Interior Design and Designers

Posted on September 2, 2024September 2, 2024 by Jim Gallagher

Madeleine Castaing and the Influence of Le Style Anglais 1750-1850

Synthesis of English Style as conceived in France: this living room, open on all sides to the forest, seems to bathe in light. Inspired by the trade cottons of the early 19th century, a multicolored percale, used abundantly, imparts a sense of cheerfulness to the rather severe-looking varnished mahogany furniture, making the room both comfortable and irresistible. Located in the heart of Île-de-France, this room’s charm lies less in the luxury of its details than in their subtle juxtaposition.

SYNTHESE DU STYLE ANGLAIS tel qu’on le conçoit en France, ce living-room, ouvert de toutes parts sur la forêt, semble baigner dans la lumière. Inspirée des indiennes de traite du début du xIxe siècle, une percale multicolore, employée avec prodigalité, communique aux meubles d’acajou verni, d’aspect plutôt sévère, son entrain le confort des ilei os un de le de rance, la etat, points irrésistible. En plein cœur de l’Ile-de-France, la — moins par le luxe des détails que par leur subtile juxtaposition.

Thanks to the craze for English Regeney furnishings that broke out not only in France but all over the world, for several years we have seen the birth and growth of a new and legitimate curiosity for all artwork that came from England.”
Le Style Anglais 1750-1850 ©1959

Le Style Anglais 1750-1850, p 219 Madeleine Castaing, Living Room, Île-de-France

Le Style Anglais 1750-1850, published in 1959

Madeleine Castaing posing next to one of the gilt-brass bamboo stands, which were always stocked in her boutique.

“In 1959 English design was deemed of significant enough interest to result in the production of Le Style anglais: 1750-1850, the last in a series on French design history published by Connaissance des arts. The editors noted, “Thanks to the craze for English Regeney furnishings that broke out not only in France but all over the world, for several years we have seen the birth and growth of a new and legitimate curiosity for all artwork that came from England.” Three reasons are enumerated by the editors as to why the French became so enchanted: first, the Regency’s simplicity, delicacy, and petite proportions were easy to place in small apartments; it mixed just as easily with modern as it did with antique furniture; and finally, “l’argument decisive,” no matter how superb the quality, the prices were well below those for French eighteenth-century furniture. Appropriately, Madeleine had several rooms featured in the book. “Romantic, fanciful, picturesque, a bit theatrical” is the description of English style, but it could equally be applied to le style Castaing.”
–The world of Madeleine Castaing by Emily Eerdmans, ©2010 p 160

Madeleine Castaing, a prominent French decorator, is known for her unique approach to interior design, which integrates English influences with French sensibilities. This room exemplifies her ability to combine the austerity of English furniture with softer, more inviting textiles, resulting in a space that reflects her distinctive style.

Le Style Anglais 1750-1850, published in 1959, is a critical resource in the study of English interior design, particularly as interpreted by French designers. The book remains significant for its exploration of the aesthetic dialogue between England and France during this period and its influence on mid-20th century design. ^jh

Emily Evans Eerdmans (2010). The World of Madeleine Castaing. Rizzoli.

Le Style Anglais 1750-1850

Posted on May 19, 2024June 19, 2024 by Jim Gallagher

Retro Sunday: Men Of The Royal Lancaster Regiment Making Their Own Campaign Furniture.

Pioneers of the King's Own (Royal Lancaster) Regiment, with their campaign furniture, 1808

Excerpted from British Campaign Furniture. Elegance under Canvas, 1740-1914, Nicholas
A. Brawer ¹

Photo: Pioneers of the King’s Own (Royal Lancaster) Regiment, with their campaign furniture, 1898. Black and white photograph reproduced in The Army and Navy Illustrated, May 28, 1898, p. 237. ²

This fascinating image shows men of the Royal Lancaster Regiment making their own campaign furniture. Of particular interest are the two campaign chests on the far left and far right of the picture.

