Chic Events Underway at Winterthur

Exciting things are happening at Winterthur, that glorious Delaware estate of the late Henry Frances du Pont. And for all of us who are interested in design and decorative arts, the events should be right up our alley!

First up is the Double Vision exhibit (March 8-May 18, 2008) which focuses on the design of Winterthur during the 1930's. Why is it named "Double Vision" you ask? Well, Winterthur has an amazing collection of stereographs (three-dimensional images) that were taken of the rooms at Winterthur in 1935 and 1938. Visitors will be able to wear special 3-D glasses to view the stereographs, which I can only imagine will make one feel as if he were actually in the room. Some of the rooms remain the same today, while others have changed over the years. It should be interesting to see how 1930's trends may have influenced du Pont's design choices.

And for even more on 1930's design, you should consider attending the "Chic It Up!" design conference, to be held at Winterthur on May 16-17, 2008. Frances Elkins, 1930's textiles, and Delano & Aldrich are just a few of the topics that will be covered. Speakers include Peter Pennoyer, Stephen Salny, R. Louis Bofferding, J. Thomas Savage, and Eric Cohler. Sounds like a stellar line-up to me!

For more information, visit Winterthur's website.

Chinese Parlor: In this large room guests would gather to play bridge or for drinks before dinner. Chinese hand-painted wallpaper was the height of exotic fashion in the 1930s. The room was always filled with flowers selected to complement the colors of the wallpaper. (Photo: Courtesy, Winterthur Archives)


White Parlor (Empire Parlor): Long before he discovered Americana, H.F. du Pont admired and collected French furniture and decorative arts. Many of the furnishings in this view came from the family's New York apartment. Perhaps as a nod to the family's ancestry, The White Parlor at Winterthur remained furnished in the French taste until the space became the Empire Parlor in 1940. (Photo: Courtesy, Winterthur Archives)


Port Royal Parlor: The 18th century furniture and paneling in this room, which served as the reception room for guests, is meant to suggest the colonial era. However, the abundance of notable pieces and the expanded size of the room taken from a house near Philadelphia are more in the 30s mode. This large room demonstrates du Pont's preference for symmetry and careful placement of furniture. (Photo: Courtesy, Winterthur Archives)


The Enclosed Porch: Many country houses featured an open loggia or arcade overlooking a terrace or garden. They provided a shady refuge on a warm, sunny day, or shelter on a slightly chilly one. The checkerboard patterned floor, the pale blue iron chairs and yellow bamboo, the urns and bright accent of the flowers all reflect popular 1930s style. (Photo: Courtesy, Winterthur Archives)

Image at top: Henry Francis du Pont was photographed in front of the Montmorenci staircase, the centerpoint of his revision of the house. (Photo by André Kertész; Courtesy, Winterthur Archives).

Winterthur, Part One

I just returned from two glorious days at Winterthur, and I was dazzled. I don't really know where to begin because it was all so incredible. I'll first say, though, that if you ever have the opportunity to visit, you must. And if you don't know if the opportunity will present itself, then make it happen. I don't see how anybody could not be inspired after a visit there.

For those of you who may not be familiar with Winterthur, the Delaware estate (now a museum) was the vision of the late Henry Francis du Pont, one of the 20th century's foremost collectors of Americana. du Pont inherited the house and the sprawling property from his father and immediately set about creating a home in which to display his more than impressive collection of early American furniture and art, porcelain and ceramicware, and textiles. Through the years, du Pont enlarged the original house and created period rooms that were a shade different from what you might find in other museums. The look of the room- the interior decoration- was just as important to du Pont as historical accuracy, so it could be said that du Pont's rooms were curated through the eyes of a 20th century aesthete.

Now it's no surprise that I am a lover of history, so the provenance of the objects within the rooms was of great interest to me. However, I know that there are many people who don't have the same interest as I. (And if you don't like history, that's really okay.) But please don't think that because the words "history", "Americana", and "early American" are associated with Winterthur that the house has no relevance to design today. Hardly! If you really look at the rooms, you'll find architectural details, fabrics, curtains, and such that would look right at home in a 21st century house. I don't want to demean Mr. du Pont's work because it obviously has great historical significance. But you really can apply some of what you see at Winterthur to your own home. Just take a look...


