Decoration Redux

A few of you have asked me to show more photos from Decoration: Tradition et Renouveau. I'm certainly happy to oblige because thus far, I haven't grown weary of looking through this book. I just hope that you don't grow weary of my frequent blogging about it.

Today's pictures are great examples of that early 1970s style of decor that is most closely identified with David Hicks. It was slick, daring, and cutting-edge...well, at least for that time. Actually, much of the furnishings in these rooms still look pretty good today.

Enjoy!

Image at top: Paris apartment decorated by French designer Jean Dive

The entry hall in Paris home designed by Dive. The doors remind me of the painted elevator doors on Bergdorf's 7th Floor.

Another dramatic looking entrance hall in Paris, this one decorated by Anita Bachmann.

A London home decorated by David Mlinaric.

A Milan apartment designed by Aldo Jacober.

Rubelli and "The Walls of Venice"

Rubelli, the venerable Italian textile company, has long been known for its sumptuous fabrics that are synonymous with Italian luxury. (Remember how Chuck Chewning, Creative Director of Donghia, recently used those gorgeous Rubelli fabrics in the refurbishment of the Gritti Palace?) But what you might not know is that Rubelli has recently introduced a new wallpaper collection called "The Walls of Venice".

What is notable about this new collection is that the wallpapers are reproductions of some of Rubelli's most storied fabrics, including their "San Marcos" damask and "Vendramino" silk. By using the latest technology, Rubelli has been able to duplicate the look of these fabrics onto sturdy, washable wallcoverings, which give the illusion of being made of fabric. So, a wallcovering might appear to have the sheen of its silk fabric counterpart or the texture and depth of the cut-velvet textile which inspired it. In a way, it's kind of like trompe l'oeil wallpaper. And by reproducing these mostly traditional fabrics onto wallcoverings, Rubelli has managed to make damask, for example, look thoroughly modern, something which is no easy feat.

I think it's exciting, not to mention reassuring, to see a veteran textile firm producing innovative fabrics and wallcoverings for the twenty-first century consumer. I believe that in a design industry that has unfortunately been turned upside over the past decade, such innovation will allow Rubelli to remain a viable company for years to come.

Take a look below at just some of the papers in the new collection. Scattered among the wallcovering photos are a few photos of fabrics that I scanned from the visually enticing book, Rubelli: A Story of Silk in Venice. (These fabric photos, which lack captions, are not part of the new wallpaper collection.) I think you'll get a sense of both Rubelli's old and new ways.

P.S.- The names of the wallcoverings are the same as those of the corresponding fabrics except that the word "wall" has been added to them.

Zecchinetta Wall from The Walls of Venice collection

Vendramin Wall from The Walls of Venice collection

Principessa Kocacin Wall from The Walls of Venice collection

Chiaroscuro Wall from The Walls of Venice collection

Superwong Wall from The Walls of Venice collection

Southern Charm in London

I'm anxiously awaiting my copy House Beautiful's October issue, which is the annual "Guide to Global Style" edition.  Guest edited by Chesie Breen (the first of the magazine's series of "pop up" guest editors,) the magazine profiles stylish homes from England and Ireland to Morocco and India, just to name a few of the featured foreign locales.

One article of special interest to me is that which profiles this Rob Southern- designed townhouse in London's South Kensington neighborhood.  Built in 1860, the house is architecturally formal in style, and yet, the interiors convey a "21st century American sensibility", one which reflects the home's 21st century American owners. The home has great flair and style, and yet, it appears to be downright comfortable, too. 

Take a look below at just a few of the article's photos, but be sure to pick up a copy of the magazine to read the article in its entirety.  Oh, and by the way, I couldn't resist including a photo of the home's dining room.  The walls are covered in raspberry-colored flame stitch velvet. 

The dining room wall's are upholstered in Lee Jofa's Holland flame stitch velvet.

The living room features ample seating, including sofas covered in Ginger fabric by Donghia.

Also in the living room is this fabulous vintage Asian scroll table.

The conservatory is used for informal dining. The tablecloth is Sanderson's China Blue.

A vignette includes a Jane Austen reader.

Designer Rob Southern standing on the living room terrace.


All photos used with express permission of House Beautiful.  James Merrell, photographer.

