Masterpiece Fair 2014

Fairs are one of the great pleasures of summertime and Masterpiece is one that shouldn’t be missed. One can’t help but be dazzled by the array of exquisite objects, ranging from artworks to jewelry to antiques. I hope some of you will take the opportunity to browse its range of exceptional pieces. Even if many of the pieces’ price tags have a digit too many to be within reach, the inspiration in abundance here costs no more than the entry admission. I always find that these sorts of venues are a terrific way to train one’s eye. Being particularly fascinated by pieces of the past, I love getting up close to furniture and studying colors, finishes, and patinas.

As a young designer I am constantly working on learning to see. Learning to see means not just spotting what’s trendy or what goes well with what. Rather, it’s about looking at visual properties, drawing connections and reading meaning. It’s about feeling the reason behind a sober neoclassical bookcase or being swept up in the exuberance of a gilded rococo console.

In our highly digital world where we live immersed in screens and remote connections, it’s critical to get out into the world, train your eye, grow your visual vocabulary, and truly see. So if you’re in London, get to Masterpiece and get inspired.

An 18th C. walnut sleeping chair having its original needlework, French c. 1760.

A George II painted carved pine open bookcase, c. 1735. Edward Hurst.

A Pair of George II Giltwood Armchairs in the Manner of Thomas Chippendale, c. 1755. Frank Partridge.

An Early 19th C. Lacquer Cabinet on Stand, China. Mallett.

An 18th C. Pine and Polychrome Lacquer Magot, Germany. Chiale Antiquariato.

Godson & Coles

One of a Pair of George II Giltwood Mirrors Atrributed to Benjamin Goodison, c. 1735. One of a pair of George III Chinese Lacquer Commodes Almost Certainly by John Cobb, c. 1765. Ronald Phillips.

Spring Auction Season is Here

A Louis XV fauteuil stamped C. Sene. Est. 8,000 - 12,000 EUR. Image from Sotheby's. 

It is no secret to my close friends that I am absolutely obsessed with auctions. For me it's not simply about the thrill of the hunt, but rather seeing an individual's oeuvre first hand. With the Spring upon us, it's that time of year when almost every auction house seems to have an upcoming sale. Having just moved to Europe, I am dangerously close to the auctions of Paris and London, where some of the most exciting pieces are coming up for sale. In the coming weeks, these fascinating pieces could be yours or mine.

Enjoy!  

A Louis XIV giltwood console table in the manner of Nicolas Pineau. Est. £3,000 – £5,000. Image from Christie's.

A Dutch carved giltwood mirror c. 1720, in the manner of Daniel Marot. Est. £4,000 – £6,000. Image from Christie's.

Beautifully detailed.

A late 17th - early 18th C. Swedish mirror attributed to Gustav Precht. Est. 10,000-12,000 EUR. Image from Sotheby's.

An Anglo-Dutch Bureau cabinet, partially 18th C. Est. £7,000 – £10,000. Image courtesy of Christie's.

Louis XV bombé chest of drawers, mid 18th C. with rosewood marquetry and gilt mounts. Est. 10,000-15,000 EUR. Image from Dorotheum.

Christopher Leach

Today I'm continuing the small space theme and showing the work of Christopher Leach. Leach has a beautiful project in this month's British House and Garden but his own London flat is my favorite. There's so much to love in such a small space: the lacquered walls, the wing chair with its fringe trim, and the lampshades. I want to move in right now.

Images from World of Interiors, August 2010.

Small Space Big Impact

Perhaps because I live in a rather small rental, I was particularly intrigued by this West London drawing room, whose designer is unknown. The space is compact yet the scale of the pieces is anything but. A large portrait, substantial Asian porcelain pieces, and massive gilt candle sconces, all vie for attention. However, the result somehow feels balanced and proportioned. The blues throughout the room make the space feel thoughtful and designed rather than haphazard. For all of those who struggle with how to make a rental great, this space inspires: notice the plain wall color and simple window treatments, the former often off-limits to renters and the latter hard to invest in for a temporary stay. Great pieces and a sense of balance complete this room without the need for additional elements.

Image from Interiors by Min Hogg.

Marvelous Collaboration

As I embark here I hope to bring a unique and inspiring point of view on design, culture, and life. It's hard to say exactly where I will go on these pages but living in a world so full of amazing and beautiful spaces, atmospheres, and experiences, I hope to bring a small fraction here and start a dialogue.

So today I begin with a very famous room that looks as good today as when it was designed in the late 1950s: the Yellow Room at Avery Row in London. A collaboration between John Fowler and Nancy Lancaster, it showcased both of their talents perfectly. In reading Colefax and Fowler: the Best in English Decoration, I realized how much Nancy Lancaster advanced John Fowler's aesthetic and this room is a perfect example. While Fowler was responsible for the paint treatments including the swagged husks above the cornice and the incredible curtains, the basic concept including the composition and color scheme was that of Nancy Lancaster.

Beyond the confident and marvelously executed paint, curtains, and floor plan, the room had a wonderful balance between formality and comfort - a trademark of the firm's work. What I love is the warmth and depth of the space, which blended many shades of yellow to create a nuanced effect that keeps one's eye moving and interested. I've studied this room time and time again but I always notice something I hadn't before, making this room one of my favorites.

Enjoy.

Image from Colefax and Fowler: the Best in English Decoration by Chester Jones