This is the pine cabinet that sparked du Pont's love affair with collecting. Both the cabinet and the pink Staffordshire china once belonged to another famous collector, Electra Havemeyer Webb. And to think that this rather humble piece inspired all of this:




The room that I was most anxious to visit was the Chinese Parlor. Now who wouldn't want to have a room like this? The wonderful antique wallpaper was found by Nancy McClelland, a prominent decorator and wallpaper dealer. In order to accommodate the height of the paper, du Pont chose to create a cove ceiling. Note too that terrific chandelier. The room, where cards were often played, seems quite comfortable. I like the Early American antiques as this was the kind of furniture with which I was raised. However, if you're a fan of French antiques or even early 20th century pieces, just think how well they would look in a setting like this.


Many rooms feature interior architecture that was purchased from early American homes ranging from Pennsylvania to North Carolina. Those pilasters framing the fireplace, the broken pediment, and dentil molding is stunning.


And that fabric on the armchair? Looks like something many of us would use today to great effect.






This mantel was purchased and removed from a Pennsylvania home. Isn't the detail incredible?


Molding in one of the rooms. A bit blurry, but I think the picture speaks for itself.


Another architectural detail, this time in the sleeping porch.



du Pont liked to entertain, and everything- flowers, linens, food- was carefully thought out. This room contains du Pont's candelabra and candlesticks. Ruby Ross Wood, the late, great decorator, wrote of dining at Winterthur and admiring the most perfect Battersea candlesticks.

And speaking of Ruby Ross Wood, many decorators clamored to visit Winterthur while it was still du Pont's private residence. du Pont's approach to collecting and decorating was so novel that decorators just had to see it for themselves. Wood wrote to du Pont of her employee's awe after visiting Winterthur. That employee was none other than Billy Baldwin. I wonder if this room below, decorated by Baldwin in the 1950s, could have been inspired by his visit to Winterthur:



I think that after my visit to Winterthur, I look at design and collecting much differently. du Pont believed that no one piece should dominate a room; rather, a room should have impact in its cohesiveness. (That may not hold true for the Chinese Parlor. That paper definitely packs a punch!) Well, that's not the way I have ever approached design. I always look for the statement piece. But I completely understand du Pont's point, and now I think I'll start looking at a room as a whole rather than a sum of its parts.

And in regards to collecting, once you see du Pont's porcelain, you'll never want to buy cheap or mediocre accessories again. You'll want to save your pennies to buy a piece that has value, not just monetarily but aesthetically too.

Tomorrow I'll post about the "Chic It Up!" design conference that I attended last Friday (it was really fantastic), and on Wednesday I'll share some photos of the textiles in the Winterthur collection. Actually, I could go on for days about Winterthur, but I'll try hard to condense it into a few days' worth of posts.

Oh, one more thing, Christmas decorations were being installed while I was there. The talented floral artisans at Winterthur created a dried floral Christmas tree. The flowers were collected from the Winterthur garden throughout the year and then dried in anticipation of the holidays. How great is that?



(All photos with the exception of the first photo were taken by me.)

The Winterthur Collection at Currey & Company

I had the privilege of touring Winterthur a few years ago, and it was truly remarkable. What is equally remarkable, though in a much different sense of the word, is the number of designers who have never even heard of Winterthur.  That really amazes me.

I have written about Winterthur before, so I won't repeat myself by explaining what it is and who Henry Francis du Pont was.  You can read my previous Winterthur-related blog posts by clicking here.  But what I do want to bring to your attention is Currey & Company's Winterthur Collection. The collection, which includes lighting and furniture, was inspired by pieces at Winterthur.  Some of the furniture, such as the "Powell" dressing table, below, was based on pieces collected by du Pont himself, while books and ephemera in Winterthur's library were the source for many of the motifs used to embellish Currey's new lamps.

For more information on the collection, please visit Currey & Company's website.  And if you have never before visited Winterthur, I encourage you to do so soon.

 This Currey & Company "Powell" dressing table was based on an early eighteenth-century Philadelphia dressing table in the Winterthur collection.  Like the contemporary version you see here, the original dressing table had ogee-arched carved front and side skirts, which is a characteristic of the "Early Baroque" or "William and Mary" style.