From the Georgian through the Edwardian periods, gentlemen-ofﬁcers lavished time and money on both their full dress uniforms and their campaign furniture. In 1813, Charles James, author of The Regimental Companion, wrote, “It is expected from the soldier, that his arms and accoutrements [including furniture] are at all times in the highest order, that they be not only clean but highly polished.” Ofﬁcers were expected to outﬁt themselves in style.

The vast majority of campaign furniture was purchased privately. Desks, chairs, beds, game tables, and other luxuries of travel were manufactured for any person of means-civilian, naval, or military-who had need of it while traveling. Few, if any, of these pieces were supplied by the British Board of Ordnance; these rarities would have been marked with the initials BO or (after 1856) WD, for War Department, and accompanied by the Broad Arrow stamp.

Occasionally the army recommended certain models and manufacturers of campaign furniture, as it did in The Report of the Kabul Committee on Equipment (Calcutta, 1882; p.22):

.. the committee now considers the question of camp furniture for officers. The majority of the committee consider it to be necessary for the comfort of an officer, that be should bave a bed, and they find that the pattern… made by Ro of Dublin is the most suitable. It weighs under 20 Ibs…. They also consider that each officer should have a chair, and they recommend the pattern shown in the sketch… which weighs 3 ls…. They also consider a table … for each officer is necessary. These for all officers should be of one uniform size and pattern, viz. 24″ x 18″ x 30″. Trestle legs, joined by a cross bar which is connected by a leather thong to a D riveted in centre of table. These tables being joined together make an excellent mess table….

Brass-bound military chests were among the most popular pieces of campaign furniture for both colonists and military officers in the late eighteenth and nineteenth centuries. These chests, which were often contained within their own wooden packing cases, split into two sections of equal size for ease of storage and transportation. For example, the two halves of a chest formed a balanced load when hung over a mule’s back . Campaign furniture strapped to a pack horse’s back. c. 1853-6They were used both on the outward sea voyage, forming a necessary part of the traveler’s cabin furniture, as well as on land upon arrival, where they served as a chest of drawers in a tent or bungalow.

Campaign furniture strapped to a pack horse's back. c. 1853-6

Examples of a mid-Victorian campaign chests at Garden Court Antiques.

Handsome Mahogany Campaign Chest On Chest, Circa 1850.

^jh

Retro Sunday: A Look Back at One of America’s Most Beautiful Rooms from 1958.

1958 : House on Long Island Locust Valley, New York Home of Mr. And Mrs. Renzo Olivieri The Living Room

House on Long Island Locust Valley, New York Home of Mr. And Mrs. Renzo Olivieri
The Living Room
Excerpted from “100 Most Beautiful Rooms in America” (1958 and 1965) By Helen Comstock p. 208
Photographs: Wendy Hilty

Thoroughly modern in feeling is the manner in which a large scale eighteenthcentury Bolognese painting of classic architecture is used as a wall decoration in this living room. The arts of eighteenth-century Italy predominate here, but French and modern pieces are used also. The manner of arrangement only seems casual; actually the relationship of each piece to the rest has been carefully considered so that from every angle the room shows good design. The Italian eighteenth-century sofa and armchairs, painted blue and gold, are upholstered in white linen, while the cushions on the sofa are covered in Florentine silk with a floral pattern after Botticelli. On either side are Neapolitan eighteenth-century console tables in silver, gray, and white. The old gilt tôle sconces above them are designed as tall urns of flowers and have candle arms in foral form. The walls of the room are pearl gray, and a gray Fortuny fabric covers the Louis XV chair which is drawn up at a low circular marble-topped table, as seen in the view on the opposite page. The large sofa, which stands in front of a handsome pair of torchères in the form of blackamoors, is covered in green damask. An Aubusson carpet has a pastel blue and rose flower design on a pale gold ground.

Cover: "100 Most Beautiful Rooms in America" (1958 and 1965) By Helen Comstock

Helen Comstock (1893-1970), author and expert on Early American furniture, authored numerous articles on antiques, prints, and paintings. She served as a contributing editor to Antiques Magazine and was the American editor of Connoisseur magazine for 30 years, starting in 1931.

