. I loved Yeoward's first book Perfect Tables as it has provided me of lots of inspiration for styling my table. and Tiffany Taste from the 1980s!
On to another book review...
I have posted a few articles about my anticipation of the release of Regency Redux
Eerdmans begins her book by giving the reader a brief history of the English Regency and French Empire styles- an important starting point as the 20th century interpretations of Regency are based on these two similar styles. Then, it's on to explore all of the different sub-genres of 20th century Regency. There's Neoclassical Moderne, Vogue Regency, Hollywood Regency, and Decorator Regency. I'm being a bit vague here as I don't want to spoil it for you, but let me just say that each distinct style is explored in great detail- and with copious amounts of scrumptious photographs (meaning... I want the furniture and interiors featured in this book.)
Also, the gang's all here, with Draper, Fowler, McMillen, Maugham, Arbus, Leleu, and others being prominently featured. And as the Regency look played such an important role in Hollywood cinema of the 1930s and 40s, there are scores and scores of movie stills that are a delight to see.
Now, I must say that I was prone to like this book as 1930s and 40s design suits my aesthetic. But no matter what your style is, if you're interested in classical, modern, traditional, stylized, theatrical or sophisticated interiors, then you too just might find this book to be as captivating as I did. Regency Redux
A still from the 1932 movie Transatlantic, which won an Oscar for art direction. The look here is referred to as "Deco Greco".
Another still, this time from the 1935 movie No More Ladies (appropriately named as Joan Crawford starred in it!). Eerdmans makes note of the Regency swags and the Neo-Grec furniture in this room.
Can you tell I'm a sucker for old movies??? Here is an image from the 1945 movie Week-end at the Waldorf. Wouldn't you have liked to attend this staged cocktail party??
The Palm Beach resident of Mrs. Hugh Walker Mercer, designed by Ruby Ross Wood. Wood is one of my all-time favorite decorators (and she was a Georgia girl too!).
A room designed by McMillen for Millicent Rogers... a match made in heaven. Note the Neoclassical details in the room.
Attention all Marie Antoinette fans! (Oh yes, and you Francophiles, gardeners, and historians too!) There is an upcoming book release that you must not miss. Marie-Antoinette and the Last Garden at Versailles
According to the book, there was great debate in mid to late 18th century France about formal gardens versus more naturalistic ones. Louis XIV's Versailles was of course noted for its rigid gardens designed by André Le Nôtre. But by the time Louis XVI ascended to the throne, there was a growing group of aesthetes who championed gardens and landscapes that were more loose and natural. And Marie Antoinette fell into this camp. When she became chatelaine of Petit Trianon, she set out to create a Franco-Anglo-Chinese garden complete with man-made lakes, ridges, and vistas. To me, the most interesting parts of the gardens are the structures that were built, including the Dairy House, the Tower of Marlborough, the Hamlet, and the Rock- a folly meant to resemble the mountains of her Austrian homeland.
The text of the book, written by Christian Duvernois, provides us with an engrossing account of how these magnificent gardens came to be. I think the author does an excellent job in helping to correct the misconception that Marie Antoinette was simply a vacuous and supercilious woman. And for those who can't get enough of beautiful photographs, there are plenty of those too. François Halard's haunting images capture the awesome splendor of this thoroughly unique place.
A bust of Marie Antoinette by Louis-Simon Boizot (c. 1775)
A view of the French Pavilion at Petit Trianon. The pavilion, designed by Ange-Jacques Gabriel for Louix XV, anchors the main axis of the French Garden.
The ornate interior of the Queen's Theater. The plain exterior of the Theater belies the sumptuousness of the interior.
A marble fountain inside of the Dairy House. The walls were painted in trompe l'oeil to resemble real marble.
Vibrant pink roses in the Queen's gardens.
A view of the Dairy House (right) and the Tower of Marlborough.
(Photo credits: François Halard from Marie Antoinette and the Last Garden at Versailles, Rizzoli New York, 2008.)
Remember my post on the late Gene Hovis- the man whose gorgeous home and envy-inducing linen and silver collection piqued my fascination? Well, he popped up again, this time in the Tiffany Gourmet Cookbook
Hovis' library/dining room was the setting for this elegant meal. I know, I know- I've read where many are tired of the library cum dining room concept. But don't you kind of fall in love all over again with the idea when you see how smashing Hovis' dining room looks? Good books, good food, and a beautifully appointed room. Really, what could be better?
The menu consisted of Crown Roast of Lamb with brussel sprouts, deviled carrots, and pan-fried shredded potatoes, served on Tiffany's "Yellow Bird" faience platter. Hovis also included a yummy looking tomato aspic with shrimp and crawfish nestled on a Tiffany ribbed silver tray. (And please, don't knock the tomato aspic- it's really good. I swear!).
The dessert course- coffee profiteroles with chocolate sauce- is laid out in front of a 19th century French hand-blocked paper screen- yes, I am coveting this. And wouldn't you be pleased to take tea or coffee served from this Louis XIV service from Tiffany's?
So my question is- do any of you still entertain like this? And if so, how often? I love formal entertaining but don't do it often enough. I think Mr. Hovis has inspired me to do so.
