Monday, July 21, 2014

Fantastic Voyage


Did you read last week's New York Times article, "Reclaiming Our (Real) Lives from Social Media"? I share the frustration felt by the article's author, Nick Bilton,  over time spent- and wasted- on social media.  What starts out as a quick morning check-in on Instagram or Facebook turns into an hour-long slog through status updates, sundry thoughts, and links to random websites.  As Bilton so aptly put it, "Yet I am blaming the Internet for sucking people into a cacophony of links, videos and pictures that are constantly being dangled in their faces like some sort of demented digital carrot on a stick."  Here, here.

While I try hard to avoid those labyrinthine visits to social media sites, I have no such qualms about time spent researching on the Internet.  Those twists, turns, and tunnels through which such research leads me usually result in my learning about places with which I am not familiar.  They also lead me to some really great photos.  And that was exactly what happened when I recently searched for German and Austrian porcelain rooms.  One room led to another, and before I knew it, I had spent close to two hours studying- and coveting- these paeans to porcelain.  But whereas I typically leave social media sites with not much to show for it, here I ended up with some beautiful photos, not to mention a bad case of wanderlust.



Schlossmuseum Oranienburg, Oranienburg, Germany




Porcelain Gallery at Schlossmuseum Arnstadt, Germany



Room of the Sibyls, Altenburg Palace, Germany



Neue Kammern, Park Sanssouci, Germany




Porcelain Cabinet, Schloss Eggenberg, Austria




Porcelain Collection at Zwinger Palace, Dresden, Germany; the design of the porcelain galleries was the handiwork of Peter Marino.


Porcelain Room, Schloss Charlottenburg, Germany

Monday, July 14, 2014

What Nifty Little Rugs



Cecil Beaton's circus-themed bedroom has long amused me, so much so that I discuss the room's attributes in my In with the Old lecture.  But until I read the July issue of World of Interiors, I had never seen the photograph that captured the room's fireplace wall.  (See below.)  Yes, the fanciful murals are enchanting as are the drum side tables.  But what especially caught my eye was the small leopard-pelt motif rug in front of the fireplace.  It reminded me of a similar rug that appeared in the Martin Battersby book, The Decorative Thirties.  (You can see a photo of that rug below as well.)

These trompe l'oeil-style leopard rugs fascinate me because I've always been curious of their origins.  Could they have been inspired by the now highly-collectible Tibetan Tiger Rugs?  Tiger rugs, whose designs feature simulated tiger pelts, hail from Tibet, where the large cats and their skins have long symbolized power.  Tiger rugs were traditionally given as gifts to lamas, who did their Tantric meditations on them.  Little was known about these rugs until the latter part of the twentieth century, so perhaps their existence was not widely enough known to have been a contributing factor in the design of those 1930s-era faux leopard rugs.  And of course, I do realize that the Tibetan rugs feature tiger pelts while the Beaton and Battersby rugs depict leopard skins, but the stylized images of their pelts are rather similar.

By the 1960s, it was Piero Fornasetti's faux leopard pelt rug that was all the rage, gracing the floors of some swank European residences.  And the stylized leopard skin rug is still going strong today, as evidenced by Diane von Furstenberg's "Climbing Leopard" rug design for The Rug Company.  But still I wonder, just who created the vogue for these chic and amusing leopard rugs?  

Images at top: You'll find two examples of Tibetan Tiger Rugs above.  The top photo shows a 19th-century Khotan Tiger Rug from Turkestan, while the second image is of an early 20th-century Tibetan rug.

Cecil Beaton's Circus Bedroom was decorated with murals painted by the likes of Rex Whistler and Oliver Messel, drum side tables, and a leopard-pelt motif rug.



Amongst this grouping of Syrie Maugham-designed furniture, Martin Battersby, author of The Decorative Thirties, placed a stylized leopard rug. Unfortunately, he made no mention of it in the book's text.





By the 1960s, Fornasetti's leopard style rug could be found in stylish halls and baths, for example.




And most recently, Diane von Furstenberg designed "Climbing Leopard" for The Rug Company.


Beaton image, World of Interiors, July 2014; Battersby photo from The Decorative Thirties; Fornasetti rug photos from Nouvelles réussites de la décoration française, 1960-1966; Climbing Leopard photos courtesy of The Rug Company.

A Unique Opportunity


Speaking of this Martin Battersby photo of various Syrie Maugham-designed pieces, F.P. Victoria & Son is currently having a floor model sale, which includes models of pieces that were originally made by Frederick Victoria for Maugham and Elsie de Wolfe.  Models include the Syrie Maugham Magazine Table, which is a slightly taller variation of the table featured in the Battersby photo, and the De Wolfe Muffin Table, a satin nickel and parchment occasional table that would work well underneath a chilled Martini.  The sale also features a few models that don't carry the Maugham or de Wolfe moniker, but which are equally as chic.

The sale only runs until the end of this month, so visit Victoria & Son's website ASAP to claim your piece of design history.  For more information, please visit their website  or contact Freddy or Tony Victoria at (718) 392-9651.




Syrie Maugham Magazine Table.  The table, which was based on a English Regency piece, was adapted by Frederick Victoria for Syrie Maugham.