Oscar Wendellin Hilty (1913-1978), photographer, was born in Liechtenstein and trained as an architect in Zurich. He worked as an instructor at the Engelberg Ski School in Switzerland. In the 1950s, his photography was featured on numerous record albums for the RCA Living Stereo series and in advertisements and magazine covers, primarily based in Manhattan. In 1958, Hilty moved to St. Croix in the Virgin Islands, where he became a successful real estate developer.
^jh

Posted on August 17, 2023March 31, 2024 by Jim Gallagher

Campaign Furniture Comes Home From the Wars

by Lisa Hammel, The New York Times, November 5, 1966

Nineteenth-century campaign furniture, is as square-shouldered and bristling with brass as a four-star general.

Campaign furniture refers to those normally austere pieces used by army officers in the field or naval officers at sea. The explanation for its popularity may lie in an offhand remark made by a furniture buyer, who recently referred to the style as “basically boxes.” Basically boxes is right, yet it is probably the simple rectangular lines of the pieces that make them work well in modern rooms, in many period settings or in a mixed decor. The austerity of shape is offset, however, by the warm gleam of brass hardware. Traditionally on these pieces, drawer pulls are recessed rectangles; corners are capped with metal, and sometimes a strip of metal edges the top of the chest or desk.

Although the idea of field furniture is as old as war, the pieces seen today date mainly from the Napoleonic era in style. Some authorities believe the chests were based on the much older portable oriental chests, the boxy frames of which were decorated with a similar metal trim. The military and naval chests of Napoleon’s day were made so they could be stacked, and many of today’s still can be. Handles on the sides facilitated carrying.

Almost all the old pieces are mahogany. Contemporary versions might be anything from rosewood to brightly colored lacquer.

While the pleces may no longer be used under the narrow panoplied tent, or inside the captain’s snug cabin, observers of today’s decorating scene point out that the add-and-subtract, semi-portable pieces have a peculiar usefulness for today’s space-cramped, on-the-move population.

Campaign Furniture Comes Home From the Wars, by Lisa Hammel, The New York Times, November 5, 1966, Section R, Page 36 – New York Times Archive.

Lisa Hammel (1928-2019) was a staff reporter with the New York Times covering women’s news and education. She later wrote about crafts, artists and exhibitions and interviewed figures such as Edward Albee in their homes. She won a major journalism award in 1969 for an interview with Dr. Spock. In 1978, she became founding editor of Antiques World magazine.

Posted on November 21, 2022December 6, 2022 by Jim Gallagher

A Classic Upholstered English Wing Chair: Grounded In Comfort, Solidity And Surety Of Outline.

“The English wing chair, in which we sit protected and alone and enclosed, facing the warmth of the fire, embraced by wings as if those of a soft sheltering angel. The wing chair’s heaviness and solidity stipulate a different form of life, one of security, of solidity, of immobility, of peace. The wing chair goes with the bourgeois interior, the hearth, with an Englishman’s home being his castle. One is padded, buffered, cosseted, soothed. One’s chair is one’s signature.” ¹

The wing chair is a high backed, upholstered easy chair with side wings, or ear pieces, on either side of the chair back. It was originally a mid 17th century design. Sometimes referred to as a library chair, grandfather chair, forty-winks chair, or saddle-back chair— the wing chair would often be situated alongside or in front of the hearth. The “wings” would shield it’s occupant from drafts, muffle unnecessary sounds and distractions, and perhaps best of all, trap the warmth from a fireplace into the area where you’d be sitting. ²

Here: A handsome mahogany frame upholstered wing chair with rams head carved legs, English, circa 1880. on Queen Anne legs and pad feet, a distinctive split double-scroll ram’s head motif on the two front legs.
height: 43 in. 109 cm., width: 34 in. 86 cm., depth: 32 in. 81 cm.
seat height: 18 in. 46 cm., arm height: 26 in. 66 cm.

Handsome Mahogany Frame Upholstered Wing Chair With Rams Head Carved Legs, English Circa 1880.

Berlin-born, New York–based designer Karl Springer, 1931-1991.

