Villa Fornasetti

November 18, 2012, 11:02 am

Mirrors in the Green Room of the summer villa
of the late Piero Fornasetti.
Photo by Robert Emmett Bright.

One of The Devoted Classicist's favorite furnishings designers by far is Piero Fornasetti. Although inspired by classic historicism, Piero Fornasetti, 1913 to 1988, was one of the most innovative designers of the second half of the 20th century.

The Fornasetti summer villa overlooks
a finger of Lake Como, Italy.
Photo by Robert Emmett Bright.

After exile in Switzerland during World War II, Piero Fornasetti returned to Italy and began to renovate the summer villa that had been built by his father in 1899. Near the village of Varenna on Lake Como, it is about an hour by train from Milan.

The terrace is decorated by a pair of carved figureheads.
The table and chairs were designed by Fornasetti in 1955.
Photo by Robert Emmett Bright.

Set on a small level shelf on the steep slope rising up from the lake, Fornasetti made only a few changes to the simple exterior. A frieze of glazed terra-cotta tiles and brackets for the balcony, both with a Greek key motif, were added by Fornasetti. The interior was completely transformed, however.

The Living Room at Villa Fornasetti.
Photo by Robert Emmett Bright.

In the Living Room, Fornasetti painted the tubular metal furniture to resemble bamboo. Additional seating includes several antique neo-classical chairs and a pair of bentwood rockers. An old frame was made into a mirror flanked by obelisk lamps made in 1955 and a 1930s self-portrait was hung over his 1954 "Como Leopardo" commode.

An identical commode, number one of an edition of eight,
was offered in an auction December 14, 2010,
with an estimate of $20,000 to $30,000.
Wright auction, Chicago.

He also designed the red equestrian tiles inspired by 17th century prints bordered by a stencilled fret that trims the Living Room. A life sized Roman foot from 1955 is ceramic with a terra-cotta finish and used as a vase.

A detail of the tile and stencilled fret
in the Living Room.
Photo by Robert Emmett Bright.

Just glimpsed through the doorway is the Entrance Hall covered with a specially created deep yellow paper. The green room, a guest room in the first photo displays an assortment of mirrors, some made by Fornasetti, and others, antique.

The Guest Room at Villa Fornasetti.
Photo by Robert Emmett Bright.

The 1953 cabinet in the guest room is decorated with Fornasetti's ideal of classical antiquities and books arranged on shelves. The round container by Fornasetti dates from 1955.

The Dining Room at Villa Fornasetti.
Photo by Robert Emmett Bright.

The Dining Room walls are painted an intense blue in contrast to the sunny colors of the Living Room. Thousands of shells ordered from Venice were glued to the walls by son Barnaba over two summers. Giula Fornasetti, the artist's widow, made the shell chandelier.

The Master Bedroom at Villa Fornasetti.
Photo by Robert Emmett Bright.

The yellow Master Bedroom featured an antique Scilian wrought iron bed that the artist restored and embellished. Fornasetti designed the coordinating side chairs, the 1954 wardrobe covered in neo-classical images, the ceramic nubian vase, and the blue convex mirrors.

Piero Fornasetti's bed was offered at auction
May 18, 2008, with an estimate of $20,000 to $30,000.
Wright auction, Chicago.

A pair of side chairs of an edition of four
were offered at the same auction as the bed
with an estimate of $15,000 to $20,000.
Wright auction, Chicago.

As a side note, the bed from Villa Fornasetti was sold was sold at Wright for $21,900, but it appears that the chairs did not sell.

The son's bedroom at Villa Fornasetti.
Photo by Robert Emmett Bright.

Barnaba's bedroom featured a pair of bedsteads painted by Fornasetti and his cylinder lamp with Trajan's column motif.

A bathroom at Villa Fornasetti.
Photo by Robert Emmett Bright.

A bathroom is tiled with in designs from Fornasetti's "Soli e Lune" series of 1953. Another bathroom had white walls but featured plumbing fixtures, including the toilet and bidet, decorated with sprays of flowers in Fornasetti's design.

In a photo from the catalog for the December 6, 2005 auction,
the lavatory and other fixtures were porcelain with a
hand-colored lithographic transfer.
Wright auction, Chicago.

After Piero Fornasetti's death, his son Barnaba took over the business with his mother serving as consultant. Some items designed by Piero Fornasetti are still being produced in limited editions, joining earlier products found in antique shops and auctions that still enjoy favor from collectors.

Piero Fornasetti in a photo from the late 1970s.
Image provided by Barnaba Fornesetti for
Architectural Digest.

The flagship Fornasetti store is in Milan, but new products are also sold in retail shops around the world.

The exterior of the Fornasetti shop in Milan.
Photo from the Fornasetti website.

All the Robert Emmett Bright photos date from 1989 and were published in the January, 1990, issue of Architectural Digest magazine. There are two books about Fornasetti currently in print; click on the title for more information or to order at a discount from the published price: FORNASETTI: DESIGNER OF DREAMS and FORNASETTI: THE COMPLETE UNIVERSE.

↧

Filoli's Holiday Traditions

November 23, 2012, 2:09 pm

≫ Next: Put A Bow On It

≪ Previous: Villa Fornasetti

The entrance to the main house.
Photo: Filoli Center.

Filoli, a magnificent estate about 35 miles south of San Francisco famous for its gardens, is normally closed to visitors during the winter. An exception, however, is the annual, week-long series of events called Holiday Traditions. For 2012, the dates are November 23 through December 1. See the website for more information and reservations.

The entrance court.
Photo: Filoli Center.

The estate was developed by Mr. and Mrs. William Bowers Bourn with a fortune derived from the Empire Mine, a hard rock gold mine in Grass Valley, California. Mr. Bourn was also owner of the Spring Valley Water Company (now part of the San Francisco Water Department) whose holdings included Crystal Springs Lake and the surrounding area. The southern end of the lake was chosen as site for the estate. The name 'Filoli' is derived from the first two letters of each line of Bourn's motto:

Fight for a just cause.

Love your fellow man.

Live a good life.

The main house as it appeared in 1921.
Photo: Filoli Center.

Construction on the main house was started in 1915 and the Bourns occupied it in 1917 althugh some work on finishing details continued for a few more years. The architect was Willis Jefferson Polk, 1867 to 1924, who had also designed the Bourns' cottage in Grass Valley and their house at 2550 Webster Street in San Francisco. Although not having a formal education, Polk was a respected figure in San Francisco, playing an integral role in the rebuilding after the 1906 earthquake and acting as the supervising architect for the 1915 Panama Pacific International Exposition. Also, Polk (related to President James Knox Polk) was the associated architect for Carolands, the mansion in nearby Hillsborough that was completed in 1914. (But that is the subject of another post). Bruce Porter helped plan the extensive formal gardens.

Both Mr. and Mrs. Bourn died in 1936. Mr. & Mrs. William P. Roth, owner of the Matson Navigation Company involved with Hawaiian freight shipping and tourism, bought the estate in 1937. The estate remained well-tended and the formal garden gained national recognition during the Roth's ownership. Mrs. Roth lived there until 1975 when she donated 125 acres containing the house and formal garden to the National Trust for Historic Preservation and the remaining acreage to a non-profit organization, Filoli Center.

The entrance to the main house, Filoli.
Photo: John Vaughan for Architectural Digest.

