Showing posts with label Historical Houses. Show all posts
Showing posts with label Historical Houses. Show all posts

25 July 2010

The House that Pleasure Built


Mlle Dervieux's boudoir

For as long as I can remember, I have been fascinated by that singularly glamorous creature, the Courtesan.  Living outside of society's constraints and approval, hers was a life dedicated to mastering the art of pleasure in all its forms - intellectual and sensual.  

It was a job requirement to be dressed fashionably and sumptuously and her quarters, as an extension of her person, were just as exquisitely equipped.  The Opera dancer Anne-Victoire Dervieux (1752 - 1826) was one such mistress who was so passionate about her Paris neoclassical hotel particulier that she eventually married her architect François-Joseph Bélanger.* 


The house on the rue Chantereine (now the rue de la Victoire) was fabled for its elegance.  The Baronne d'Oberkirch was one of the many who toured it - while its mistress was out, of course - and described it in her memoirs: "It was a gem.  The furniture alone was worth a king's ransom.  Both court and city had contributed to its decoration."

The two story house was first constructed by Alexandre Brongniart, but was redesigned by Belanger in 1788 in the latest Pompeian taste.



The brothers Goncourt called it the most splendid of the small-scale hotels, "with its bathroom in the Etruscan fashion, the dining room preciously worked with silver arabesques, painted figures, and mahogany and lemon wood married together."  Most petites maisons were sited on the outskirts of Paris where men could engage in all sorts of unsavory pursuits away from society.  If interested, I highly recommend the 18th century novel La Petite Maison which narrates the seduction of a young woman through the architectural delights of a maison de plaisance.

 

Belanger was at the forefront of French neoclassicism which drew upon the arabesque decoration found in the Ancient Roman murals in Pompeii.  (Compare with his British contemporary Robert Adam who was similarly influenced.)


A rare exhibition of 20 watercolor designs was recently on view at Didier Aaron in London.  My dear friend Marc sent me a few images from the show, which I hope some of you had the good fortune to see.  For more, click here.

One of Belanger's most important clients was the Comte d'Artois who, surely no coincidence, was one of Dervieux's supporters.  I couldn't help but include Belanger's charming design for the comte's bedroom at the chateau de Bagatelle in the Bois du Boulogne.


*Dervieux was imprisoned during the French Revolution and her marriage to Belanger afterwards is said to have been more of convenience than of a shared passion enflamed over boiserie and mantelpieces.  Oh well.  The house was later inhabited by another lady of style, Hortense Bonaparte.  Click here to see Dervieux's boudoir in miniature.

For more reading pleasure, curl up with Katie Hickman's Courtesans: Money, Sex and Fame in the Nineteenth Century and Mistresses: True Stories of Seduction Power and Ambition by Leigh Eduardo.  Of course, I am always looking to expand my library on licentious ladies, if you have any suggestions....

08 June 2010

Timeless Elegance: The Anson Pratt House

If my first born is named Darona, it will be in honor of my dear friend Daron Builta. Six fateful years ago, Daron generously offered his New York apartment as the setting for a Merchant's House Museum benefit where I ended up meeting Mr. EEE for the first time.

This weekend we will be visiting Daron and his partner Steve at their glorious country house in Columbia County. The house, built c. 1802 - 1812, is a graceful example of the Federal period and accordingly is on the National Register. Daron, who has worked in the offices of Sills Huniford, Peter Marino and David Easton, has applied his characteristically restrained elegance to the house's interior decoration and agreed to let me share a few glimpses.

The Entrance Hall - although we always come in through...

...the kitchen. Mr. EEE is always up for a conversation on how we seldom use front doors anymore, if you're interested.

When it comes to period styles and connoisseurship, Daron really knows his stuff. But while he was guided by the house's history and his own traditional inclinations, the house is fresh, comfortable and suitably formal without being pretentious.

The dining room with Adelphi "Pebbles and Flowerpots" based on a document paper from the Lexington, Kentucky Pope Villa c. 1815

Farrow and Ball paints and Adelphi wallpapers provide a warm, organic palette punctuated with blue gingham checks and emerald green silks, all with historical basis.

The front sitting room

The furniture is a combination of period-appropriate American and English neoclassical antiques with contemporary armchairs pulled up here and there.


I'll never forget discussing the David Mlinaric book with Daron when it first came out. While I initially found it a bit lackluster, Daron pointed out that Mlinaric didn't add anything to a scheme that didn't contribute to its overall design. This gave me a whole new appreciation of Mlinaric's work and Daron's as well as he is beautifully adept at editing a room to its essentials.