Karl Springer’s signature styles were classical Chinese and Art Deco, the latter inspired by his predecessors Ruhlmann and Jean-Michel Frank. Other influences seen in his creations ranged from the Bauhaus of Germany, his native country, to the Ashanti of Africa. Craftsmen around the world implemented his designs and he traveled widely to oversee the workshops and to scout for new ideas, forms and materials. ¹ ²

“The pieces that attract me have detailing that you can contemplate for hours. Because I insist on the same standards, there could never be any mass production in my workshop—we make one piece at a time.”
Architectural digest, 1989 ³

Mr. Springer was credited with reviving shagreen, the rough skin of an Asian shark, which had been popular as a fabric in the 1920’s but had fallen out of favor. He brought the use of lacquered parchment back into furniture manufacture as well and also worked with inlaid-wood veneers, rare woods, metals, faux finishes and granite.

Karl Springer managed to establish his first, tiny workshop in the early 1960’s and started concentrating on furniture design in 1965. His business flourished after the Duchess of Windsor came across his designs and praised them to her many acquaintances.

“Once I was discovered by the Duchess and her circle, I probably could have gone on making little leather phone tables forever,” he told an interviewer two years ago, laughing. “But you need a challenge.”

As part of our burgeoning contemporary offerings, Garden Court Antiques has recently acquired an exceptional vintage Karl Springer banker’s coffee table covered in a cream-colored shagreen from the 1980’s. ^jh

Karl Springer Banker’s Coffee Table Covered In Cream Colored Shagreen, Circa 1980’s

Giving Holiday Gifts To Friends Is Often Like ‘Bringing Owls to Athens’.

Often, buying holiday gifts for well-to-friends is like ‘bringing owls to Athens‘. We suggest a unique bronze owl inkwell from the late nineteenth century now mounted as a table – desk lamp with a painted metal shade .

The idiom, “to bring owls to Athens”, is an ancient Greek proverb ascribed to Plato by Diogenes Laërtius (d. 180 – d.240) biographer to the Greek philosophers. ¹

It is said that an abundance of owls famously roosted in the rafters of the original Parthenon (before it was burnt down). The owls became a symbol of the city over the years and were sacred to Athena the goddess.

The silver coins of local Athenian currency featured an owl. The Athenians mined their own silver and from this they minted their own coins, so they had need of nothing more. The proverb is stating that to bring owls (either the birds or coins) to Athens would be a pointless exercise, because they have plenty of their own, anymore would be superfluous. ²

The owl symbolizes wisdom, intelligence, protection, and vigilance. During the Victorian period of the 19th century, owls found their way into nursery rhymes. Lamps and andirons were decorated with owls; the birds came to be associated with libraries and learning. The depiction of owls was just as prevalent during the Arts & Crafts movement.

Bronze Owl Inkwell Mounted As A Table Lamp, Late Nineteenth Century.

Straw Work

(excerpted from Antique boxes, tea caddies, & society 1700-1880 Antiqone Clarke & Joseph O’Kelly, copyright © 2003)
Straw marquetry is usually referred to as Napoleonic prisoner of war work. The reason for this is that most pieces available today were made in England in prisoner of war camps and prison ships between 1793 and 1815. Dartmoor and Norman Cross were two of the chief centers, but such prisons were scattered throughout England with some the work dating back to 1756.

Considering the living conditions in such camps and ship hulks, this extraordinarily beautiful work is a celebration of the human spirit over adversity. The technical expertise and the design sense displayed on many pieces are remarkable. Furthermore, the sensitivity of composition, color, and use of material on the best work is breathtaking. The humble materials in the hands of people brought low by circumstances were transformed into treasures reflecting a world of imagination and culture. It is as if the prisoners’ intellects soared while their bodies were confined.

The prisoners sold their wares in the prison markets, where they had the opportunity to interact with the world outside and earn some money towards their keep. Work was sometimes directly commissioned, with the patron providing some of the more specialized materials, such as dyes. There are traditional recipes using chemicals and natural processes and materials for dying straw, as well as theories as to when the straw should be gathered and how it should be kept. However, by the end of the eighteenth century and in prison circumstances, the dying was done by more direct methods.

The prisoners, who were French or Dutch, brought the knowledge of straw work with them. Straw work had been practiced in many parts of the Far East and Europe for centuries.