When the estate was originally open to the public, the main house was closed at first, then open but shown unfurnished. After a donation of Roth furnishings in the mid-1980s, a three year refurnishing project overseen by Anthony Hail, one of San Francisco's most respected interior designers. (See Anthony Hail's decoration of Guigne Court on a previous post of The Devoted Classicist here). The first floor rooms were presented as an interpretation of a sophisticated, California country house. Although Anthony Hail's schemes have now been lost to a great extent, some rooms were photographed for the May, 1989, issue of Architectural Digest and shown as follows. For comparison, current views of the rooms may be seen on the Filoli website here.

A view of the Reception Hall at Filoli
showing figures donated from the Roths' collection.
Photo: John Vaughan for Architectural Digest.

The Reception Hall, on the garden side of the house directly opposite the main entrance, was used for smaller scale entertaining as well as for receiving guests for the grander events. The original wall covering of grasscloth silkscreened with an Italian Renaissance pattern remains in place along with the original curtains. The tapestry above the fireplace, an 18th century Italian chimneypiece of Carrara marble inlaid with Verona marble, belonged to both the Bourns and the Roths.

The Drawing Room at Filoli
as decorated by Anthony Hail.
Photo: John Vaughan for Architectural Digest.

Used as a Ladies' Withdrawing Room after dinner by the Roths, Mrs. Bourn used it as a Music Room. The original curtains of Italian silk woven with a colorful floral pattern can be glimpsed in the reflection of the Adam style mirror which is also among the 1917 furnishings, along with the chandeliers and sconces.

The Dining Room of Filoli
as decorated by Anthony Hail.
Photo: John Vaughan for Architectural Digest.

In the oak-panelled Dining Room, the mauve floral silk curtains are original as is the dining table. The cabinet displaying china had belonged to Mrs. Roth's mother.

The Library of Filoli
as decorated by Anthony Hail.
Photo by John Vaughan for Architectural Digest.

The details of the panelled Library of American black walnut are said to be copied from Denham Place, England, built in 1690. The Isfahan pattern Agra carpet is said to have been made for Osborne House, Isle of Wight; it was purchased in England by the Bourns. Some of the books belonged to the Bourns, and others, the Roths, supplemented by others that were donated.

The Study/Sitting Room of Filoli
as decorated by Anthony Hail.
Photo by John Vaughan for Architectural Digest.

The Study/Sitting Room was originally a home office for Mr. Bourn. A concealed door to the right of the fireplace opened to a safe that was replaced by a wine closet for the Roths; the door to the left that had opened to a closet for business records was converted to a bar. The portrait over the Carrara marble chimneypiece portrays Mrs. Roth, painted by Lloyd Sexton in 1981.

The Ballroom at Filoli
as decorated by Anthony Hail.
Photo by John Vaughan for Architectural Digest.

A detail of the Ballroom at Filoli
as it appeared during the Anthony Hail refurbishing.
Photo by John Vaughan for Architectural Digest.

A detail of the Ballroom murals
showing a representation of the Bourn grandchildren.
Photo: Filoli Center.

The decoration of the Ballroom was completed in 1926 with the murals painted by Ernest Peixotto, a San Francisco-born artist and writer. The scenes were painted in the artist's New York City studio from sketches Peixotto had made on site of Muckross Abbey and Upper Killarney Lake. The "water-green" color of the panelling was specified by Mrs. Bourn who also insisted on the gold-leaf highlights that were said to be in conflict with Mr. Peixotto's vision of the decor. The chandeliers and wall sconces of amethyst-colored crystal were chosen in Paris by Peixotto and the Bourns' daughter, Maud Vincent. The curtains of cut velvet woven with gold and silver metallic threads and metallic fringe have undergone two rounds of conservation.

All 654 acres of the estate and buildings are now operated by Filoli Center. In addition to serving as a tourist destination and educational facility, Filoli is often used as a location for filming motion pictures and television shows. Perhaps most famously, the exterior served as the palatial home of the Carringtons in the 1980s series "Dynasty." For information to plan a visit, see the Filoli website.

↧

Put A Bow On It

November 28, 2012, 9:19 am

≫ Next: The Sincerest Form of Flattery

≪ Previous: Filoli's Holiday Traditions

A diamond brooch,
Lot 380, Sale N08925.
Photo: Sotheby's.

Devoted Readers looking for that special gift will be interested in the December 5, 2012, Sotheby's auction Magnificent Jewels From The Collection Of Mrs. Charles Wrightsman. Those casually interested in the decorative arts might not recognize the name, but Jayne Wrightsman and her late husband have been incredibly influential collectors and philanthropists. The thirteen Wrightsman Galleries at the Metropolitan Museum are appreciated by thousands each year.

Mrs. Wrightsman photographed in the Living Room
of her former Palm Beach home.
Photo: Sotheby's.

The auction will end with the sale of Lot 380, estimated $200,000 to $300,000, a diamond bow brooch with an Imperial Russian association. The rare mid-19th century brooch was once in the collections of Grand Duchess Elena Vladimirovna of Russia, the granddaughter of Tsar Alexander II, and her daughter HRH Princess Marina, Duchess of Kent.

Princess Marina, Duchess of Kent,
wearing the brooch in a 1937
photo by Cecil Beaton.
Photo: Sotheby's.

Princess Marina, whose father was Prince Nicholas of Greece and Denmark, grew up in Paris after the overthrow of the Greek monarchy. She was married to Prince George, Duke of Kent, from 1934 until his death in 1942 while in active service with the Royal Air Force. (According to author Hugo Vickers in ELIZABETH, THE QUEEN MOTHER, the Duchess was "the only war widow in Britain whose estate was forced to pay death duties").

A pair of diamond rivieres,
Lot 378, Sale N08925.
Photo: Sotheby's.

The lot with the highest estimate, $800,000 to $1,200,000, however, is Lot 378, a pair of diamond rivieres, a type of necklace (or bracelet) with the stones mounted on the back to leave them as visible as possible. These rivieres are not from the collection of Princess Marina, it is thought, but very similar to a pair worn in a 1949 portrait by Cecil Beaton.

Princess Marina in a
1949 portrait by Cecil Beaton.
Photo: Sotheby's.

First cousin to Prince Philip, Duke of Edinburgh, Princess Marina became his aunt also after his 1947 marriage to Prince Elizabeth, now Queen Elizabeth II. Princess Marina was a popular and active member of the British Royal Family, sometimes serving as representative of the Queen in foreign celebrations and ceremonies. She died of a brain tumor in 1968 at age 61. (Her son is the sometimes controversial but popular Prince Michael of Kent, but that is the subject of another post entirely).

↧

The Sincerest Form of Flattery

November 28, 2012, 9:19 am

≫ Next: Bow-ed Over

≪ Previous: Put A Bow On It

An Albert Hadley pin-up bulletin board
for a Southampton showhouse in the mid-1980s.
Photo: Phillip H. Ennis
ALBERT HADLEY:
THE STORY OF AMERICA'S
PREEMINENT INTERIOR DESIGNER

Albert Hadley celebrated his inspirations for design with his famous pin-up bulletin boards. The one in his office that was covered with images clipped from mazazines and newspapers that inspired his design sensibilities became very popular and a similar feature was often requested by clients for their own homes. After all, interiors are not so much about the designer as they are the design. Mr. Hadley was familiar with the great designers, cetainly, but provenance did not carry as much weight as an object with its own personality.