It was an early nineteenth-century Massachusetts fancy settee, part of the collection at Winterthur, that spawned the Currey & Company version, which is named "Chestertown", above.  The original settee was decorated with gilded grapes and leaves.

Currey & Company's "Chestertown" Rocking Chair.

Currey & Company's "Victor" lamp.

The floral motif on this table lamp was inspired by the 1881 pattern book, Suggestions in Floral Design, by Frederick E. Hulme.  The book featured chromolithographed plates of plant and floral specimens, some of which were highlighted in gold.  A copy of this book is in the library at Winterthur.

Weekends at Winterthur

The Dining Room at Winterthur


I hope that some of you are planning to attend next week's Chic It Up! event at Winterthur. Seriously, you will be so glad that you did. When I toured Winterthur a few years ago, I was absolutely fascinated by Mr. du Pont's connoisseurship in all matters of living including decorating, collecting, and entertaining. His efforts at designing a home that was both historically accurate and aesthetically dazzling helped to cement his reputation as one of this country's most esteemed tastemakers. But what has especially intrigued me is the way in which H. F. du Pont approached entertaining. It seems that a night or a weekend at Winterthur was absolute perfection with no detail overlooked. I asked Maggie Lidz, Estate Historian and Curator of Garden and Estate Objects at Winterthur, to send me some archival information about du Pont's style of entertaining. I have to say that some of the anecdotes blew my mind. This is the kind of entertaining that one doesn't experience today.

If you were invited by the du Ponts to be weekend guests at Winterthur, you would arrive on a Friday afternoon, just in time for tea. As Mr. and Mrs. du Pont greeted you, footmen would take your coats while the houseman would deposit your luggage in your room. A maid would then unpack your suitcase. After tea, you would retreat to your room so that you could dress for cocktails and dinner. Cocktails began at 7:30 with dinner served at 8:00.

Brooke Astor recalled that the cocktail hour at Winterthur was most special. du Pont would have small card tables set up outside of the drawing room or in the hall at which guests could enjoy caviar and iced vodka. This was a seated affair where, according to Astor, "one could enjoy the delicious treat comfortably and to the full, which one cannot do standing up with a plate in one hand and a glass in the other." Susan Mary Alsop was also impressed by "the caviar on the pink covered card table outside the conservatory on our cozy Friday evening."

Afterwards, it was into the dining room where dinner was served á la russe with one footman to every two guests. By all accounts, the food was delicious. Mr. du Pont also paid much attention to his table settings. A few days before the dinner, he would start to plan the setting with the head gardener who would bring a selection of flowers to Mr. du Pont. Once du Pont chose flowers for the table, he then selected the proper china which best matched the flowers.


A Butler's Pantry filled with candelabra and Battersea candlesticks

After dinner, the male guests would retire to the library or the Marlboro Room where they would enjoy cigars and drinks. The ladies went to the Chinese Parlor for coffee. But even then, the evening was not over. Guests would then play bridge, watch a movie in the Court, or even tour the house.


The Chinese Parlor

Breakfast was served in one's room. You would fill out a menu card the night before, one which read: "M__ (name)___, Hour, Coffee, Tea, Hot milk, Cream, Eggs, Bacon, Toast, Fruit, Remarks". The next morning at the requested time, a footman would deliver a tray with your breakfast, a copy of the Herald Tribune, and a rose in a silver bud vase.

The day's activities included an informal lunch, tennis, swimming, golf, bowling, touring the gardens, and at times trips to Longwood Gardens and Eleutherian Mills.


The Enclosed Porch

And in terms of the guest rooms, it seems that they never ceased to impress guests. They were beautifully appointed with the finest antiques. One guest, Joe Kindig III, recalls that a "period textile was present on the bed upon your arrival, but was replaced when you retired to your room. A valet was available for my needs and a maid for my wife's." Antiques dealer Bernard Levy was quoted as saying that H. F. du Pont "had a staff that gave you the feeling that when you turned over at night they fluffed the pillow." And Walter Heacock said, "One [footman] checked the labels in the clothes of the guests to find out how much service they were accustomed to." Heacock went on to say that during one of his visits, he retired to his bedroom one evening to find that his shoelaces had been pressed and toothpaste had already been applied to his toothbrush.