The technique of straw marquetry appears to be more or less universal. Basically the straw was split, flattened, sometimes bleached and dyed, and then glued onto the wood, or first on paper which was then glued onto the object. Care had to be taken in the application of appropriate pressure to insure the adhesion and flatness of the delicate material. Blotting paper was used to absorb the extra moisture from the glue. Sometimes geometric shapes such as herringbone, lines, chequered squares, and other designs were cutout of long strips of straw that were first glued on paper. For example, lines cut diagonally could give long lengths of sharply defined herringbone designs. These were inspired by traditional tapestry designs, such as the Italian bergamot pattern

The designs on the boxes follow the traditions of other arts. Early boxes on the whole represent scenes typical of period painting and tapestry, framed by designs within contemporary conventions. From the end of the eighteenth century, some boxes follow the neoclassical traditionof arrangement and ornament, although the motifs are often more realistically depicted than in similar wood marquetry. Geometric patterns are also strong within straw work tradition. Sometimes they are used as part of a complex design incorporating representational parts and sometimes as an overall cover for a complete box. Such designs make use of the particular quality of straw, which reflects light according to the way it is arranged. Subtle eﬀects of color and sheen can be achieved by clever juxtaposition of straw following diﬀerent directions.

After the first two decades of the nineteenth century, straw marquetry became less fashionable. Perhaps the departure of the prisoners meant a ready supply was no longer there. However, if the demand had remained strong, English craftsmen would have continued the work. Instead, as the nineteenth century progressed, the craft continued to decline. It is more likely that the rise of the middle classes and the demand for goods which looked more “manufactured” spelt the end of this fine craft, which allowed for more idiosyncratic and at times playful interpretations of the world.

Another factor could have been the cost. A box, or a picture, decorated by prisoners was sold for 20-40 shillings, as much as any quality box was sold for at the time. Free craftsmen could not have competed in a field that needed so much personal time. In spite of presses and mechanical devices for splitting straw, the work still needed skill and hours of exacting work.

For many decades straw work has been neglected. On account of the fragility of the material and the fact that it cannot be refinished, most old pieces show signs of ageing. This has meant that it was only sought after by connoisseurs who had the confidence to display antiques as antiques and not as over restored pieces from centuries past. With the recent advent of the ever more sophisticated collector who demands genuine period pieces, straw work is showing a rapid and sharp increase in price

Exceptional prisoner of war work and early pieces, which are very rare, command considerably higher prices. With scholarship identifying artists and areas of work, these small treasures are fast disappearing into museums and important collections.

Posted on May 23, 2019 by Jim Gallagher

Wheel Chasers: Historical Paris Street Furniture of the 19th Century.

historical chasse-roues, cast iron ball Paris street furniture and other designs.

Wandering through neighborhoods in Paris, you’ll notice that doorways are often flanked by low structures made either of stone or metal. These guard stones are called chasse-roues (French lit. “wheel chaser“) or bouteroue (“to push the wheel out of the way“). These projecting metal, concrete, or stone exterior architectural elements are usually located at the corner and/or foot of gates, portes-cochères, garage entries, and walls. They function to prevent damage from vehicle tires and wheels. During the period of horse-drawn vehicles, the wheels, including the hub, would protrude beyond the vehicle’s body, and were thus prone to collide with and damage a corner of a building or gate. Chasse-roues were developed as a warning signs: ‘keep back‘, ‘keep your distance’, ‘don’t brush up against me’, and as traffic bollards––or, in the common parlance, ‘traffic cones’ ⚠️😄. They are a historical item of street furniture and some are still in use today. ¹ ² ³

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photos: Sylvaine Lang, Moments Parfait blog, Chasse-roues. February 26, 2019

Stone was the favored material for chasse-roues during medieval and Renaissance times but many different cast iron designs were installed during the Haussmannian transformation of Paris. ⁴ Of the surviving chasse-roues in Paris, many are from that age of economical iron and steel. Cast iron was often preferred because it’s affordablity and versatility. Initially, a pattern or mould of the design––the most expensive part of the process––would be made. Then the molten cast iron would be poured or ‘cast’ into the mould and could take many decorative forms with each subsequent casting being relatively inexpensive to produce. Many ornamental cast-iron pieces from the late 19th and early 20th centuries survive today. These decorative artifacts represent a perfect union of form and function projecting a sense of strength, durabilty and good design.