Albert Hadley's bookcase from the mid-1930s.
A drawing by Van Day Truex hangs adjacent.
Photo: John T. Hill
ALBERT HADLEY:
THE STORY OF AMERICA'S
PREEMINENT INTERIOR DESIGNER

Despite his love of the unique, Albert Hadley was not adverse to reproductions. Durning my tenure at Parish-Hadley, we often had one-of-a-kind pieces of furniture designed and fabricated, of course. (In the early 1990s, there was even a small Parish-Hadley collection for Baker Furniture company). But also for Parish-Hadley clients, some of Mr. Hadley's designs were made in limited editions as were some pieces from his own collection of antiques. One item reproduced was a very unique bookcase made in Germany in the mid 1930s and decorated with Olympic motifs.

Details of the decoration on Albert Hadley's bookcase.
Photos: John T. Hill
ALBERT HADLEY;
THE STORY OF AMERICA'S
PREEMINENT INTERIOR DESIGNER

It was not unusual for rare and costly antiques to be brought to the Parish-Hadley office for client presentations, but this piece was brought in for Michael T. Shell to measure and draw to scale for a copy to be made, but I do not recall anymore details. Although I really liked the form, I would have thought it would have limited marketability. It just goes to show what I know, however, because there are not just one but two models based on Albert Hadley's bookcase currently being marketed.

The Olympia Etegere by Beeline Home.
www.bunnywillliams.com

It is no secret that The Devoted Classicist considers Bunny Williams one of today's finest decorators, and now a dealer of her own line of home furnishings as well. Bunny worked for Parish-Hadley for over twenty years, so it is not surprising that her version by her furniture company BeeLine Home captures the essence of the original. In reference to the decoration of the original, it is called the Olympia Etegere.

The Roosevelt Bookcase by Noir.
www.noirfurnitureela.com

A very similar model has been introduced by Noir, but a bit more vertical than pyramidal. Simplified but undeniably inspired by the same original, it is called Roosevelt Bookcase.

Would the late Mr. Hadley be pleased that one of his favorite belongings has inspired a whole pyramidal bookcase movement? I think so. Adam Lewis' book ALBERT HADLEY: THE STORY OF AMERICA'S PREEMINENT INTERIOR DESIGNER may be ordered at a discount here.

My own pyramidal bookcase with steeply sloped sides for Parish-Hadley clients probably will not see mass-market production. It will be featured in a future post of The Devoted Classicist, however.

↧

Bow-ed Over

November 28, 2012, 9:30 am

≫ Next: Harewood House Cleaning

≪ Previous: The Sincerest Form of Flattery

There's some glitch in posting, Devoted Readers, so please scroll down past a repeat for the post on Jayne Wrightsman's jewels coming up at auction.

↧

Harewood House Cleaning

December 1, 2012, 10:23 am

≫ Next: Albert Hadley in Naples, Florida

≪ Previous: Bow-ed Over

Harewood House.
Photo: Wikipedia.

There has been a house cleaning of the great Yorkshire stately home, Harewood House, with the results being two up-coming sales at Christie's London. "Harewood: Collecting in the Royal Tradition" will be held on December 5, 2012, and "Harewood: The Attic Sale" on December 9, 2012.

HRH The Princess Mary, Princess Royal,
The Countess of Harewood.
Photo: Christie's.

Harewood House, the home of the Lascelles family, is renown for its Robert Adam interiors and original furnishings by Thomas Chippendale. The sales center primarily on objects outside the primary collections, mainly with the collection of HRH the Princess Mary, 1897 to 1965. The only daughter of George V, she married the 6th Earl of Harewood in 1922. Like her famous collector mother Queen Mary, she was interested in Chinese jade, hardstone, and Faberge. (The princess's grandmother, H.M. Queen Alexandra, was sister of the Russian Empress Maria Feodorovna).

A candelabrum by Matthew Boulton.
Sale 6277, Lot 550.
Christie's.

A spectacular Matthew Boulton candelabrum of bluejohn, ormolu and tortoiseshell is one of the lots with the highest estimates, GBP 200,000 to 300,000. Princess Mary purchased the vase from the collection of her brother Prince George, the Duke of Kent, after his death in World War II through the 1947 Christie, Mason & Wood sale of property from Derby House. (See the diamond bow brooch that had belonged to her sister-in-law in the previous post of The Devoted Classicist).

A pair of armchairs by Thomas Chippendale.
Sale 6277, Lot 600.
Christie's.

A pair of important armchairs commissioned for the Music Room from Thomas Chippendale, circa 1770, will also be included in the sale. The chairs, originally japanned green and gold, were redecorated with white paint and parcel-gilt and reupholstered with the current fabric circa 1850-53 by George Trollope & Sons. Chippendale's largest and most important commission was for the 1st Baron Harewood, Edwin Lascelles, 1712 to 1795, to furnish his new home, Harewood House. Here Chippendale fully embraced the 'antique' and his work at Harewood House included not only furniture but wallhangings, curtains, and a carved model of a stove to be fabricated by the local founder.

A painted panel by Alec Cobb,
early 1990s.
Sale 7613, Lot 1189.
Christie's.

↧

Albert Hadley in Naples, Florida

December 4, 2012, 9:44 am

≫ Next: Baron Falkenberg at Varmlands Saby

≪ Previous: Harewood House Cleaning

A collage by the great, late
interior designer Albert Hadley,
in his Naples, Florida, home.
Photo by Fernando Benoechea
for House & Garden magazine.

In the 1990s, the late Albert Hadley was along with a house-hunting friend in Naples, Florida, when he noticed the 1929 postmistress's cottage almost completely concealed behind a ficus hedge on 11th Avenue South. According to an article by Carol Prisant in the June, 2000, issue of House Beautiful magazine, he said, "I'll take it," and he did.

Albert Hadley standing in the opening
of the hedge infront of his home in Naples, Florida.
Photo by Fernando Benoecha
for House Beautiful.

The former front porch was enclosed with windows to become an entrance Garden Sitting Room with light gray painted wood floors white walls & trim continuing throughout. A wool hooked rug "zebra skin," one of the designer's favorite furnishings that has travelled to a number of residences, welcomed the visitor near the door with mirrored panels.

The front porch was enclosed to
become a Garden Room.
Photo by Fernando Benoechea
for House Beautiful.

One end of the room holds a sitting area with a rattan sofa, a linen slipcovered slipper chair and a pair of saddle seat stools with hand-printed fabric by D.D. Tillett.

A rattan sofa in the Garden Room.
Photo by Fernando Benoechea
for House Beautiful.

The other end of the room exhibits simple but interesting objects in a very Albert Hadley manner, giving a hint of what is to follow.

Another view of the Garden Room.
Photo by Fernando Benoechea
for House Beautiful.

The designated Dining Room held a folding table, a small, tufted sofa, and a pair of "loop" sidechairs. (Sometimes associated with the interior designer sister of architect David Adler, Frances Elkins, the design is now known to pre-date her use in the 1930s. See articles in The Magazine Antiques here and here.)

The Dining Room.
Photo by Fernando Benoechea
for House Beautiful.

The Living Room, too small for a sofa, contained assorted upholstered chairs instead. A 1950s-60s gilt metal low table displays a cherished gilt-ceramic gourd container, another object that had travelled to various residences. A gray marble Louis XV style chimneypiece was painted white and topped by a mirror in a stepped frame of Mr. Hadley's design.

The Living Room.
Photo by Fernando Benoechea
for House Beautiful.

The Master Bedroom is shown with a pair of black Regency chairs that once belonged to his business partner Sister Parish and the hooked rug again.