Super Model Rooms

Whenever I visit antiques shows, my attention is captured by all kinds of booths and displays.  But the booths that remain most memorable to me, even years after attending a show, are those where some amazing, unbelievable, one-of-a-kind find was displayed or those that were decorated to resemble chic living spaces.  I think that for those of us with a yen for decorating, we can't help but be drawn to exhibit spaces with strong decorative appeal, even if the wares being displayed aren't anything special.  True connoisseurs might cringe, but I think it's the truth.

Had I attended the fifth Biennale des antiquaires in Paris back in 1970, the rooms seen here, which I believe were part of the show, would have been etched into my memory.  If my English translation is correct, these model rooms were decorated by Jean Dive of Galerie Maison et Jardin.  I'm not familiar with this show, so I don't know if model rooms were/are a regular feature.  No matter, because there is much to look at, namely richly upholstered seating mixed with sleek, contemporary brushed steel and lots of Chinese pieces thrown in for good measure.  It might be a bit much to absorb, but this cocktail of furnishings does require one to linger over these photos, just as the show's guests must have lingered in these super model spaces.

All photos from Decoration- Tradition et Renouveau

Babe Paley's Secret Garden

I know little- very little- about gardens and gardening, and perhaps one of these days I'll remedy this situation. However, I suppose that I know enough to be familiar with Russell Page, the esteemed British garden designer. And, of course, the whole world knows who Babe Paley was. So, whether you're a garden aficionado or a novice like me, you might be interested in these photos, which depict the Russell Page-designed garden of Babe and William S. Paley.

Located at their Long Island estate, Kiluna Farm, the garden was designed mostly by Page, with additional input provided by Paley's friends, Henry Francis du Pont and Thomas Church. When the Paleys purchased this property, the garden lacked "mystery", according to Babe,  and felt "too constricted and enclosed," especially considering that dense woods hovered beyond its rose beds.  Paley decided that a new garden was in order, one which would cut into the untamed woods and have a proper focal point.  Mrs. Paley also wanted a "secret garden" feel to the space.

Page and Paley first cleared out a dell that would serve as the garden's focal point, and then planted it with a so-called "punch bowl", which was essentially an oval pond that was surrounded by grass.  The "outer frame" of the punch bowl was planted with various groundcovers and flowering trees and shrubs. (You can see what all of this means in the photo at top.)  Japanese azaleas were preserved from the old garden and replanted along the sides.  In addition to the azaleas, you'll also see rhododendrons, dogwoods, oak trees, and tulip poplars.

If any of you garden-savvy readers wish to add any pertinent information or comments to this post, please do so.  Even after reading the Architectural Digest article from which these photos came, I'm still a little muddled as to the intricacies of the garden's design. (And I'm still a little confused about the secret garden aspect.  Is it that the garden doesn't fully reveal itself upon first glance???)  I'm just hoping that the photos can and will do the talking!

All photos from Architectural Digest, November/December 1975, Richard Champion photographer.

A Blaze of Glory?

Flame stitch fabric.  Do you love it? Hate it? Fall somewhere in between?  Quite frankly, it has never been one of my favorites.  I think that the problem is that there are flame stitch fabrics that look too old-fashioned or their colors are all wrong, and then there are those that look like they came out of a seedy 1970s interior. 

I'm starting to change my tune, though.  Recently, my cousin Karlyle mentioned to me that she still loves flame stitch.  That comment made me start to reconsider this oldie.  And then, I opened the August issue of British House & Garden, and there was Helen Cormack of Tissus d'Hélène, who had put together a fabric scheme for a fantasy drawing room that included the most beautiful flame stitch by Edmond Petit, "Point d'Hongrie".  Cormack suggested using the fabric on the inside of a wing chair, with a dark green plain linen used for the outside.  How clever!

Now, I know that we are supposed to make decisions for ourselves, but I admit that Cormack's endorsement of this fabric gave it added appeal.  By all accounts, Cormack is the London doyenne of textiles, and her showroom is on my list of places to visit on my next (and hopefully soon) trip to London.  So yes, maybe I was swayed.  But still, I really think that I may further investigate "Point d'Hongrie".  I'm thinking that it might be just the right fabric for my sofa's throw pillows.  The fabric strikes just the right note for my apartment.  It's proper and well-mannered looking, not to mention that it has depth and maturity.  And yet, it isn't dull or, worse, seedy-looking.  This might just be the perfect flame stitch fabric.  Well, to me anyway.