The back sitting room

A central oval staircase spires up the middle of the upper floors, off of which the bedrooms are arranged.

A view of the Master Bedroom with a "pillar and arch" Adelphi paper

We usually stay in this stately guest room complete with Palladian window

Just as in the Federal period, Daron has furnished the bedrooms with more humble antiques, such as rush-bottomed "fancy" chairs...


and simple rag rugs.

Without a doubt, Daron and Steve's house is a grande dame. While many may have been tempted to turn her into a museum, Daron has used his light touch to keep her a timeless and classic beauty.

11 February 2010

Gardner-Pingree House Visit

The glazing bars of the entrance to the house were recently regilt

Last weekend, trailing in the Down East Dilettante's footsteps, my friend Nan and I hopped on the train up to Salem, Massachusetts to see the Iris Apfel exhibition at the Peabody Essex Museum. Full disclosure: I was enticed as much by the exhibition - which was fantastic - as the knowledge that selections from Iris' own collection of jewelry were on sale in the gift shop.

Nan posing next to the ice sculpture of a tiger wearing Iris' signature oversized round spectacles

After being inspired by Mrs. Apfel's infectious exuberance (and one of her dramatic bangles to call my own) , we crossed the street to tour the Gardner-Pingree House, an 1804 neoclassical gem designed by Salem's golden boy Samuel McIntire.

The entrance hall floor was covered in a practical floorcloth painted in jazzy emerald and black octagons

The riot of pattern and brilliant colors found inside snapped me to attention and reminded me that some of the most adventurous and dynamic decorating happened hundreds of years ago.

Goldenrod walls, oyster trim, and a carpet of moss green, purples and magentas in the rear parlor easily make one forget the grey skies outside.

McIntire was known as much for his exquisite carving as for his architecture - the three-dimensional treatment of the basket of flowers, with its bottom fully realized, is classic McIntire

You might think the pattern of this wallpaper in the dining room was enough to add drama, but more is more...
when paired with this wall to wall floor cloth.


Clearly, this wasn't a family who was interested in white walls. Even the kitchen is a standout in its rosy hue.

The upstairs master bedroom - the docent who suggested that the carpeting downstairs might have been a little OTT...

found this carpeting restful. As an aside: a friend of mine rightfully once said that - in general - the most interesting and high style historic houses that have survived were generally owned by Donald Trump nouveau riche types who wanted to make a splash. That said, I don't think the McMansions of today will be oohed and aahed over in 100 years - or will they?

The small-scale repeat found in this blue bedroom inevitably made me think of Laura Ashley

In the study, this wallpaper cleverly incorporated marbling from the endpapers of a book in the house's collection:


Would you believe me if I said that the house has even more jaw-dropping delights for the eye? You'll have to see for yourself.

21 December 2009

Interior Inspirations, Part IV: Reggie Darling

Editor's Note: When Reggie Darling first commented on EEE, I was instantly intrigued - who is this man with the P.G. Wodehouse name and the waspish WASP wit to accompany it. While searching for a way to contact him, I was delighted to discover that he had just launched his own blog which is now one of my must-places to visit.

When contacted by the inestimable Emily Evans Eerdmans with the request to write a guest piece about an interior that has inspired or influenced me the most, it was both a great honor and a predicament. Which to choose?

After a great deal of deliberation, I narrowed the list down to two that have most inspired and influenced the restoration and decoration I and my spouse have undertaken at Darlington House, our Federal-era country place in the Hudson River Valley.

The Grange and Hamilton House:
Jewels of the Early-Period Colonial Revival

The Grange today

Hamilton House today

The rooms I have selected are found in “The Grange” in Lincoln, Massachusetts, and in “Hamilton House” in South Berwick, Maine. Both houses were owned by and sympathetically re-decorated at the turn of the last century in high-style early-period Colonial Revival style by owners of rigorous taste and elevated sophistication. Miraculously much of their interiors remain largely intact to this day. Both of these properties are today owned by Historic New England and are open to the public as house museums. I encourage you to visit them, as they are both handsome and beautifully-situated.

What distinguishes The Grange’s and Hamilton House’s interiors from later Colonial Revival interpretations is that their owners did not seek to create slavish museum-type period interiors in their rooms, but rather ones that were informed by history, and where the contents are arranged for modern-day use and comfort. I call them period-ish. They are emblematic of the early-period Colonial Revival, when interiors were designed to recreate a period mood while still retaining elements that were not, by definition, of the American Colonial period.