The Master Bedroom.
Photo by Fernando Benoechea
for House Beautiful.

The Master Bedroom.
Photos by Fernando Benoechea
for House Beautiful.

In the Master Bedroom, an oddly-placed air-conditioning vent is given a frame. The neo-classical style chest of drawers was stripped. The abstract painting over the headboard is by Zang Wei, an artist Mr. Hadley discovered selling his work on the sidewalk in front of the Metropolitan Museum of Art.

A Guest Bedroom.
Photo by Fernando Benoechea
for House Beautiful.

A Guest Bedroom contains a chair, a chest, a mirror, and a spartan four poster bed.

A second Guest Bedroom.
Photo by Fernando Benoechea
for House Beautiful.

Color in a second Guest Bedroom is supplied by a cobalt blue covered glass jar. The antique spool bed is painted the same light gray as the floor.

The garden.
Photo by Fernando Benoechea
for House Beautiful.

A boardwalk in the garden replaced a cement walk to heighten the tropical experience. Albert Hadley died in March of this year and some of his belonging were sold in auctions and an on-line sale featured in an earlier post of The Devoted Classicist. A low Parson's table from the house was given to Devoted Reader Dean Farris; read about it with a search on his blog Dean Farris Style.

Albert Hadley in the late 1990s.
Photo by Timothy Greenfield-Sanders
for House Beautiful.

↧

Baron Falkenberg at Varmlands Saby

December 10, 2012, 7:03 pm

≫ Next: Roger Prigent's Paris Pied A Terre

≪ Previous: Albert Hadley in Naples, Florida

The Chinese room at Varmlands Saby.

The Devoted Classicist admires few things more than an eighteenth century Swedish house filled with period furnishings, so the country manor of Baron Henric Falkenberg, Varmlands Saby, is a true delight. Located in western Sweden on the shore of Lake Vanern in Varmland province, the house was completed in 1774 by master carpenter Johan Georg Reincke, probably inspired by an architectural pattern book.

The entrance to Varmlands Saby.

The house, in the baron's family since the late 19th century, is situated at the end of a long allee of trees that begins in the adjacent village. Now comprising over 1,000 acres, the recorded history of the property dates back to a mention in a 1216 papal confirmation letter.

Baron Falkenberg in the Victorian study.
Note the sprig of mistletoe
hanging from the chandelier.

Formal reception rooms are located on the ground floor along with the baron's suite, and informal entertaining rooms and additional bedrooms are found upstairs.

The baron's goddaughter Tia Tukkonen
and friend Are John in the Victorian study.

The Victorian study at the western end of the house is a favorite of the baron.

The dining room at Varmlands Saby.

Portraits of the original owners
of Varmlands Saby hang above the
Dutch saddle armoire in the dining room.

Von Lingon porcelain is displayed
in another armoire in the dining room.

The next room is the dining room with original gray-blue and white panels accentuated within a framework of mustard colored panelling. Dutch cupboards hold the family silver and china.

The Chinese room at
Varmlands Saby.

The Chinese room, next in line, has painted decoration inspired by Boucher's late 18th century engraving "Chinois et Chinoise pechant aubord d'un vivier." The tradition is that visitors who want to return must say good-bye to each of the Chinese figures.

The fireplace in the formal study
at Varmlands Saby.

Another view of the formal study.

The formal study is the only room with a fireplace rather than a traditional heating stove. The original canvas tapestry panels were found in the attic and reinstalled.

The billiards room upstairs.

The largest room in the house, the billiard room, is on the second floor. It also serves as a portrait gallery of the baron's ancestors.

A bedroom at Varmlands Saby.

An upstairs bedroom holds a pair of caned beds separated by a typical, simple Gustavian chair. The 1880s wallpaper, a subtle stripe-on-stripe with a floral overlay, is Swedish Jugenstil.

A giltwood frame holds a print of
Queen Desideria of Sweden.

One of the most notable features in the garden is the egg-shaped labyrinth. Rich in symbolism, especially with references to an eagle and a serpent, this writer apologizes in advance for lack of substantial notations, but only information was found in Swedish. As an update to the original post, I am happy to add that a message from Miguel Flores-Vianna offers additional information. Mr. Flores-Vianna says that the maze "is called Creation, thus its egg-like shape. It was designed by Randoll Coate, an English diplomat who, in the 1950s when posted in Buenos Aires, befriended the Argentine writer Jorge Luis Borges who introduced him to his love of mazes and labyrinths. Following their meeting and subsequent friendship, Coate left the Foreign Service and became a maze designer. Creation, planted in the 60's, was his first project. Fernando and I did a story on Mr. Coate's work for Town and Country [magazine] around that time as well."

The labyrinth at Varmlands Saby,
planted in the 1960s to a design by Randoll Coate.
Photo: Varmlands Saby blog.

For those who read Swedish, or would be interested in seeing some historic images, there is a Varmlands Saby blog. Unless otherwise noted, all the photos come from an article by Miguel Flores-Vianna with photos by Fernando Bengoechea in the April, 2000, issue of Elle Decor magazine.

↧

Roger Prigent's Paris Pied A Terre

December 17, 2012, 10:43 am

≫ Next: Telluride: Mining The Vernacular

≪ Previous: Baron Falkenberg at Varmlands Saby

The Dining Room in the Paris apartment
of antiquarian Roger Prigent.
Photo by Marianne Haas for Elle Decor.

The antiques and fashion photography communities have recently lost one of their great talents, Roger Prigent, at age 89. Pronounced "Ro-Jay Pre-Jhawn," he was born in Hanoi, Vietnam, and grew up in numerous French outposts around the world as his father was an officer in the French military. After learning photography in the French Air Force in World War II, he worked in Paris and then New York where he became a sought-after fashion photographer. But he was also noted for TV Guide covers and record album covers as well.

The late Roger Prigent.
Photo by Marianne Haas for Elle Decor.

Collecting antiques for use as props in his photography, he opened Malmaison Antiques on East 10th Street in Manhattan in 1978 after a diagnosis of macular degeneration signaled an end to his career in photography. With the shop managed by Doug Reymer, it soon became a destination for interior designers and collectors seeking neo-classical furnishings from the early 19 century to the mid 20th century. After a decade in Greenwich Village, the business relocated to his East 74th Street townhouse. A Christie's auction in 2002 dispersed the inventory, and Mr. Prigent, by then blind, downsized to a penthouse apartment featured in an on-line article for 1st Dibs by Wendy Goodman, the design director of New York magazine.

The Living Room in the
Paris apartment.
Photo by Marianne Haas for Elle Decor.

Roger Prigent's 7th arrondissement apartment on the rue du Bac was featured in the December/January, 1999, issue of Elle Decor in an article by Jeanne Dutton with photographs by Marianne Haas. As a surprise to many, all the furnishings in this Paris apartment were American made. Of particular note in the Living Room are the gold-painted stools made of spools during the Great Depression.

A view into the Dining Room.
Photo by Marianne Haas for Elle Decor

In the Dining Room, Zuber scenic wallpaper features scenes of the American Revolution. The chairs at the dining table were made by Michel Bouvier for Joseph Bonaparte's house in New Jersey. (Read more about Napoleon's brother's estate Point Breeze in a previous post of The Devoted Classicist).

The Bedroom of Prigent's Paris apartment.
Photo by Marianne Haas for Elle Decor.

In the Bedroom, an American Empire bed is teamed with an American rug and an Eastlake stool incised with Neo-Grec motifs.

