Waterhouse Wallhangings and the Edward Zajac Collection

If only I had an abundance of rooms in which to hang wallpaper. That's how I felt when I saw the newest wallpaper collection from Waterhouse Wallhangings, which will be available in showrooms starting this month.  New designs include beefy stripes (Hyde Park Stripe), damask (Wheat Damask), Paris landmarks (Monuments of Paris), and Noah's animals (Noah's Ark), which is sure to delight both children and their parents. It's not often that I am tempted to decorate my home with such whimsical creatures, but I am completely charmed by these animals.  (By the way, Noah's Ark is based on a print found in one of Dorothy Waterhouse's old books.)

Waterhouse Wallhangings is also debuting the Edward Zajac Collection.  You have seen numerous posts about Zajac and his late partner, Richard Callahan, on this blog.  Zajac and Callahan were known for their enthusiastic use of pattern.  A Zajac and Callahan room typically had layer upon layer of pattern, but they were mixed in such a way so that the effect was sometimes daring, often ravishing, and never discordant. 

Zajac often designed custom fabrics and wallpapers for his clients, which was the impetus for this new collection.  The collection's prints include Regency Rope, Regency Rope Trellis, Regency Rope Panel, Charlotte Ruching, and Don't Fret.  Regency Rope Panel, which measures 12 feet long and 27 inches wide, was inspired by a set of folding screens in Zajac's apartment.  All three Regency Rope prints were designed so that they can be used together to spectacular effect.  And you'll notice that Charlotte Ruching has a border that runs down one side of the paper.  This border can be cut and applied as a border at the ceiling or along all four sides of a wall.  The line's versatility is very much in the spirit of Zajac's custom work.

For more information, please visit the Waterhouse Wallhangings website.  Coordinating fabrics for the Edward Zajac Collection wallpaper will be introduced in September.

Monuments of Paris

Hyde Park Stripe

Noah's Ark

Provincetown

Wheat Damask

Gingko



The Edward Zajac Collection:

Regency Rope

Regency Rope Trellis

Regency Rope Panel

Charlotte Ruching

Don't Fret


All images courtesy of Waterhouse Wallhangings

Zajac and Callahan: The Later Years

If you have followed my blog for the last few years, you know that I have frequently featured the work of designers Edward Zajac and the late Richard Callahan. Zajac and Callahan, as the design duo was better known, became design-world darlings in the late 1960s, when their work appeared almost constantly on the covers of American shelter magazines. What made their work so popular at that time was the designers' enthusiasm for zesty color and bold patterns. In fact, it was not uncommon to see five or six different patterns used within one Zajac and Callahan-decorated room. But rather than mixing color and pattern in random fashion, Zajac and Callahan concocted their pattern-laden decor with planning and forethought, something which resulted in rooms that were cohesive in spite of their variety and robustness.

Throughout their careers, Zajac and Callahan remained committed to marrying disparate patterns in their work.  In the Long Island home of Callahan's sister and brother-in-law (seen here and originally published in House & Garden, January 1999), the designers took an exuberant and playful approach to the home's decor, which H&G described as "American rococo."  Here, the Zajac and Callahan medley included Chinoiserie-motif wallpaper (a custom print designed by Zajac,) floral chintz, geometric-print ceiling paper, damasks, and even foliage wallpaper.  And tucked amongst this pattern-on-pattern was a collection of antique furniture in an array of styles, something which elevated this decorative play of prints to a level of maturity that was appropriate to its surroundings.

More than anything else, though, I think this home- and really all of the other Zajac and Callahan projects that I have shown on my blog- was evidence of the design duo's love of decorating.  Only enthusiastic decorators like Zajac and Callahan could have concocted such an enchanting blend of fabrics, color, prints, and furniture under one roof.

Image at top: The house's entrance hall.  The unique window valances were designed by Edward Zajac.

The living room.  The sofa was covered in "Fairoak", a Rose Cumming chintz.

The fireplace in the master bedroom.  The floral-print carpet was by Stark.

The dining room walls were covered in a custom paper designed by Edward Zajac.

The study with its foliage-papered walls ("Foret Foliage" wallpaper by Brunschwig & Fils.)

The master bedroom.  The bed canopy was based on a valance seen in a Venetian palazzo.

All photos from House & Garden, January 1999, Melanie Acevedo photographer.