Such interiors often would include a mix of furnishings from differing eras and countries of origin, not just from America but also from France and England. Successful practitioners of this early-period Colonial Revival style included Elsie de Wolfe, notably in her decorations of the original Colony Club in New York, and McKim, Mead, and White, as seen in their “restoration” of the White House’s principal rooms under Theodore Roosevelt’s presidency.

It is important to distinguish this early period of the Colonial Revival from the later-period Colonial Revival, which evolved to become more strictly-focused on creating period-consistent interiors heavily influenced by the restorations at Colonial Williamsburg. All ball and claw.

The Grange
Lincoln, Massachusetts

The Grange in the 1890s

Ogden Codman, co-author with Edith Wharton of The Decoration of Houses, is one of the greatest architects of the early-period Colonial Revival, along with McKim, Mead, and White. Codman’s work is thoroughly discussed in Pauline Metcalf’s able monograph Ogden Codman and the Decoration of Houses, a book that should be in every student of interior design’s reference library and takes pride of place in mine.

Grange sitting room 1890s

Grange sitting room today

The Grange was built by the architect’s ancestors in 1740 as a country seat outside of Boston and substantially enlarged and updated around 1800 in the Federal style. By the time Ogden Codman assumed influence over its interiors in the late 1890s the Grange’s rooms were largely populated with furniture and decorative objects from the 1860s and 1870s. He didn’t care for their dated look, which he considered to be at odds with the house’s architecture, and redecorated several of the rooms with a lighter and sophisticated mix of 18th-century American, English, and French furnishings.

The most iconic of these rooms, a sitting room, features its original paneling installed in 1740, painted white, and mostly (although not-exclusively) furnished with Louis XVI furniture and Chinese porcelain lamps. The same toile de Jouy is used throughout the room to upholster or slipcover the seating, and also as curtains.

Grange Sitting Room 1980s

Over 100 years later this room still appears fresh, light, and comfortable to me, and an ideal place to wile away a summer’s evening. It has had a profound influence on the decoration of our drawing room at Darlington House, where we have sought to capture a similar atmosphere with a mix of American Federal, Louis XVI, and English Regency furniture, along with Chinese and English porcelains.

Hamilton House
South Berwick, Maine

Hamilton House in the 1890s

Built circa 1785, Hamilton House was acquired by the comfortably-circumstanced Emily Tyson and her stepdaughter, Elise, in the 1890s as a summer retreat. They bought the house at the urging of their friend Sarah Orne Jewett, the author of The Country of Pointed Firs, who lived nearby. The Tysons embarked on a major restoration and renovation of the house and in so doing created one of the gems of the early-period Colonial Revival. The house sits in an idyllic setting, overlooking the Salmon Falls River, and it is noteworthy for the beauty of its situation, gardens, house, and interiors.

The Tysons in the Hamilton House dining room

The decoration of the rooms of Hamilton House, in particular its dining room, have influenced our work at Darlington. The dining room is noteworthy for its asperity.

Hamilton House dining room

It is simply furnished with painted fancy chairs, plain mahogany furniture, and gilt mirrors. The floors are covered with rush matting. One of the most delightful aspects of the room is its walls, painted with classical Italian views in 1905 after the Tysons returned from a tour of Europe. Prettily-painted wood window pelmets add a pleasing and decorative touch, from which hang (in certain photographs) plain white dimity curtains.

These are rooms that I come back to again and again, both for their simplicity and their integrity, and I believe that there remains much to be learned from them today -- whether one is seeking to create interiors informed by the past or more modern ones rooted in contemporary living.

For more information on the Grange and Hamilton House: http://www.historicnewengland.org/

Reggie Darling’s updates on the progress at Darlington House can be found on his quite charming blog: http://www.reggiedarling.blogspot.com/

09 November 2009

Carolands House Visit, Part II: The Buatta Touch

The Ladies Lounge - the curtains reminded me of those made for Evangeline Bruce by John Fowler, an early mentor to Buatta

Many times the only difference between "good" and "great" is a small detail, but what a difference it makes. While touring the storybook Chateau Carolands, I found my attention constantly drawn to the beautifully finished soft furnishings dreamed up by the Maestro of Passementerie, Mario Buatta.

The Men's Lounge

Students of curtains, take note of the generous length of the panels that puddle most attractively on the floor - lining and interlining are key to achieving this look.....

A favorite Buatta chintz in the Loggia

Taffeta Festoons - is there anything more swoon-inducing?

a symphony of blue and yellow - cording, buttons, and tassels finish the seat cushions in the dining room

The Johnsons, the owners of Carolands, love to play cards - who needs real cards when you can have needlepoint ones which very conveniently leave hands free for highballs