The Talented Ronald Grimaldi

I have one of my long-time readers, Mr. Toby Worthington, to thank for this post. For the past few years, we have emailed back and forth about the late Ronald Grimaldi, the man who served for years as the president of Rose Cumming. Shortly after Rose died, Grimaldi was hired by Rose's sister, Eileen, to help run the shop, and Grimaldi's career took off from there.

It was Toby Worthington who told me that Grimaldi's Upper East Side apartment had been published in a 1990's issue of House & Garden. I finally located a copy of the issue (April 1999, by the way), and indeed Grimaldi's apartment was as stylish as Toby had claimed. I think of this apartment as being a great example of old-school decorating- and that is in no way a criticism. Rather, I consider it to be one of the best compliments that I can give! It was a personal apartment, one filled with pieces that Grimaldi had collected through the years. It was layered and luxurious, just as one would expect of the man who presided over Rose Cumming.

Now, I will admit that I'm not crazy about the master bedroom (see below), though that might have something to do with the lighting- a little too harsh. But I really think that the beauty of the apartment is in the details: the lacquered red striped Rose Cumming wallpaper in the entryway; the 1940s black and white linoleum floor, also in the entryway; those wonderful Rose Cumming fabrics; the dining chairs that once belonged to Gloria Vanderbilt; and the Zajac & Callahan pieces that really added zing to the apartment. Even if Grimaldi's look isn't really your thing, I think that if you look closely at the photos, you'll find "things" that will intrigue you.





The living room walls were painted in an apple green shade for a "little punch." The tufted settee and chairs were covered in Rose Cumming fabrics. The tufted chair in the foreground was designed by Zajac & Callahan.





The entryway with its 1940s linoleum floor. (I would absolutely love to have old linoleum floors!) The walls were covered in Rose Cumming's "Band-Box Stripe" that was lacquered.




Another view of the entryway.




The dining table was surrounded by 18th c. Portuguese chairs that were once owned by Gloria Vanderbilt. They were covered in a silk taffeta that had been painted to look like tiger skin. The mirror was by Zajac & Callahan.





Grimaldi's bedroom. The bed was upholstered in a Rose Cumming silk damask while the walls were covered in "Directoire Star" by Rose Cumming.





The guest bedroom featured Rose Cumming's "Sussex", a glazed chintz.


All images from House & Garden, April 1999, Eric Boman 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.

More Zajac and Callahan

As I'll be traveling this week and time will be limited, I've decided to post about designers whose heydays were in the 1950s through the 1980s. I feel that these designers deserve some 21st century recognition. While some of the interiors may appear rather dated, it's important to remember that at the time they were quite the thing.

Today, I've decided to show more images from the portfolio of Zajac & Callahan. To learn more about them, read my previous post from a few weeks ago. Yes, it's a lot of prints and pattern, but you've got to hand it to the two men. Somehow, I think it worked. And hey, it was the late 1960s and 70s!

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.