When automobiles replaced fiacres ⁵, chasse-roues no longer served their purpose being replaced by objects meant for automobile traffic, such as curbs and guard rails. They were, in fact, undesirable but because they were unusually difficult to remove, most of them were just left in place. Those that remain stand as silent sentinals to earlier traffic on those historic roads. ⁶

Today these architectural artifacts are treasured for historic reasons and are often protected as part of a city’s cultural heritage.

On one of our recent excursions into Paris, we found a lovely patinaed pair of iron ball, “boule”, chasse-roues which we had electrified and museum-mounted as an impressive pair of table lamps.⁷ ^jh

Pair Of Iron Ball, "boule", chasse-roues mounted as table lamps, French, circa 1870. — Pair Of Iron Ball, “boule”, chasse-roues mounted as table lamps, French, circa 1870.

Demystifying Antiques: an ASID Evening Event

It’s our first event in tandem with epoca in our new location: 1700 16th Street in San Francisco. We set out to demystify the sometimes esoteric world of buying and decorating with antiques.

This is an ASID Members Event for those who intend to buy, design, decorate and collect antiques & mid century modern furniture for clients and their own enjoyment.

Furniture is best experienced ‘Hands-On’. In order to do design, you must look, touch and feel pieces. As of late, the trends, when shopping for antiques & midcentury, presupposes one may rely solely on the internet and furniture web portals to make critical decorating decisions & choices. “Jpegs” are fine for previewing a lovely cabinet or chair but it’s likely you’ll be disappointed once the piece arrives. It is counterproductive to think that one doesn’t need to feel, see, experience a piece of furniture in-person.

Design & Decoration is a Hands-On Affair and So Is Shopping for Antiques & Vintage Pieces!

Experts learn by traveling locally and to various far-flung places. It is edifying to experience in-person, a lovely gilt wood mirror or sterling silver chandelier. You grow by looking, holding, touching these articles and by traveling places and meeting various dealers and resources––whether it’s that vintage store in the Mission or with your own car & driver visiting the fabulous Flea Markets of Paris & throughout the bucolic English Countryside.

So, don’t be shy. Visit the dealers’ shops & galleries available to you. See what catches your eye. Be persistent and ask questions. Dealers love to talk about their pieces, and the more questions you ask the more you will learn, and understand developing your own eye. You can learn a lot by expressing genuine interest and engaging with the different dealers and galleries. San Francisco has a full panoply of artisans, crafts persons, designers and design resources at your behest. Our Design & Decorative Arts Community is rich with history and bonhomie.

The good dealers know their stuff. When you the find ones you like and trust, establish a rapport with them. These professionals will teach you a lot.

Read books! ..consult internet guides, take-in lectures ( i.e. ASID, Institute of Classical Architecture and Art (ICAA), Art Deco Society of San Francisco, San Francisco Fall Art & Antiques Show ). Compare the information you read to the knowledge you gather through your conversations with the various dealers. And by all means, share your own growing expertise to “pay it forward”.

Instant gratification! Visiting antiques galleries in person means when that when you find that perfect armchair, side table, low table or precious box, you can take it with you which is so much better than the anxiety & added cost of having the piece shipped from–well, who knows where.. Have it now. Place it now!

Recycle, Reuse. The materials and workmanship found in antique furniture just cannot found in the furniture that is mass-produced today. These pieces were crafted with care. They have endured the test of time and they still look fabulous. (How many of us can say that for ourselves?!) These are prized possessions that have been handed down through generations and cared for lovingly. It is our heritage and they are now in our care. We curate these pieces so that they will exist for future generations to enjoy & ponder.

We do hope you’ll join us Thursday, February 28th to enjoy a cocktail, appetizer and some engaging conversation. Come and mingle with fellow ASID members, introduce yourself and circulate through beautiful furniture and accessories.