In addition to classic Neo-classical and Empire furnishings, Prigent also promoted Twentieth Century furniture by designers influenced by the classics such as Maison Jansen, T.H. Robsjohn-Gibbings and Karl Springer. The Devoted Classicist could never pass Malmaison Antiques with its whole front of glass without at least stopping to press his nose against the glass and mourns the loss of yet another great tastemaker.

↧

Telluride: Mining The Vernacular

December 19, 2012, 7:52 pm

≫ Next: Merry Christmas

≪ Previous: Roger Prigent's Paris Pied A Terre

A new house in Telluride, Colorado,
built in the 1990s.
Photo by Roger Wade for Veranda.

There are many projects not included in the John Tackett Design Portfolio, not because of lack of enthusiasm or that the contributions were not significant, but because the house is not particularly representative of the work of the design studio. Such is the case with the new Telluride, Colorado, house shown here that was published in the November/December, 1999, issue of Veranda magazine. The article was produced (meaning "styled") by Mary Jane Ryburn, written by Lisa Germany, and photographed by Roger Wade.

A Telluride view.
Photo by Roger Wade for Veranda.

The John Tackett Design studio was based in New York City when I met this Dallas couple who hired me to help with the renovation of a wonderful house they had bought in Highland Park. They had already hired Michael Fuller of Fuller Architects in Aspen to design this vacation house and the construction drawings were essentially complete. Although the owners loved the direction of design of the house, I was brought on board to make a few adjustments to even better achieve their vision. In addition to some refinements to the floor plan, I contributed some details to work out the staircase, an important feature of the interior that was sadly neglected in the article. The interior designer was top Dallas decorator Josie McCarthy and the landscaping was designed by another Dallas favorite, Warren Johnson, both who had worked on previous projects with the owners.

A mix of materials, textures, and colors
is a decorative scheme thoughout the house.
Photo by Roger Wade for Veranda.

Located on a knoll that allows 360-degree views of the mountains, the house reflects the history of mining-related structures of the area. Local gold sandstone, recycled timber and a rusting corrogated steel roof enhance the massing to create the desired effect. Bedrooms are located on the first level, allowing the Living Room, Dining Room, and Kitchen to be higher up in the trees, and a third floor "crow's nest" allows views in all directions.

Nuts! Do Devoted Readers
ever wonder why some features
get a full page image
while others are left out entirely?
Photo by Roger Wade for Veranda.

The tall stone chimneybreast is meant as a subtle reference to a mine shaft while the longhorn steer is symbolic of the owners' Texas roots. Color and pattern in the Living Room are provided by kilims and Moroccan rugs. The low table is made from a wood grille from India.

The Living Room.
The low table is seen in detail
in the previous image.
Photo by Roger Wade for Veranda.

The dining table was made in France of recycled wood. Pewter chargers and goblets mix with colorful pottery dinnerware and an assortment of turned wood candlesticks. A rustic but elegant chandelier is just out of the photo.

The Dining Room.
Photo by Roger Wade for Veranda.

The Master Bedroom contains Guatemalan embroidered bed linens, a Turkish kilim, and an American hooked rug folded on top of a Moroccan chest.

The Master Bedroom.
Photo by Roger Wade for Veranda.

The Guest Room's headboard has a White Picket Fence inspiration. Color is provided by a Susani bed cover and a Soumak rug. The hand-painted lampshade is from the exclusive-to-the-trade source, Adele Kerr.

The Guest Bedroom.
Photo by Roger Wade for Veranda.

The children's Bunk Room features beds of unmilled timbers and colorful quilts.

The Bunk Room.
Photo by Roger Wade for Veranda.

John Tackett Design worked with the same owners on a handful of other projects which may be featured here on The Devoted Classicist in the future, along with the handsome new house they lived in when we first met.

A quilt makes the hammock at the Telluride house
even more comfortable.
Photo by Roger Wade for Veranda.

↧

Merry Christmas

December 24, 2012, 10:04 am

≫ Next: White House With A Red Roof

≪ Previous: Telluride: Mining The Vernacular

Merry Christmas from The Devoted Classicist.

It is hard to believe that another year is almost over. The 2012 holiday drawing is an interior sketch of a John Tackett Design project, a new house that was constructed in 1995 in the Neo-Regency style. Located on a Mississippi horse farm, it featured a barrier-free design to allow the owners occupancy through their Golden Years.

Best wishes, Devoted Readers, for the absolute merriest Christmas. Despite everything, we have a lot to be thankful for, don't we?

↧

White House With A Red Roof

December 27, 2012, 12:07 pm

≫ Next: He Is Mad About Interiors

≪ Previous: Merry Christmas

The white house with a red roof
is well-known in Memphis.
Photo by David Schilling for Veranda.

An attractive house is even more lovely when the owners are delightful; that is certainly the case here. Located near an intersection of prominent residential streets in an established neighborhood, the house was built in 1994 in the far reaches of the deep garden of a stately home on the corner. To those who do not know the homeowners, it is known as the white house with a red roof.

An exterior view of the entrance.
Photo by David Schilling for Veranda.

A few years ago, The Devoted Classicist was fortunate to meet the homeowners, Dr. Randy and Linda Kay McCloy. The McCloys bought the house mid-construction, being built on speculation by Hank Hill using a set of plans by Looney Ricks Kiss, a firm known for its successful series of house plans sold through Southern Living magazine. They were able to personalize the house by making a few changes and specifying some custom detailing with the help of J. Carson Looney. The original landscaping was designed by long-time friend Ben Page of the Nashville firm now called Page Duke.

The Entrance Hall
looking back towards the front door.
Photo by David Schilling for Veranda.

Linda Kay McCloy has owned a retail antiques and home furnishings store (as well as an interior design practice that is still active), and has travelled to England for the past twenty-five years on buying trips. She had become enthralled with the decorating style of John Fowler, the designer whose work was the hallmark of the English country house style, but also Sister Parish, whose work epitomized the comfortable American version of the style.

The Living Room.
Photo by David Schilling for Veranda.

The colors of the decorating schemes were inspired by the gardens, both front and back. Balancing strongly colored rooms against others pastel colored, patterns and textures of the fabrics are mixed with furnishings of various styles and pedigrees to create a casual elegance. It is the mix that makes it all such a success.

The Dining Room.
Swedish Rococo chairs are now used for seating.
Photo by David Schilling for Veranda.

The decorative painting was done by Richard Martin, an artist whose work is often featured in Mrs. McCloy's decorating jobs. Martin paints furniture as well as walls and trim. The chimneypiece in the Living Room features a portrait he painted of the house. The painted wood valances in the Dining Room were presented as a house-warming gift.

Across from the entrance to the Dining Room,
a small painted folding screen is placed above the sideboard.
Photo by David Schilling for Veranda.

Following Sister Parish's fondness for the hand-crafted, quilts and afghans are liberally dispersed among both slip-covered and serious furniture.

A colorful and cozy Study is located
just off the Entrance Hall.
Photo by David Schilling for Veranda.

And reflecting John Fowler's taste for mixing "high" and "low", such as lavish curtains contrasting with simple furnishings, eccentric colors contribute to the "humble elegance" like Fowler created for himself.

Another view of the Study.
Photo by David Schilling for Veranda.

Here, the designer has interpreted the style with an excellent curator's eye, displaying unique objects of porcelain, needlework, and tole.