Like I said earlier, I can only imagine the cosseting that the du Pont's guests must have felt during a weekend at Winterthur. It's no wonder that people like Jackie Kennedy, no slouch herself, were enthralled by Henry Francis du Pont. I didn't know the man but I am enthralled by him as well!

And by the way, the relationship between H. F. du Pont, Jackie Kennedy, and the Fine Arts Committee of the White House is just one of the topics that will be covered next week at Winterthur. If you do attend, please let me know. I want to hear all about it!


I would like to thank Maggie Lidz for providing me with the information used to write this post. The first and last photos are courtesy of Winterthur. The middle two were taken by me.

Winterthur, Part Three

As part of my Winterthur tour, I was treated to a behind the scenes tour of their textile collection. Curator Linda Eaton, who by the way is incredibly knowledgeable, took us into the bowels of the house where boxes and boxes of textiles are carefully stored. Textiles like this one- an antique English valance:


Isn't the craftsmanship amazing?

Some of my favorite pieces were the antique Indian Palampores. This one, below, is simply stunning in person. Would you believe that it's early 18th century? It's in pristine condition.



As it was in the days of Henry Francis du Pont, curtains, pelmets, and slipcovers are changed out seasonally. Winterthur has a room that's devoted entirely to curtain storage! There are racks and racks of out of season curtains, while pelmet covers are carefully hung on the wall. Many of the curtains have tags sewn into the lining identifying which season they should be displayed. I wish I had taken a photo, but I was so amazed at the sight of this space that I simply forgot!

One of the greatest surprises to me was Mr. du Pont's bedcover in the master bedroom.




Does the fabric look familiar? Remember these photos from my recent posts?




Braquenié's Tree of Life print as seen in Givenchy's country manor and Braquenié's "Le Rocher" print.

I couldn't believe my eyes when I entered Mr. du Pont's bedroom and saw this fabric. It was almost identical to the Braquenié prints I've been obsessing about as of late. Linda explained that the du Pont fabric is yet another antique Indian Palampore with the Tree of Life motif. Many of these Indian prints were copied by European textile makers back in the 18th century.

It's crazy how this print seems to be everywhere I look!




The day ended with a tour of Winterthur's Licensing group. In case you didn't know, Winterthur has teamed up with companies like Stark, Brunschwig & Fils, Kravet, Currey & Company, and others to design lines of products that have been inspired by or are replicas of items in the Winterthur collection. The paper above, a Chinoiserie print, is part of the Winterthur Collection for Stark. As lovely as this paper is, my favorite is this one:




How beautiful is that? You should visit Winterthur's website for a complete list of product partners. There are a lot of nifty things in these collections!

Chic It Up 1960s Style

I just received word that Winterthur's annual design conference, Chic It Up!, will be held on October 9 and 10 at Winterthur. This year's event focuses on 1960's interior design and the contributions that Henry Francis du Pont made both to Winterthur and to the design world during that decade. After all, du Pont was friends with such luminaries as Diana Vreeland, Billy Baldwin, Millicent Hearst, and Jackie Kennedy. In fact, you might recall that Kennedy appointed du Pont to be chairman of her committee to refurnish the White House, something which I'll explore in a future post.

This year's lineup of speakers includes Adam Lewis speaking on Billy Baldwin, Emily Evans Eerdmans discussing Madeleine Castaing, James Archer Abbot holding forth on Maison Jansen, and Mitchell Owens expounding on Swinging 1960s Style. I have heard both Lewis and Eerdmans speak before, and they are both interesting and engaging speakers. And although I have never had the opportunity to attend a lecture given by Abbot nor Owens, I hear that they too are most impressive. Can you imagine a better way to spend the day than to learn more about 1960s design? I can't.

Later in the day on the 10th, there will be workshops that one can attend led by Winterthur's own Maggie Lidz, Tom Savage, Jeff Groff, and Linda Eaton as well as other Winterthur historians. I have heard this group lecture before, and they too will knock your socks off. And there is even an optional tour the day before of private homes in the area including one whose dining room appeared in Thomas Jayne's recent book, The Finest Rooms in America.