Since moving Garden Court Antiques at the beginning of 2019 we’ve been hard at work combining our 18th century European country aesthetic with the sophisticated midcentury stylings of epoca. We are more than pleased with the results–its just fabulous: the layering styles, periods, textures, colors is a somewhat maximalist approach that encourages your eye to wander and your imagination to soar.

We look forward to your visit, to get to know one another and..to ‘get educated’!

Jim Gallagher, Curator, Garden Court Antiques.
Eric Petsinger, Curator, epoca

Thursday, February 28 at 5:30 p.m. cocktails & appetizers,
6-ish p.m. brief presentation,
afterwards: mingle-mingle-mingle.

Where: Epoca
1700 16th Street
San Francisco, CA 94103
ph: 415 355-1690

Sign up at Eventbrite:

“…One should always have at least one piece with some age in a room. It does not have to be over-the-top expensive, but antiques resonate with history’s silent voices. The appeal resides in a patina only achievable with time: their very imperfections speak to me of soul and character and life lived.” ~ Suzanne Tucker, Tucker & Marks and The Annual San Francisco Fall Art & Antiques Show Chairperson [ 1. The Incollect Q+A With Suzanne Tucker, The Collector’s Interior Designer ]

“The intrinsic beauty, the ‘soul’ of an object captivates me. A rich past life is revealed through antiques, but historical context is secondary to their essential visual power. I use antiques in my interiors to elicit emotions from the individuals who inhabit the space.” ~ Timothy Whealon, Interior Designer, Author “In Pursuit Of Beauty” [ 2. Interior Design Master Class, edited by Carl Dellatore, Rizzoli. p232 ]

“It makes me sad when there are no antiques in a room.” ~ Bunny Williams, Interior Designer, Author

In this image:

A Painted Swedish Chest of Drawers, circa 1880. height: 31 in. width: 42 in. depth: 22 in.
A Boulle Light Blue Enamel Highly Decorative Box With Precious Materials And Brass Inlay; French, Circa 1860; Light blue enamel inlay to all sides; brass moulding around the top and bottom edges. All resting on a rosewood mouleded base; precious materials inlay with rosewood interior; drop down front; working lock & key; Light French polish; height: 4.5 in. width: 10.75 in. depth: 4.5 in.
A French Giltwood Fluted Mirror, circa 1840. An elegantly large rectangular gilded mirror frame with with concave channels.
height: 48.5 in. 123 cm., width: 29.5 in. 75 cm.
A Pair of 18th Century Italian Carved Limewood patterns used for the decoration in leather wall panels or ceiling panels, now a decorative curiosity. height: 13″ width: 13″
A Pair Of Round Decorative Painted Terra Cotta Victorian Heat Registers
A Late 19th Century Primitive, Worn, Painted English Milking Stool.
In this photo from epoca: An Ethereal Pair Of American 1960’s Frosted Ice-blue Glass Baluster-form Lamps With Raised Floral Decoration 1960’s. Each tall and striking lamp in a soft frosted blue glass adorned with raised floral decoration; excellent condition with no chips or cracks height: 20″ (top of glass) 32″ (top of shade) diameter: 8″

^jh

Category: Interior Design

Madeleine Castaing and the Influence of Le Style Anglais 1750-1850

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Retro Sunday: Men Of The Royal Lancaster Regiment Making Their Own Campaign Furniture.

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Retro Sunday: A Look Back at One of America’s Most Beautiful Rooms from 1958.

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Campaign Furniture Comes Home From the Wars

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A Classic Upholstered English Wing Chair: Grounded In Comfort, Solidity And Surety Of Outline.

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Berlin-born, New York–based designer Karl Springer, 1931-1991.

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Giving Holiday Gifts To Friends Is Often Like ‘Bringing Owls to Athens’.

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Straw Work

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Wheel Chasers: Historical Paris Street Furniture of the 19th Century.

photos: Sylvaine Lang, Moments Parfait blog, Chasse-roues. February 26, 2019

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Demystifying Antiques: an ASID Evening Event

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photos: Sylvaine Lang, Moments Parfait blog, Chasse-roues. February 26, 2019

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