The Keeping Room is the sitting area
at one end of the space that also contains the Kitchen.
Photo by David Schilling for Veranda.

These photos are from an article written by Agnes Sarah Clark in the Fall, 1998, issue of Veranda magazine.

The Powder Room.
Photo by David Schilling for Veranda.

Since this time, there have been some refinements to make the interior even more charming.

The Master Bedroom.
Photo by David Schilling for Veranda.

A bay window in the Master Bedroom
looks out to the very private rear garden.
Photo by David Schilling for Veranda.

Additional improvements by Hector Alexander Samada and John Tackett have been designed but not yet realized; hopefully these will be eventually be shown in a future Part II post of The Devoted Classicist.

↧

He Is Mad About Interiors

December 31, 2012, 10:34 am

≫ Next: The Messels at Bradley Court

≪ Previous: White House With A Red Roof

The Boudoir of Hortense Beauharnais.
Image: Mad About Interiors.

Devoted Reader David Mees has started a new blog that will surely be of interest, Mad About Interiors. David is also an Attingham School alumnus (although we did not attend at the same time), and he served as an apprentice to Gervase Jackson-Stops as well as a stint with Alec Cobbe before opening his own interiors business in Northamptonshire, England. There is always room for another Blogger with a sense of educational responsibility, so please take a look at his blog and leave a word of appreciation and encouragement.

↧

The Messels at Bradley Court

January 2, 2013, 11:35 am

≫ Next: Lords, Ladies, and Mummies: Highclere Castle

≪ Previous: He Is Mad About Interiors

Bradley Court

Bradley Court, a 16th century limestone Tudor manor house on the outskirts of the beautiful Cotswold village of Wotten-under-edge, is home to Pepe and Thomas Messel and their son Hal. Pepe is a painter and Thomas is a furniture designer. He describes himself as an "haute couturier" with his firm making one-off pieces as well as limited editions through his own firm Thomas Messel as well as the firm Alidad.

In the garden of Bradley Court,
Alidad and Messel, far right, converse at the fountain,
while cabinetmaker Alan Pinnock and gardener Michael Price
carry a console table designed by Thomas Messel and Alidad
for Alidad's Velvet Furniture Collection.

Thomas Messel comes from a family strong in design. His cousin Lord Snowden (Antony Armstrong-Jones) is a noted photographer (and one-time husband of the late Princess Margaret). His uncle Oliver Messel was the celebrated designer of stage sets and houses in Mustique. His grandparents created Nymans in the 1920s, giving a 19th century house the appearance of a fourteenth century manor house with spectacular gardens that now belongs to the National Trust.

The Hall at Bradley Court.

The hub of the house is the Hall with its panelling dragged in colors derived from the Cotswold limestone. Chairs include the one that appeared in a photograph by Lord Snowdon that was used for the last Christmas card sent out jointly by the Prince and Princess of Wales. A kilim rug covers the center table and antique velvet chenille curtains hang in the archway that divides the Hall from a sitting room they call the Book Room.

The Book Room at Bradley Court.

In the Book Room, a mirror the Messels found in Italy is topped with monkeys and an angel. Thomas designed the file cabinet disguised as a bookcase and a pair of black and gold lyre-form tray tables.

The Drawing Room at Bradley Court.

The Drawing Room, dating from 1780, is used primarily in the summer. As Pepe sometimes paints there because of the light from the full-length curtainless windows, Thomas designed a chiffonier that houses stereo equipment and a credenza that stores her canvases.

Hal Messel in the Drawing Room at Bradley Court.

Lord Snowdon was the one who introduced Thomas and Pepe to Bradley Court in 1981, soon after they were married.

A French cherrywood table extends from the dining room to the kitchen.
The walnut and parcel gilt heraldic chairs were designed by Thomas Messel.

Not only did he suggest taking down the wall between the Kitchen and the Pantry, Lord Snowdon attacked the partition with a hammer and chisel, leaving them few options other than complete demoltion. The resulting space combines Kitchen, Dining Room, and Family Room with a television and a minibar in two of Thomas' cabinets.

The 18th century continental bed in a Guest Room
displays a handmade quilt from Wales.

The stair in the north tower dates from the Georgian period.
The bronze table with a red velvet top was designed by
Messel and Alidad.

Pepe Messel in her attic studio.

Thomas Messel often works in the Garden House
in the summer rather than in his attic Studio.
He painted the "x" chair in the foreground.

Bugle, their Norfolk terrier, on the lawn
of the Garden House.

All photos by Simon Upton are from an article written by Tristram Holland and produced by Cynthia Frank from the April, 2005, issue of House & Garden magazine.

Thomas Messel is the editor of the book Oliver Messel: In the Theatre of Design that documents his uncle's influence on interior design, architecture, and fashion.

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Lords, Ladies, and Mummies: Highclere Castle

January 24, 2013, 9:42 am

≫ Next: More on Guigne Court

≪ Previous: The Messels at Bradley Court

The title of this post of The Devoted Classicist is taken from a series of talks given by the expert of British stately homes, Curt DiCamillo. In addition to his invaluable on-line data base of historic British properties The DiCamillo Companion, Curt is an excellent speaker and will be returning to the Memphis Brooks Museum of Art on Saturday, January 26, 2013, in an event sponsored by Decorative Arts Trust to speak on the subject of Highclere Castle.

Highclere as it appeared in the 18th century.
Image from Jane Austen's World blog.

Today, Highclere Castle in Berkshire may be best known in the title role of the television series "Downton Abbey." But Highclere Castle (also known as Highclere [pronounced HIGH clear] House) has a notable history of its own. Since 1672 the home of the Herbert family, later the Earls of Carnarvon, it was built on the site of the medieval palace of the Bishops of Winchester who had owned the estate since the 8th century. The first renovation, in the 18th century, converted it into a classical Georgian mansion. Capability Brown landscaped the 6,000 acre park from 1774 to 77.

The Ground Floor Plan of Highclere Castle.
Image VICTORIAN COUNTRY HOUSE by Mark Giroud
via Jane Austen's World blog.

But the current appearance is the result of the second redesign. The 3rd Earl commissioned Sir Charles Barry, who had just completed the Houses of Parliament, to transform the exterior in the English Renaissance Revival style executed 1839 to 42. The exterior was faced with Bath stone, brought by oxen from the quarry 82 miles away.

The Second Floor Plan of Highclere Castle.
Image from Jane Austen's World blog.

The 5th Earl, George, was married to Almina, the illegitimate daughter of Alfred de Rothschild, one of the richest men in late 19th century England. Although the 5th Countess arrived with a stupendous dowry, Rothschild made many financial contributions during this time including supporting Almina's conversion of the house into a hospital in 1914 to admit patients coming back from the trenches of the Great War.

Howard Carter and the 5th Earl Carnarvon.
Photo via Jane Austen's World blog.

After the end of the First World War, the 5th Earl of Carnarvon returned to Egypt and his sponsorship of Howard Carter's archaeological studies, again with contributions by Rothschild. Together the earl and Carter discovered Tutankhamun's tomb in the Valley of the Kings in 1922. Although the earl's death in 1923 lead to the belief that there was a curse, that legend has been discredited. However, most of the Carnarvon Egyptian collection was sold to the Metropolitan Museum of Art in New York City to pay death duties. In 1987, some antiquities were discovered in storage in the house and items that had been lent to British museums were returned to allow a permanent exhibit to be created in the cellars of Highclere.