(You might also be interested in Gene Hovis' Uptown Down Home Cookbook
One of my favorite sites in London is Spencer House, located in St. James. Built in the mid-eighteenth century for John, first Earl Spencer (yes, those Spencers), the house's first architect was John Vardy, a student of William Kent. It was Vardy who was responsible for the exterior of the home as well as some of the interior rooms, though unfortunately for him, he was later replaced as chief architect by James "Athenian" Stuart, a disciple of Greek architecture. Stuart's influence is seen in the classic Greek detail throughout the interior, making it one of the first examples of neoclassical architecture in England.
Throughout the late eighteenth and nineteenth centuries, subsequent generations of Spencers set about at refreshing and remodeling the interiors of the home, including a remodeling led by Henry Holland. After all, the Spencers were a prominent and highly social family, so Spencer House had to reflect this. Interestingly, the Spencers lived in the home until the late 1800s, at which time they leased the house to the Duke of Marlborough and his wife (Consuelo Vanderbilt) as well as various organizations. During the blitz in WWII, the contents of the home, including the fixtures, were removed and shipped to the Spencer estate Althorp for safe keeping.
Fortunately for us, Spencer House is now restored to its former glory and is open to the public. Of course, the fact that Spencer House is one of the few remaining private palaces in London makes it important. But the other nice thing is that it doesn't seem to be on many tourists' radar, meaning no long lines!
(One tidbit of info that I just gleaned- Georgiana, Duchess of Devonshire, was the daughter of first Earl Spencer and thus lived in the home until her marriage to the Duke of Devonshire. For a great book on Georgiana, you might want to read Georgiana: Duchess of Devonshire
The Palm Room was used by gentlemen after dinner. It was Vardy who was responsible for the design of this room.
The magnificent Great Room. According to Spencer House's website, the coffered ceiling and frieze were inspired by the vaults at the Temple of Concord and Victory in Rome.
The Painted Room (c. 1759-65) was one of the first completely Neoclassical rooms in Europe. Designed by Stuart to celebrate the marriage of the first Earl Spencer and his wife, the room is dominated by images of marriage and festivity, all inspired by ancient Greece and Rome.
Vardy's design for the Ante Room- originally conceived as the Spencers' private dining room- includes a stunning coffered apse. It was Henry Holland who inserted the mahogany double doors under the apse in 1792.
I like to purchase guide books from the sites I visit- just in case I missed something on the tour. I also like to mark the date of my visit on the inside cover. This might become especially helpful when my memory starts to fail me- hopefully not anytime soon!
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Let's start our weekend with a big dose of glamour... as in these wild acrylic Ice Sconces designed by Billy Haines. Although the faceted acrylic pieces were created in 1953 for the May house of Holmby Hills, CA, they seem reminiscent of 1930s Hollywood. I like that the facets are rather aggressive- it's like a combination of Joan Crawford's brash personality and Carole Lombard's feminine allure.
The sconces have been reissued as limited editions and are sold as opposing left/ right matching pairs.
(Contact William Haines Design for more information- (310) 289-0280)
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.
I was so excited to open the October issue of House Beautiful and see an article on "Happy Prints". Because you see, this is totally me. As I'm writing this post I'm sitting in my bedroom, and it's depressing me terribly. The walls are coated in wallpaper primer which make them look cold and sterile. I am counting the days until my wallpaper- yes, a print- arrives so that my bedroom can be transformed into a room that makes me feel chic and happy. In the meantime, I have to get up and run into another room to look at color and my other prints for a temporary lift.
I adore prints that have pep and spunk. I love prints that make you stand up and take notice. Of course I do believe in the old adage to beware of too much of a good thing. In fact, my love of prints has forced me to be a ruthless editor. I've got so many that I would love to use but... not enough space and too little time.
The way I work with happy prints is by toning them down a bit with the use of sophisticated color. Because my other love is color. I absolutely cannot live without it. The irony of it all is that I don't wear color. Occasionally a little pale blue, but mostly blacks and grays. Not only is this practical, but it makes me feel elegant too. But in my home I prefer prints with pizzazz combined with rich color. And when I say rich I don't mean bright, because that's not me either. I'm thinking creamy blues, mossy greens, aubergine, even powdery pink.
Now, I'm not immune to the charms and the quiet elegance of a neutral room. In fact, one of my very favorite Billy Baldwin rooms is one that is rather monochromatic and neutral. But for my own home? It's all about color and prints. Because at the end of the day, that is what makes me happy.
Chinoiserie prints always make me sing, especially those that are not so serious. I have two chairs upholstered in "Ping" (Scalamandre), and they make me very happy.
And all of Sister Parish Designs' prints are upbeat, especially "Chou Chou"
How about Meloire Reverse from Quadrille/Alan Campbell? This might just get your mind off of the economy- at least temporarily!
"Asparagus Plaid" by Brunschwig is such a funny print. While it's not my style, I can definitely see where it might make others smile.
Again, not a print for everybody, but it might be just the thing for a porcelain collector. "Imari Trophy Plate" by Carlton Varney
Prints don't have to bold, colorful, or whimsical to make you happy. I used this Tyler Hall print- "Exeter"- in my old powder room, and it gave the room some flair... which in turn made me happy!
Image at top: A room designed by Albert Hadley- in my mind, the pied piper of the happy, handsome, and understated print. His fabric and wallpaper for Hinson is by far my favorite.