Unfortunately, I won't be able to attend this year's event because of a prior commitment. I am sick that I'll miss it because the Chic It Up! event that I attended two years ago was one of the best conferences that I have ever attended- truly. This is why I urge you to make plans to attend. You really won't be sorry. And if my ebullience seems a little over the top, just know that I am not receiving any type of compensation for this plug. I am doing it solely because I think that Winterthur is one of our country's great treasures.

For more information, visit www.winterthur.org/ciu or call 302-888-4786.





The Dining Room at The Big Bend, one of the houses that is part of the optional tour. Photo courtesy of The Finest Rooms in America (The Monacelli Press, 2010) by Thomas Jayne. Photo by Kerri McCaffety.





Madeleine Castaing's Winter Bedroom at Maison de Leves that will be discussed by Emily Evans Eerdmans. Photo from The World of Madeleine Castaing (Rizzoli, 2010) by Emily Eerdmans, courtesy of Sotheby's.





Adam Lewis will speak on design legend Billy Baldwin. Photo by Horst, from Billy Baldwin: The Great American Decorator (Rizzoli, 2010) by Adam Lewis, courtesy of Adam Lewis.





The White House Blue Room as designed by Stephane Boudin of Maison Jansen. Photo courtesy of the John Fitzgerald Kennedy Library



Photo of David Hicks interior, part of the Chic It Up! banner, from from The Best of European Decoration (Reynal & Co., 1963) by Georges Bernier, courtesy of L’Oeil.

Spatter Pattern

And no, it's not the spatter pattern that is discussed so frequently in episodes of "CSI". It's "Spatter", and it's one of my favorite Hinson prints. Designed by Harry Hinson in 1974, the print was inspired by the spatter motif found often in Colonial ceramicware (this according to a 2001 New York Times article). The article also mentioned that it's a print that counts Albert Hadley and Jeffrey Bilhuber amongst its fans. I've also read that Billy Baldwin used it in his Nantucket home, but I can't find a photo.

So, just where can you use a print like "Spatter"? Well, Harry Hinson used it in his East Hampton home (shown above), and I was thrilled to see it in another Hamptons house designed by Tom Scheerer (and featured in the August '08 issue of House Beautiful). But I do think you can use it in a city home too. How about in a powder room? Or a kitchen? Just think of "Spatter" as a modern take on early Americana.

And speaking of Americana, I was curious about Hinson's supposed inspiration for this print. Just what was spatter and how was it used during Colonial times? Well, one of the prime examples is spatterware. According to a ceramic curator at Winterthur, spatterware was originally manufactured in England where it was known as spongeware. As spongeware was not particularly popular in England, most of it was shipped to the American colonies where it became known as spatterware. And it was here in America where spatterware became extremely popular, especially amongst the Pennsylvania Germans. Sponge and spatter painting was also used on furniture, walls, and floors during this era.

So although I can't corroborate whether Hinson was actually inspired by spatterware or not, it's something to ponder. If you would like to learn more about spatterware, you should visit Winterthur. Henry Francis du Pont was a major collector of it, and there is a magnificent display of his collection in Spatterware Hall at Winterthur. Or you can read more about his collection here in an interview with du Pont's daughter, the lucky recipient of some of her father's collection.


(Many thanks to everyone at Winterthur for assisting me in my research of spatterware.)



Two images of Scheerer's fabulous wallpaper selection for an East Hampton cottage (image from House Beautiful, Aug 08; Simon Upton photographer).


A Spatterware platter, c. 1825-1855, Staffordshire England. Does this not look modern to you? Bequest of Henry Francis du Pont; image courtesy of Winterthur.


Spatterware pitcher, c. 1825-1855, Staffordshire England. Bequest of Henry Francis du Pont. Image courtesy of Winterthur.


Four examples of Spatterware jugs, c. 1825-1855, Staffordshire England. Bequest of Henry Francis du Pont. Photo courtesy of Winterthur.

Image at top: "Spatter" in blue and white on the walls and curtains of Harry Hinson's East Hampton dining room.