A replica of the King Tut Death Mask
on exhibit at Highclere Castle.
Photo: Royal Oak Foundation.

Interviewed for a feature in the January/February 1979 issue of Architectural Digest, the 6th Earl (who died in 1987) said he had sold some land to pay inheritance taxes along with some pictures and jewelry. He gave some land to his son Lord Porchester and his grandson, but kept 600 acres, the stud farm and the castle, the article stated.

The 8th Earl Carnavon, 2009.
From a DAILY MAIL article.

A 2009 article in the Daily Mail newspapter had George Herbert, who became the 8th Earl Carnarvon in 2001, revealing that years of deferred maintenance led to leaks, failing plaster, and mold. Seeking permission for development, he was quoted to say that 50 rooms were uninhabitable and that repairs would cost GBP 12 million. At the time, he was living in a modest cottage on the grounds with his wife and three children, according to the article.

Fiona Herbert, the Countess Carnavon.
Image from DailyMailOnLine.

Another article from January 8, 2011, in the Daily Mail stated that the Countess was insulted that Andrew Lloyd Webber was interested in buying the estate to house his art collection. Hopefully, the fees paid by the filming of "Downton Abbey" combined with increased tourist attendance has helped. In addition, some rooms in Highclere may be rented for private functions, such as wedding receptions, and there is a program for shooting game as well.

The Hall, also known as the Saloon, 2009,
from Rex Features via Daily Mail.

The Library as photographed by Derry Moore
for Architectural Digest, 1979.

The Dining Room as photographed by
Derry Moore for the January/February, 1979,
issue of Architectural Digest.

The Drawing Room during filming.
Image from Downton Abbey publicity.

The Music Room.
Rex Features via Daily Mail, 2009.

Maggie Smith as the Dowager Countess
Image from LA TIMES.

Devoted Readers who enjoy priviledged visits to Stately Homes will be interested in Curt DiCamillo's personally escorted tours, surely the finest of their kind, to study Britain's history, architecture, and art. For both past and upcoming tours, visit Curt's Curiosities.

↧

More on Guigne Court

February 10, 2013, 12:54 pm

≫ Next: The Temple House at Horton

≪ Previous: Lords, Ladies, and Mummies: Highclere Castle

The prinicpal elevation of Guigne Court.
Image: Sotheby's International Realty.

Devoted Readers will recall the 2011 essay on The Devoted Classicist about a celebrated estate near San Francisco known as Guigne Court. It had been decorated by Anthony Hail in the early 1960s in a classic style that has proven to be timeless.

Satellite view of the estate showing location.
Image: Sotheby's International Realty.

The latest news is that the mansion of 16,000 square feet on 47 acres in Hillsborough is for sale. Listed as the Estate and Lands Deguigne on the Sotheby's International Realty site, the asking price is $100 million. Of major consideration is that the current owner Christian de Guigne, 4th, age 75, is to maintain occupancy for the rest of his life.

Driveway entrance.
Image: Sotheby's International Realty.

A driveway of 4,500 feet winds through the picturesque property, allowing a variety of views. Comparing Sotheby's interior photos with those from about 50 years ago, much of Mr. Hail's decoration has remained.

Entrance Hall as view from the front door.
Image: Sotheby's International Realty.

Entrance Hall, with a view to the garden.
Image: Sotheby's International Realty.

Although labelled the Living Room
in an earlier publication, it may be
considered the Ballroom.
Image: Sotheby's International Realty.

Another view of the same room,
showing the fireplace.
Image: Sotheby's International Realty.

Unlabelled, it is unclear if this is
considered the Living Room or Library.
Image: Sotheby's International Realty.

The garden elevation.
Image: Sotheby's International Realty.

A view down to the swimming pool,
showing the Pavillion to the left.
Image: Sotheby's International Realty.

The steps down from the swimming pool
terrace to the garden.
Image: Sotheby's International Realty.

The real estate description indicates that there is a "grand-scaled Ballroom, Living Room, Library and Pavillion" that open to a pool courtyard. The rooms are not labelled on the website, so a best guess is given for the captions above. It is a rare opportunity to own such a large estate so close to a major city, so it will be interesting to see how much activity is generated with the price and the life tenancy restriction.

↧

The Temple House at Horton

February 13, 2013, 1:12 pm

≫ Next: London Squares And Parks Fit For A Queen

≪ Previous: More on Guigne Court

A garden front view of The Temple House, Horton.
Image: Jackson-Stops & Staff.

Devoted Readers will recall the posts about the once-derelict folly known as The Menagerie that was expanded to become a house and presented by The Devoted Classicist in three parts here,here, and here. Thanks to a notice sent by Andrew Triggs, author of the highly-recommended blog British and Irish Stately Homes, it was learned that another surviving outbuilding at Horton, The Temple House, was for sale. Well, the majority of the parkland folly, a Listed Grade II house, is available for a price of GBP 875,000. (See update at end of this essay).

Floor plans of The Temple House, Horton.
(The portico is not indicated)
Image: Jackson-Stops & Staff.

Thought to date from the 1750s as a stone folly, The Temple was renovated and extended with a brick addition in the latter part of the 19th century. The property was divided into two dwellings in 1990, according to the real estate agents, Jackson-Stops & Staff, Northampton, with The Temple House being to the south and Temple Court (also known as Temple Cottage) to the north.

A map of The Temple House, Horton, property.
Image: Jackson-Stops & Staff.

With a garden of about 1.4 acres, the entrance faces the road while the principal front with the portico faces the park. Entering a vestibule, there is a Powder Room as we would describe it in the U.S.

The Dining Hall at The Temple House, Horton.
Image: Jackson-Stops & Staff.

The heated limestone floor continues into the Stair Hall and the Dining Hall with French doors opening to the portico, terrace, and gardens.

The Drawing Room at The Temple House, Horton.
Image: Jackson-Stops & Staff.

Beyond, the Drawing Room has walls with applied mouldings to simulate panelling.

The Kitchen at The Temple House, Horton.
Image: Jackson-Stops & Staff.

The Kitchen, which also serves as a Breakfast Room, has handmade cabinets with hardwood countertops and a fireplace. Across the lobby with door to the garden is a Pantry/Utility Room with Carrara marble countertops. In addtion, there is a small sitting room (not pictured) with hand-blocked Print Room style wallpaper, according to the sales data, this is used as a cinema room.

Upper Stair at The Temple House, Horton.
Image: Jackson-Stops & Staff.

Bedroom One at The Temple House, Horton.
Image: Jackson-Stops & Staff.

Bedroom Two at The Temple House, Horton.
Image: Jackson-Stops & Staff.

A Bathroom at The Temple House, Horton.
Image: Jackson-Stops & Staff.

Another garden front view of The Temple House.
Image: Jackson-Stops & Staff.

Like The Menagerie, the design of The Temple House is attributed to the architect-astronomer, Thomas Wright of Durham. (Note: at time of publication of this posting of The Devoted Classicist, this property with ID = 50080 is not available).

A view of Temple Court in the distance.
Image: Jackson-Stops & Staff.

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London Squares And Parks Fit For A Queen

March 4, 2013, 1:56 pm

≫ Next: Malplaquet House

≪ Previous: The Temple House at Horton

THE LONDON SQUARE:
GARDENS IN THE MIDST OF TOWN.
By Todd Longstaffe-Gowan.
Published by Yale University Press, 2012.