Syrie Maugham Coffee Table, whose design was originally developed by F.P. Victoria for the designer during the 1940s.



De Wolfe Muffin Table.  According to Freddy Victoria, de Wolfe saw the prototype of this table, which was brass with red leather tops, when she visited Frederick Victoria's showroom.  De Wolfe was desperate to buy the table, but Victoria would not sell it to her.  Later, she sent Victoria a letter asking for the table and included a sketch of where she intended to use it.  Victoria eventually made her a copy of the table.



Polished Nickel Cole Porter Table. Freddy's father, Tony, adapted this table from the firm's famous étagère design for Billy Baldwin.

Thursday, July 10, 2014

Double Wedding


When I'm getting dressed in the mornings, it's not CNN nor the morning talk shows that I watch on TV. (Does anyone else get annoyed with those CNN anchors who constantly interrupt and talk over the person being interviewed?  And why do commercials have to be so LOUD?)   Instead, I like to have Turner Classics going in the background, because the channel often airs 1930s-era movies early in the morning.  Just last week, TCM showed Double Wedding, a 1937 screwball comedy starring Myrna Loy and William Powell.

The movie was cute enough, but it was the Cedric Gibbons-designed sets that caught my eye, especially the house of Loy's fashion designer character, Margit.  (See below.)  I decided to rent the movie so that I could pay attention to both the sets and the dialogue.  Here are a few of my favorite scenes from the film:


After passing through Margit's front door with its louvered fan and side lights, one entered the entry hall...


...which had that wonderful staccato black and white floor. The stairs had quite a loopy banister, which resembled a garden border fence.



Blanc de chine objects and glossy satin upholstery, seen here in the living room, were of course the rage on 1930s-era film sets.




In the dining room, there were dramatically-scaled panels with broken pediments, which framed the doorway.  Throughout the movie, the mirror-clad dining table was set with those high-style crystal trees and centerpiece...



...which makes sense considering that even the breakfast grapefruit was served rather formally.





Margit was a little uptight and liked order in her household- order that was partially maintained by these typed breakfast menus.




Framing the sliding glass doors, which led to a terrace beyond, were curtains with a pennant-edge...







...whose jagged edges were mimicked by the border fence.  And don't you like the curlicue furniture?






The four photos above show Margit's fashion studio, which was quite glamorous with its white-lacquered furniture, horse statue-capped borne, garland-print wallpaper, and those magnificent Greek-Key motif doors.




The bonus shots show a minor character's apartment, which I might like even more than Margit's house.  I'm crazy for the living room's plaster swag and tail, which framed the Marie Antoinette-ish bust.  But the poor woman's bedspread??  I'm not so crazy about that.  It reminds me of Austrian shades.

Tuesday, July 08, 2014

Veere Grenney's Folly


Designer Veere Grenney's Palladian temple folly has garnered a great deal of print and online coverage, and with good reason. Simply put, it's splendid. Built in 1760 and once inhabited by David Hicks, the folly is modestly-sized: one room deep and made up of two floors. The bottom floor consists of a kitchen and bedroom, but head upstairs to the second floor and one will find a spacious drawing room that belies the folly's compact size. As Grenney once said, "I live in a cottage and a palace at the same time. Downstairs is like a cottage-my bedroom lies off the kitchen- and upstairs is like a palace."

The most recently published version of Grenney's folly shows a drawing room that is decorated in soft putty-tones and solid fabrics. But in the version that you see here, and which was published in the January 1998 issue of British House & Garden, the drawing room's walls were painted candy pink. The choice of wall color was a bold one, especially considering that candy pink can go all bubble-gum and sweet sixteen quickly. And yet, in Grenney's deft hands, this shade of pink flatters the room, making it a sophisticated yet colorful companion to the room's impressive (and somewhat mannish) interior architecture. Grenney also struck a balance between those pretty, ornate balloon shades (which are still present in the room today) and the furnishings, which were comprised of modern pieces and elegant antiques.

If you want to compare the two versions, click here to see the temple's current incarnation on Veere Grenney's website.


Image at top: The folly's setting is equally as captivating.  Flanked by two hedges (which were planted by Hicks upon the recommendation of John Fowler,) the temple looks out upon a canal and parkland.






The three images above show the stately drawing room and the view from within.





The kitchen table and chairs were covered in a check-print fabric by Colefax & Fowler.





The guest-house bedroom.


All photos from British House & Garden, January 1998, Jeremy Young photographer.

ADAC in Bloom




I hope that you'll join me next Wednesday, July 16 for ADAC in Bloom, which is hosted by flower magazine and ADAC.  The day-long event will begin with a panel discussion that I will moderate; joining me will be special guests Alexa Hampton, Ben Page, and Matthew Robbins.  Throughout the day, each guest will give individual presentations, which will be followed by book signings.  I will be signing copies of my book, In with the Old, alongside Alexa Hampton following her presentation.

ADAC in Bloom is always a highlight of the Atlanta summer season, and this year's event will be no exception.  For more information, please visit flower's website; to register for the event, please visit adacatlanta.com/events.