 
"Point d'Hongrie" from Edmond Petit.

Other examples of flame stitch from the past (of which some are better than others):

A flame stitch vignette at Tiffany & Co., decorated by Inman Cook. c. 1960s.

A Bloomingdale's model room by Barbara d'Arcy.

Flame stitch wallhanging and upholstery in a 17th-century English room.

Flame stitch rugs in the bedroom of Michel Pignère, France, c. 1960s.


Image at top: House & Garden, August 2013; #2 House & Garden Guide to Interior Decoration; #3 House & Garden's Complete Guide to Interior Decoration; #4 Traditional Decorating by John Sutcliffe; #5 Nouvelles reussites de la decoration francaise, 1960-1966.

Executive Dining

Have you noticed that many vintage entertaining and tablesetting books devote at least a few pages to executive dining? It's quaint, really, because I believe that few of us devote much effort to weekday lunches, especially those we consume while working at our offices. In fact, I am writing this very post while eating Orzo Salad at my desk. It may not be a civilized way of eating, but it certainly is efficient.

But, back in the days when life was just a little bit less frenetic and when emails and social media were a burden yet to be discovered (and, by the way, when men wore suits and women wore dresses and skirts to work,) many people did take the time to enjoy a proper lunch. Sometimes they met friends at restaurants while at other times, they broke bread with their colleagues in the break room. A few brave souls ventured as far as three martini lunches (!) There was even a tradition in some offices, especially those of decorating establishments, of taking tea or coffee in the late afternoon, sometimes from a tea trolley that was pushed throughout the office.

Of course, not everyone had access to executive dining rooms, tea trolleys, and power lunches at the Four Seasons. But looking at these old books with their attractive workday tablesettings does make me realize that sometimes I really should slow down and enjoy life's little pleasures...even if that means eating Orzo Salad on proper china and at a proper table!

Image at top: In the 1930s-style Maple dining room of Cartier, a panther motif table was set for executives to discuss business. Note the wine and cigarettes.

"A Client Lunch at Wells, Rich, Greene, Inc." as conceived by Mary Wells Lawrence.  Tiffany & Co.'s "Bamboo" flatware and "Jardin de Jade" china adorns the table, which is surrounded by Bielecky Brothers rattan chairs.

"A Small In-Office Lunch" at the Manhattan office of John T. Sargent, former Chairman of the Board of Doubleday.  The table is set with "Si Kiang" china, "King William" flatware, "St. Remy" glasses, and a silver Monteith bowl filled with pears, all from Tiffany & Co.

"Luncheon at Chanel Inc.", where this fantasy lunch included Caprese Salad, grilled sole, and cantaloupe sherbet and gaufrettes for dessert.

"Lunch in the Corporate Boardroom" at the New York Bank for Savings.  Letitia Baldrige, who was a trustee of the bank, set this table with Tiffany & Co.'s "King William" flatware.

Primrose Bordier set her table for a "brainstorming session with her colleagues."  Asian accents include Philippine trays used as chargers, small Japanese hot towel baskets that served as bread plates, and Japanese porcelain bowls.

"Luncheon at an Executive's Desk" at the Time & Life Building, c. 1960. The table was set with tableware from Tiffany & Co., including what appears to be their "Hampton" flatware.  I myself have "Hampton" flatware, but I have never once used it for lunch on a workday!

"Luncheon in a Board Room" at the Time & Life Building, c. 1960.  Again, the tableware is from Tiffany.

Not a working lunch, but rather a working dinner in the Sutton Place apartment of the late designer, Valerian Rybar.  The menu included cold lobster, brochettes of baby lamp chops grilled aux herbes de Provence, and eggplant caviar.  A ginger-scented Crème Bavaroise would have been served for dessert.  The table was set with vermeil pieces from Tiffany.



Photos from: "Tiffany Tablesettings", "New Tiffany Tablesettings", "Tiffany Taste", and "The Elegant Table" by Barbara Wirth.