One of Britain's brightest stars in gardening, Todd Longstaffe-Gowan will make a rare U.S. appearance in Memphis on March 9, 2013. In addition to being a landscape architect and garden historian, Todd is Gardens Advisor to Historic Royal Palaces, and has responsibilities at five royal palaces in greater London. He is author of several books on historic gardens. Sponsored by Decorative Arts Trust in association with The Royal Oak Foundation, there will be two aspects of his talk at Memphis Brooks Museum of Art, this Saturday at 10:30 am, free with museum admission.

Todd Longstaffe-Gowan.

The history of London's squares, the green enclaves laid out to be surrounded by houses, will be discussed, along with the designers including Humphry Repton, Charles Barry, and Edwin Lutyens. Mr. Longstaffe-Gowan will speak on the history, evolution and social implications of the squares and how they played a crucial role in the development of urban life.

Kensington Palace Garden.

In the second part of the lecture, Todd will discuss his presentation of the design of the pleasure grounds at Kensington Palace, the largest new garden to be laid out at a British Royal Palace for over a century. Kensington Palace was built in the late 17th century for William III and Mary II, and has been a favorite place of residence for various members of the royal family including Queen Victoria, Prince Charles and Princess Diana. Soon, it will be the London home of Prince Harry and Prince William & Princess Catherine.

This will be the last Decorative Arts Trust public event at the museum during my four terms as President. Be sure to say hello if you are able to attend.
__ John J. Tackett

↧

Malplaquet House

March 14, 2013, 2:51 pm

≫ Next: TEFAF Maastricht

≪ Previous: London Squares And Parks Fit For A Queen

An ostrich skeleton joins a collection of marble busts
in the first floor drawing room of Malplaquet House, London.
Photo by Derek Henderson.

A recent visit by Decorative Arts Trust speaker Todd Longstaffe-Gowan conjured up images of his remarkable London residence, Malplaquet House. Shared with his partner Time Knox, former head curator of Britain's National Trust, former director of Sir John Soane's Museum (possibly this writer's favorite site in all of London), and now the new director of the exceedingly prestigous Fitzwilliam Museum, the couple bought the house from the Spitalfields Trust in 1998.

Malplaquet House as it appeared in May, 1998.
Photo by Todd Longstaffe-Gowan.

Their friend, architectural historian Dan Cruickshank knew they were in need of larger quarters for their growing collections and suggested that they take a look. The house had not been used as a residence for about 100 years, resulting in a level of preservation by neglect despite commerical additions. Purchased for GBP 250,000 (about $410,000) and renovated over a period of four years at a cost exceeding the purchase price, the Grade II-listed townhouse has become a celebrated landmark of the Stepney Green conservation area.

Malplaquet House in May, 2010.
Photo by Todd Longstaffe-Gowan.

Malplaquet House was built on speculation by Thomas Andrews and completed in 1742. The name comes from the 1709 battle of Malplaquet, but it is not sure if the association comes from the occupation of the widow of a merchant who sold war salavage or from a subsequent tenant, Edward Lee, a retired military surgeon.

The front garden of Malplaquet House.
Photo by Andrew Lawson.

Todd, who is a royal gardens advisor in addition to having designed landscapes for private clients such as Charles Saatchi and Lord Jacob Rothschild, created a lush forecourt to act as a buffer from the busy street and a small but lushly planted rear garden, reduced to ten feet by the previous owner.

The new allegorical chimneypiece designed and
executed by Christopher Hobbs.

When the opportunity allowed the creation of a new feature, a fantastic allegorical chimneypiece was designed and executed by their friend Christopher Hobbs. (Other examples of Hobbs' work can be seen in previous posts about The Menagerie here and here). The chimneypiece is flanked by figures symbolic of where the owners grew up: Tim in Africa and Todd in the West Indies and South America. Plaques bearing the owners' profile are featured as are their miniature dachshunds, Tiger and Sponge. Twelve feet tall and entirely made of plaster except for one element, there is a human skull found by Hobbs among the ruins of a demolished YMCA. "We like to think it's the remains of an unpopular aerobics instructress" Todd told Christopher Mason in a 2007 interview for Departures.

All spaces are utilized to display the collections.
Photo by Derek Henderson.

Modern conveniences were inserted with the least intervention possible. Otherwise the existing 18th century interior detailing was preserved.

The kitchen at Malplaquet House.
Photo by Klaus Wehner.

The scholarly collections are displayed throughout the house.

Another view of the drawing room.
Photo by Derry Moore.

A mountain goat 'rests' in the drawing room.
Photo by Derek Henderson.

Egyptian artifacts form one collection.
Photo from the Facebook fan page for Malplaquet House.

Religous art, portraits of nuns in particular,
form another collection at Malplaquet House.
Photo from the Facebook fan page.

There are six bedrooms and two double reception rooms in the house which totals 4,234 square feet.

A view into the southeast bedroom.
Photo by Derek Henderson.

A view into the northwest bedroom.
Photo by Klaus Wehner.

An article in The Telegraph, August, 2010, stated that the owners were wanting a house with a larger garden and that Malplaquet House was listed with Jackson-Stops & Staff for sale for GBP 2.25 million. The position of director of The Fitzwilliam Museum comes with a house in Cambridge, however, a villa with a large garden, only an hour away from Malplaquet House. So, for now at least, Misters Knox and Longstaffe-Gowan have two residences. And the opportunities for the collections to grow continue.

The entrance to Malplaquet House.
Photo from the Facebook fan page.

↧

TEFAF Maastricht

March 15, 2013, 5:45 am

≫ Next: Lakeview House, Palm Beach

≪ Previous: Malplaquet House

A pair of 'soldier' vases and covers,
Qing dynasty, Yongzheng period,
circa 1730 to 1735, height: 135 cm.
Provenance: Edmund de Rothschild.
Jorge Welsh Oriental Porcelain & Works of Art

The European Fine Arts Fair started today and continues through March 24, 2013, in Maastricht, Netherlands. It is the 26th year for the world famous sale that bills itself as "The Fair That Defines Excellence in Art." Collectors and museum representatives are intently examining the wares of 360 gallery owners from twenty countries. My Memphis friends Lucy and Tom are there, but I am limited to admiring only a sampling from each of the dealers from the fair's website. If I were in attendance, here are some items that I would give a closer look.

'Arcadian Landscape with a Temple' by Pierre Patel the Elder,
circa 1645 to 1650, 45.5 x 63.5 cm.
Previously thought to be lost.
Didier Aaron & Cie

George II green lacquer bureau bookcase,
attributed to Giles Grendey, circa 1730.
Cresting and mirror plate later, lacquer restored in places.
Mallet

Herakles
Greek island marble, 25 5/8 in high,
Late Hellenistic - Early Roman Imperial
1st century BC to 1st century AD
Provenance: Irene von Ohlendorf
Gordian Weber Kunsthandel

Tripod attributed to Thomas Hope,
England, early 19th century, 68.5 cm high.
H. Blairman & Sons Ltd.

A pair of pinecone floor lamps by Alberto Giacometti,
Circa 1936, bronze with gilt patina.
Provenance: Countess Mona Bismark
L'Arc en Seine

A pair of 'Mix' armchairs by Kaare Klint, 1931.
Cuban mahaogany, Niger leather, brass studs.
Galere Dansk Mobelkunst

A strict vetting procedure is undertaken before an item may be exhibited, but more items expected to make the cut may be viewed here. (Prices are not given, so do not let cost dampen your enthusiasm for looking). Do you, Devoted Reader, have a favorite?

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