It's Splendiferous

Those of you who have read my blog over the years know that I am a fan of the work of Zajac & Callahan.  Edward Zajac, along with his late partner, Richard Callahan, set the decorating world on fire during the late 1960s, 1970s, and 1980s thanks to their bold interiors, which were often furnished with confident color and even more confident-looking prints and patterns.  And perhaps even more notable was the design duo's custom designed furniture and objects, which could be described as unusual, dashing, and downright good-looking.  It's no surprise that many design aficionados clamored for these pieces when they were auctioned off by Bonhams last year.

A few weeks ago, I was in Philadelphia giving a lecture to a women's club, and while there, two very stylish Philadelphians, Dottebob and Reva, mentioned the work of Zajac & Callahan to me.  It seems that they too were fans of the designers.  And then, just a few days later, I had the opportunity to actually meet Mr. Zajac, who was kind enough to attend my book party at Donghia. (You can see the two of us, above.)  Needless to say, that was a real thrill for me.

My week of Edward Zajac reminded me of a few photos about which I had been meaning to blog.  It seems that back in the mid-1960s, Zajac & Callahan decorated a chichi women's clothing store named "Splendiferous".  Opening in 1963 on Manhattan's Third Avenue and expanding in 1967 to a second location at 16 East 56th St., Splendiferous was evidently the last word in women's fashion.  Owned by Jerry Goldfarb and Terry Ryan, the store sold fashions by Oscar de la Renta, Kenneth Douglas, and Rudi Gernreich, just to name a few designers.  In fact, Splendiferous was at the vanguard of daring fashion, having sold 77 of Gernreich's infamous topless women's bathing suits- more than any other store in this country.  And the various departments within the store had catchy names.  Handbags were sold in the "Moneybags" department, gourmet food in "Posh Knosh", and lingerie in "Underneath It All", while sale items were relegated to the "Nobody Loves Me" section of the store.  It seems that Splendiferous was popular with the well-heeled crowd, with customers like Jacqueline Kennedy (whose purchases included brown crepe culottes trimmed in ostrich feathers and a Rudi Gernreich Shaker knit dress), Princess Margaret, and Evangeline Bruce frequenting the store.  Did they shop there because of the clothes?  Or was it because the salespeople were men with then-fashionable long hair?

Clever marketing aside, it was the E. 56th St. branch's decoration by Zajac & Callahan that seems most memorable- along with those Rudi Gernreich bathing suits, of course.  The store's furbishment cost $150,000, which paid for such features as a water fountain that held 9,000 colored marbles, a glass elevator, and Zajac & Callahan's signature patterned fabrics and wallpaper. I wish that I could show you photo after photo of the store's interior, because I have a feeling it was really something else.  However, Splendiferous photos are hard to come by.  I managed to find a scant three photos of the store, which had been featured in the September 1967 issue of House & Garden.  I am assuming that these photos show the 56th St. location rather than Third Avenue. 

Alas, all good things must come to an end.  Goldfarb and Ryan shuttered the business in 1973 and moved to Florida.  In 1999, they opened another boutique, this one located in Delray Beach, Florida.  Its name?  I Love Dazzle.  I can't determine if that shop is still in business or not.

I know that the Splendiferous photos seen here don't really capture the store's interior in all of its glory, but they certainly have piqued my curiosity.  I'm going to continue to search for more images.  But, in the meantime, have a look at what was once Manhattan's most cutting-edge fashion emporium.

Image at top: Photo courtesy of Editor at Large.  Remaining photos from House & Garden, September 1967.

A Chance To Learn From The Master

Let's end the week with a history lesson.  Not just any old history lesson, but one given by the late educator and design historian, Stanley Barrows. 

Featured in the September 1978 issue of House Beautiful (yes, I am obviously stuck on this issue,) the article was comprised of three different room vignettes, each of which captured the look of a different era in 20th century design history.  There was the 1900: Turn-of-the-Century Opulence look, which can be seen above.  Following that was the 1950: Mid-Century Comfort room.  And after that, 1978: Contemporary Simplicity.  The background for all three vignettes remained the same: the drawing room of an early 20th century Georgian Revival townhouse, which had classic moldings, an elegant fireplace, and dark glossy walls.

