Revisiting Jay Hyde Crawford

I first learned about Dean Rhys Morgan in the Dec/Jan issue of House Beautiful. Rhys Morgan is making headlines for his gallery's limited edition giclée prints of Jeremiah Goodman's work, including depictions of Carolina Herrera's glorious red sitting room and Tony Duquette's Dawnridge. When I was perusing Rhys Morgan's website over the holidays, I was excited to see that in addition to Jeremiah, the work of Kenneth Paul Block and other fashion illustrators are also being offered as limited edition prints. Included in this stellar roster of artists is Jay Hyde Crawford. That's Crawford as well as one of his illustrations above.

I only learned of Mr. Crawford a few years ago when I bought a copy of Architectural Digest New York Interiors. Famous for his illustrations for Bonwit Teller, Crawford was also the man behind the famous violet strewn Bonwit's shopping bag. Later, Crawford, his partner Anthony Tortora, Harry Hinson, and Richard Marlin founded the fabric and wallpaper company Quadrille. (Don't you envy people who are talented enough to achieve success in not one but two careers?) Crawford was responsible for all of Quadrille's early designs.

I posted about his Manhattan townhouse almost a year ago, but I love these images so much that I'm showing them again. And, there are a few new pics as well, thanks to a friend of Mr. Crawford who so kindly emailed me an article on Crawford. I especially appreciate the vignette shots as they have given me food for thought for my own tableaux, something which, as you may recall, does not come naturally to me. According to the Art and Antiques article, Crawford prefers to combine seemingly discordant objects and art in his compositions. He said "Putting wonderful things with a great work of art will just enhance it." Words of wisdom indeed.

Manhattan Townhouse circa 1979:




Circa early 1990s:





Helen Frankenthaler's Moondance above a Baroque mantel.


One of my favorite images: Robert Motherwell's Bread and Circuses rests comfortably with a bronze bust of Napoleon.





(Image #1 and 1990s vignette shots courtesy of Art and Antiques, November 1991, Richard Walker photographer; 1979 photos from Architectural Digest New York Interiors; first two 1990 shots from Manhattan Style)

Eddie Ross and Larson-Juhl

It seems as if those of us in Atlanta are looking forward to two things this week: possible snow and the Larson-Juhl framing party featuring Eddie Ross. To be held this Saturday, the event is free for bloggers and $10 for everyone else. Light refreshments will be served. For information or to reserve a spot, email jaithan@eddieross.com.


What a great way to spend a blustery Saturday afternoon!

The Doors of Shangri-La

I've seen Shangri-La... and it's filled with upholstered doors.

Over the holidays, I was watching Frank Capra's 1937 film Lost Horizon, a yarn about a hijacked plane that has been taken to Shangri-La. Despite its location in the rugged Himalayas, Shangri-La- or at least Capra's version of it- was an oasis of tranquility and peace set against a backdrop of thoroughly over the top 1930s set decoration. Tranquility? Peace? 1930s decor? Sounds like Shangri-La to me.

One of the most striking features of the film's set is the abundance of upholstered doors, something which seems to be on our minds lately thanks to designers like Miles Redd and Suzanne Rheinstein. While most examples we see today mimic classic, paneled doors, Shangri-La's were a bit more fanciful. It looks like there was nailhead trim around the perimeter of the door, but the rest of the design, a shapely mix of diamonds, octagons, and squares, appears to have been created with cording. And then there's that star/cross that was nailed to the top and bottom of the center diamond (you'll have to click on the images to see it clearly.)

I think that such an elaborate design might look best on large doors, much like those at Shangri-La. (Despite the fact that the citizens of Shangri-La practiced moderation in all things, everything seemed awfully big). But for those of us with average sized doors, why not take a few of these elements and incorporate them into your own upholstered door?

Seasons Greetings

A very Merry Christmas to each and every one of you. May your holidays be filled with great joy. (And I assure you that despite the look on Alfie's face, he is looking forward to Christmas.)

