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

An Inspired Christmas

I know that envy is not in keeping with the holiday spirit, but I do envy those people who decorate their homes for the holidays in a most imaginative way. Take, for example, that homeowner who wrapped his home in thousands of blinking lights and created a light show set to the music of the Trans Siberian Orchestra. Admit it- you know exactly what I'm talking about. It's that video that made the YouTube and email rounds last year and if you see it one more time you're going to scream. Now, I don't want to decorate my home like that, but I've got to give that homeowner credit for his creativity.

Another way of decorating for Christmas is with a theme. Jonathan Preece of Bunny Williams Inc. does this but in a most unique way. (You might remember that I wrote about Jonathan's Thanksgiving table for a client.) For the holiday tableaux that he creates, Jonathan looks to Charles Dickens and Medieval England for inspiration. You won't find chasing lights in his decor either. He prefers using natural materials like evergreens, Juniper, Magnolia, and white flowers. And like all good designers, he is ever mindful of scale; you'll see that Jonathan usually incorporates one large objet within a mix of symmetrical and asymmetrical items in order to create balance.

Over the years, Jonathan has assembled some truly stunning vignettes in the Main Gallery at Bunny Williams Inc. After seeing these photos, I've decided that next year I'm going all-out in my own home. Just don't expect to hear the Trans Siberian Orchestra in the background.


For this tableau above and at top, the theme was Saturnalia, the ancient Roman celebration of the Winter Solstice. Jonathan used greenery, a traditional symbol of hope that Spring will soon be near. The assemblage was set in a circular fashion, another ancient symbol meaning eternity.

Jonathan chose 19th century stone garden finials as adornments on top of the painted, mirrored cabinets. The chandelier was a dilapidated, antique woven basket with defunct sockets which he transformed into taper candle holders. The life-sized 19th century plaster bust of Apollo took center stage in Jonathan's tableau. For many years, Apollo resided at John Rosselli's shop, but now he is ensconced in Jonathan's Tudor City apartment. (Jonathan says he's the best kind of roommate- looks pretty, doesn't talk back and never touches the drinks tray! I'd like one of those please.)

Surrounding Apollo were terracotta pots of narcissus, variegated mini Cedar plants, Granny Smith apples, bleached oyster shells, and cotton seeds. And of course, the single pineapple representing hospitality had a prominent role.




With another Christmas came a different scheme. This time Jonathan took his cue from two turtle doves. In the entryway to Bunny Williams Inc., two Regency Carrera marble busts on claret colored scagliola columns were crowned and mantled with cedar, spruce and juniper garlands.



The centerpiece here was the 19th c. zinc bird cage from Treillage. Yes, those were real doves inside, but don't fret. The birds took a Christmas vacation from All Tame Animals and were fed daily by one of the company's animal experts. Doves are a symbol of purity and life and were also chosen to commemorate a dear friend who had overcome cancer.

The table was covered in a late 18th c. silk gold on silver cloth in a fleur de lys pattern. Flowers and plants included potted Amaryllis, Hydrangea, succulents, and cedar branches. Seeded Eucalyptus was incorporated into the scheme because of its silvery tones which were in keeping with the blue tones of the painted cabinet, mercury glass, and antique zinc cage.



And finally, there was the Boars Head tableau. The Boars Head is an English tradition which dates back to the 16th c. and is still celebrated at Queens College, Oxford today. There was a celebrated carol, The Boars Head, which described the ancient custom of sacrificing a boar and presenting its head as part of a Yuletide feast. According to Jonathan, this bringing in of the boars head was later incorporated into the traditional Madrigal feast.

Now, regarding the boars head which was used for this particular tableau- I'm sure that some of you are angry at the use of taxidermy in design. I think it's important to note that this head was used for many years as a prop for an Iowa school's Madrigals. No boar was killed for this decoration.

An English Regency table was covered in an 18th c. Kilim rug. An early 19th c. sterling gallery tray was set with compotes filled with chestnuts and mini Bartlett pears. Garlands of Cedar and Magnolia were arranged with white grapes, bay leaves, rosemary sprigs, kumquats, plums, and cherries.

So, not only did we get a design lesson today, but a history one as well. I wonder what Jonathan will come up with next year?

(All images courtesy of Jonathan Preece)