So why should we care about these room settings that were concocted in 1978?  Because this is the closest most of us will ever get to being taught by the great Barrows, who counted Mario Buatta, Albert Hadley, Angelo Donghia, Thomas Britt, Edward Zajac, and many other great designers among his many students.  Considering those designers' talents, I think we should listen up and pay attention to Mr. Barrows.

The caption for the Edwardian-era room above read: "The drawing room in Edwardian times was always ready to receive callers. A formal space for 'at home' afternoons and evenings, it was filled with art and accessories. This room has an atmosphere of flowery fantasy, enhanced by the exuberant use of massed plants and flowers. A rose-and-lilac patterned chintz from Brunschwig & Fils carries out the floral theme on seating and stiffened valances and curtains. Alfred Maurer's striking full-length portrait shows the taste for dramatic poses during this era. A conscious diversity of forms associated with early 20th-century rooms is combined with a feeling of coziness."

1950-Mid-Century Comfort: "By mid-century, few families could afford the servants needed to maintain the Edwardian style. Room design, like life styles, is simpler, with an emphasis on personal comfort and relaxation. The treatment by the second generation of inhabitants reveals a more limited use of pattern, contrasted with larger areas of non-patterned textures. The concern for comfort is reflected in heavier upholstered chairs and sofas. A less complicated, balloon shade window treatment shows the generally softer look associated with interior design in mid-20th-century America. As in the earlier example, a conscious contrast of the lighter values of the fabrics is played against extremely dark porphyry-colored walls. This makes a dramatic background for the light and dark silhouettes of the furnishings. This is a timeless room. Its traditional look is as acceptable today as it was 30 years ago."

1978-Contemporary Simplicity: "Today, while some people seek to fill their lives with reminders of the past, others strive to unencumber themselves of objects. Room designs are based around a select few, or even one great piece. The modern generation in this house has achieved a present-day atmosphere through the elimination of all earlier furnishings and the selection of recently designed seating. A subtly-colored dhurri rug adds a restrained note of fantasy to this 'less is more' setting."



Photos and text from House Beautiful, September 1978, Ralph Bogertman photographer.

Tressard Fabrics

After publishing last week's post on Zajac & Callahan designed interiors, Danny Recoder of Waterhouse, Wallpapers and Fabrics informed me that the metallic floral wallpaper in one of the photos was an old James Ware/ Tressard design. Well, that certainly piqued my curiosity because I had never heard of James Ware nor Tressard before. And when Danny mentioned that both lines "were all the rage in the 1970s", I knew that I needed to learn more.

According to Danny, James Ware wallpaper and Tressard fabric were sister firms that produced wallpaper and fabric versions of the same designs. James Ware was run by James Ware and his partner Bill Fried, while Tressard was founded by Doy Rittgers. Danny wrote that while both firms shared the same designs, both the paper and fabric were printed to order in custom colors, something that is rather unusual today.

While both firms were indeed all the rage in the 1960s and 70s, they seem to have faded into obscurity. Ware died tragically in a car accident, while Rittgers passed away as a young man as well. Danny's enthusiasm for James Ware/ Tressard designs proved fruitful when he was able to track down some of the old screens and fabric samples, some of which you can see in this post.

I consulted my old magazines and have yet to find any photos in which a paper is credited to James Ware. I did, however, find some old photos of Tressard fabrics which I am including here. The photo at top is most interesting as it shows the home of Doy Rittgers, one that was designed by Rittgers' partner, prominent designer Louis Bromante. As you can see, Tressard fabric was used everywhere.

I'll keep hunting for more photos, but in the meantime, I thought you might like to see some of these old James Ware/ Tressard designs. While some certainly evoke a 1960s aesthetic, others still look fresh today.



The metallic floral print wallpaper in this Zajac and Callahan designed dining room was a James Ware/Tressard design called "Renee" in honor of the designer Renee Lynn Leonard. Danny drew the color separations and made the wallpaper screens for this print when he worked at James Ware during summer vacations from school.



This yellow and white bamboo on sailcloth Tressard print was called "Mado"



A brown and white latticework print



"Newport"



"Dassah", a vinyl with cotton stitching by Tressard.




"Lisette"





"Sabrina"



"Monte", previously named "Bromonte"




"Serure"




"Odette Stripe"


All fabric sample photos courtesy of Danny Recoder; all other photos from House & Garden.