted Williams on this project, it was only natural that for the clients' Passover celebration, he would be responsible for creating some semblance of order and beauty in the midst of construction chaos. I'm sure that creating an elegant table in a demolition zone was a challenge, but I would say that Jonathan pulled it off with aplomb.

For this particular table, Jonathan combined traditional Passover symbolism with references to Spring, ones that were specifically inspired by the ballet "The Rite of Spring" (Le sacre du printemps). With music composed by Igor Stravinsky and choreography by Nijinsky, the piece is one of the most iconic (and when it debuted in 1913, one of the most controversial) ballets of the 20th century. Jonathan's ode to Spring included many natural materials like moss, daffodils, bell flowers, lilies, succulents, and seasonal fruits.




Several long tables were placed end to end to accommodate around 40 guests. The table was set with plain bone china with gilded detail and pale green water and wine glasses. The ivory linen napkins were folded in what Jonathan calls the "traditional Bunny Williams Style." Covering the table was a wide striped linen fabric in shades of hot pink, orange, brown, and celadon. Jonathan also chose to use acrylic amber colored ballroom chairs so that when the sun set, the light would shine through them.



At the center of the table was a large painted driftwood plinth on which Jonathan placed a large date palm, one whose base was covered in chicken wire and sheets of Bull Moss. Jonathan repeated the use of white painted driftwood along the length of the table and incorporated different mosses, spring grasses, flowers, and fruit into the wood. The result, as Jonathan noted, was an above-ground surreal root system. A French Deco 1940's Aubusson rug with stylized pagodas and borders (part of Bunny Williams' extensive antique textile collection) was hung as a backdrop behind the table. This allowed a prep area to be hidden from guests.




Holding court at either end of the table were blanc-de-chine camels whose backs provided just the place for hammered copper bowls of Daffodils. The other copper bowls on the table held pyramids of clementines and lemons as did mercury glass compotes.



Nestled at the feet of the camels were pots of variegated foliage, spring grasses, and chartreuse potato vines.




White lacquered screens were employed throughout the space to partially obscure the guts of the construction as well as to help bounce light around the space. At each side of the room stood tall French metal garden plinths with craquelure celadon temple jars from Treillage Ltd.





In lieu of place cards, Jonathan chose silvered metal birds, fruits, and Mudras Hands which held each guest's name constructed of wire. The scrolls you see on each plate are vellum prints of engraved illustrations taken from an antique illustrated Haggadah, the book that sets of the order of the Passover Seder. The book is traditionally read throughout the evening's celebration. Each scroll was fastened with laser cut seals.



One of the Passover symbols that Jonathan incorporated into the "Rite of Spring" table was the plagues of locusts and frogs. Here, a locust (not a real one) is perched atop a clementine, while white painted frogs also make appearances on the table. Although not associated with Passover, white painted toy turtles and hummingbirds helped to celebrate the arrival of Spring.



In order to soften the space, the floors were covered first in plywood and then in seagrass. Colorful Moroccan rugs, borrowed from Bunny Williams, were placed over the seagrass.



Clusters and bunches of spray roses, Bell Lilies, and Hypernicum as well as birds nests made of moss feathers rounded out the Spring look. Within the mercury votives, electric candles gave off a realistic glow.


All images courtesy of Jonathan Preece, Elizabeth Swartz photographer.

A Christmas Tradition

If, like me, you're enchanted by the Christmas tradition of the crèche, then this blog post is for you.   My friend, Jonathan Preece, recently sent me photos of a Neapolitan crèche that he staged in a Mill Neck, New York house. The homeowners, who are clients of Bunny Williams, Preece's employer, were inspired to start collecting antique Neapolitan crèche figures after learning of the impressive collections of both Williams and her husband, John Rosselli.

The tradition of the crèche, or nativity scene, can be traced back to 1223, when Saint Francis of Assisi created the first one using living figures.  Meant to represent the Nativity, or birth of Christ, a crèche includes the figures of baby Jesus, Mary and Joseph, Angels, the Magi (or Three Wise Men,) shepherds, animals, and, sometimes, townspeople.  According to Jonathan, these crèches reached a height of artistic excellence in eighteenth-century Naples, Italy, where this traditional craft is still being practiced today.  One of the more famous Neapolitan crèches is that at the Metropolitan Museum of Art, which draws crowds every Christmas.

In the Mill Neck house, Jonathan has assembled the crèche on a table set in the bay window of the dining room.  The traditional stable, which, of course, holds baby Jesus and the manger, was made by Charles Dort, while artist Ron Genereux created the crumbling walls, fences, and Classical ruins out of foam and clay.  Placed against this landscape are the antique Neapolitan figures, whose heads, hands, and feet are made of painted terracotta and whose bodies are fabricated from wire wrapped in hemp.  The figures' clothing is mostly silk and linen, with many of them bearing delicate embroidery.  (Make sure to expand the images of the Magi, below, whose costumes are exquisite.)  And placed gingerly around the scene are small spot and up-lights, which provide "magical illumination," says Jonathan.  Finally, around the edges of the crèche are Columnar Cedars and Cypress, terracotta oil jars, urns, and mossy-clad pots filled with White Narcissus.

As a bonus, Jonathan also sent me photos of Bunny Williams' spectacular Neapolitan crèche, which Jonathan assembled on the Conservatory console in Bunny's Connecticut house.  Alongside her antique Neapolitan figures, Bunny has added pieces that are not so period, such as leather bulls and animals from India.  The effect is a delightful celebration of the Christmas season. You can see photos of Bunny's crèche at the bottom of this post.

And now, Bunny's Neapolitan crèche in her Connecticut house:

All photos courtesy of Jonathan Preece