Merry Christmas and a Happy New Year to all,

Jennifer and Alfie

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)

A Lesson in Tableau-ing

I think that creating successful and effortless looking vignettes and tableaux either comes naturally to you or it doesn't. The biggest issue that I have is that my tableaux come out looking too forced or too uptight- a result, I believe, of my need for symmetry and order. I realized that I needed help, so who better to turn to for advice than the master of the tableau, Deborah Buck. That's Deborah at top in her recently relocated shop Buck House, holding her recently published book titled, what else, "Tableau". But for most of you, I'm sure you already knew that.

Deborah approaches creating tableaux as an artistic and intellectual endeavor, one that requires some thinking on one's part. She recommends first finding a common thread that can be woven throughout your vignette, but it shouldn't be one that's too obvious. OK, so how do you do that? By listening to what the objects have to say. (Did I mention that Deborah likes to anthropomorphize objects? For example, a vase is a "she" because it's a vessel, while a heftier piece is a "he". Makes sense to me.) The idea is to create a conversation between the objects, and in order to foster a pleasant conversation between these pieces, you have to listen to them. If you just force disparate objects together, you might end up with an argument on your hands.

Going back to what I said earlier about my need for symmetry, I asked Deborah about how you achieve a balanced composition without the rigidity. The answer to that is through the use of odd numbers. Deborah advises against putting four of something together, for example. If you have a pair of something, that's fine because they serve as guardians. And the other key is to give the objects their own oxygen. You want enough space around them (and around your vignette) in order to keep your eye moving. If things get too crowded, your eye gets stuck. As Deborah said, "soak an area and then create an area of rest around that." Oh, and how do you know where to put something? Deborah said wherever your eye rests, put something there.

Deborah includes such interesting objects in her tableaux, so I was curious if there was anything that she didn't like to use. As it turns out, she loves to use almost anything as long as it speaks to her. It might be something priceless, or something from the five and dime. The one thing that doesn't speak to her, however, are skulls and skull motifs. That's something that she feels is too dark for her tableaux. And in regards to trendy accessories (the ubiquitous coral, for example), Deborah said that if you love it and it's very "you", then embrace it and use it in a way that hasn't been done before.

The most important thing that Deborah stressed is to keep your vignette personal. After all, these objects that you've culled must say something about you. Otherwise, would you have purchased them? Compiling your objects into a tableau is like creating a narrative, one which might reflect your history, your travels, or your interests. Figuring out the narrative means that you'll need to start thinking- really thinking- about your past, your present, and your future. The end result is not just a beautiful tableau, but perhaps a different and more sensitive way of thinking.

(For more information, or to purchase Deborah's book, visit the Buck House website.)


A few vignette shots from Buck House with Deborah's signature striped walls:
















An image from "Tableau"

(All photos courtesy of Deborah Buck)

Finally in the Christmas Spirit

You haven't seen many posts about the holidays around here because quite honestly, it snuck up on me. It dawned on me last week that Christmas is this Friday. Have I been out to lunch or what? But someone who has been in the Christmas spirit for a few weeks is my friend Bob Garner, owner of Fabulous Things in Atlanta. Thanks to the creative eyes of Bob and David Duckworth, the shop looks amazing with wreaths, bows, garlands, and trees everywhere.















Nothing to do with Christmas, but I adore this custom Pagoda lantern. Too fabulous.

A few weeks ago, Bob hosted a very festive Christmas party in the shop for family, friends, and clients. I have to share with you some photos of the dining table laden with food. To me, this is such a wonderful example of gracious entertaining. Bob prepared most of the food himself- favorites like cheese straws, sausage balls, and pimento cheese- and served it from his grandmother's silver trays and bowls. If you don't have Grandmother or Mother's silver, it doesn't mean you can't have an elegant gathering. The point is that when you make an effort, when thought and care have got into the food and the setting, when things look lovely, and when you have plenty of booze, a good time is sure to follow.










A display of famous (or infamous) Claxton fruitcakes.

If you see something you like (perhaps that Pagoda lantern?), contact Bob at (404) 350-0916 or fabthing@bellsouth.net. The wreaths you see above are now being offered at reduced prices and can be stored for use next year- much like the Claxton fruitcakes, which will taste the same whether you eat it today or a year from now.