Powder Room Mural by Hilary Knight

Hilary Knight’s name may sound familiar, especially if you were ever a little girl or have ever read stories to one, because Knight is the illustrator of the beloved children’s book series, Eloise, by Kay Thompson. Like all the greats, Knight made it look easy. His fluid, whimsical illustrations—which are so spontaneous-looking you’d swear they were dashed off on a napkin—capture Eloise’s youthful insouciance. They also portray the bemusement of the hotel guests and staff as she confounds her guardians and orders from room service “one roast-beef bone, one raisin, and seven soup spoons.” (I love Eloise because at five, she was Not Pretty but was already a Person.)

Hilary Knight’s photo from the back over of the first Eloise book

Knight was only 29 when the first Eloise book came out, and the powder room murals, Christina Merrill believes, were painted even before then, probably in the late forties or early fifties. Currently adorning her own home in Long Island, they were originally painted for the powder room of the Manhattan apartment where she lived as a baby. Christina’s father, Joe Buhskin, was a jazz pianist who co-wrote Frank Sinatra’s first hit, “Look At Me Now,” and  played with Tommy Dorsey, Louis Armstrong, Billie Holiday, Bing Crosby, and other greats. (Go here for his rousing version of “I Love a Piano” — as the song’s lyrics say, he knew a fine way to treat a Steinway: http://bit.ly/zeShOj ). As a young man about town just out of the Navy (where his painting was confined to literally painting ships) Knight frequented clubs where Bushkin played, and the two suave gents became fast friends.

Joel Bushkin

The effervescent quality of the murals captures the nightclubby, martiniesque mood of mid-century Manhattan, where Knight painted them as a gift in the Bushkin apartment in River House on 52nd St., which is still an apartment house. The Bushkin family moved to California when Christina was young, but she met Knight on several occasions. “My three sisters and I loved going to the Plaza, and we were thrilled when he signed our copies of the Eloise books,” she says.

When her parents’ apartment was sold, an adult Christina loved the powder room so much she recreated it in her classic Long Island home, out of what had been a telephone room.  Her friend, interior designer Meg Braff, whose work we have featured in Traditional Home, designed the powder room with Christina’s input—and the artist’s. Christina had restoration specialists painstakingly remove Knight’s canvas murals from the Manhattan apartment and bring them to her Long Island home. She sent a town car to the city to fetch Knight for his input. (Knight was born in 1926 and is very much alive: hilaryknight.com). “I had hired an artist to help, and together they worked out how he wanted it to be. He was so gracious and friendly, and so glad that I had gone the extra mile with the murals,” she says. Designer Braff discovered some vintage Scalamandre gold tassels that look just like the tassels in the mural to tie back the new powder room’s scarlet drapes, a perfect touch for this powder room extraordinaire.

Powder Room Mural by Hilary Knight

By the way, Christina was one of the winners of our annual Classic Woman Awards last year for her work as founder of The Bone Marrow Foundation (bonemarrow.corg). She is also the mastermind behind Town Togs, which makes ties for boys and men, with a percentage of profits going to her charity (towntogs.com). The name comes from the idea of dressing up for trips into town, just as she and her sisters did as little girls and just as her three sons do today . Meanwhile, the Eloise legacy lives on at the Plaza, where you can visit the Eloise shop or throw an Eloise birthday party (theplaza.com).

I’ve had that song in my head ever since seeing architectural birdhouses by Home Bazaar. These little beauties are rendered either in an architectural style—like a salt box cottage, a pagoda, an arts and crafts bungalow, and oodles of others—or are inspired by real buildings, like the garden pavilion at Monticello or the Hotel Del Coronado. (‘m especially smitten with the Arts and Crafts bungalow, because it looks a lot like my house.) Some people display them inside or on covered porches, protesting that they’re too pretty to use outside — but they are created for outdoor use.

Gramercy Park Birdhouse

The birdhouses and birdfeeders are made out of materials like ply-board, kiln-dried hardwood, and poly-resin for the fine details, using non-toxic, water-based outdoor paint with pine or western red cedar shingles for the roof.  Strict birding enthusiast guidelines are used so that birds can nest, multiply and return: the back comes off so the interior can be easily cleaned.

San Francisco Rowhouse Birdhouse

 The reason they are made of hardwood is that this makes them cooler inside for the birds, as opposed to birdhouses made of synthetic materials. The also have ventilation and drainage, and can be mounted on a garden pedestal, like a cottage design mounted on a pedestal with Victorian scrollwork.

Because they are made of mostly natural materials, they become weathered. David Silverman, founder of the company, says, “That’s part of the beauty of them. When they start to get old, they  age naturally, and birds can live in them for many years.”

Hobbit House

Prices range from $25 to upwards of $300. For more information: http://www.hbbirdhouse.com/default.htm

The second exhibit, The World of Duncan Phyfe-The Arts of New York, 1800-1847  is a multimedia exhibit that opens Thursday, December 15, at the Hirschl and Adler Galleries and runs through February 17. Curated by gallery owners Stuart and Elizabeth Feld, it’s comprised of work made by Phyfe and his contemporaries in New York City, and shown alongside the work of other artisans of the time in wood, silver, porcelain, and metal. The show offers an unusual opportunity to buy museum quality work. Hirschl and Adler Galleries co-owner Elizabeth Feld says of the two exhibits, “For someone who loves design, it’s a field day,” says. Here’s an example of an early piece on display at the galleries:

Attributed to Duncan Phyfe, New York
The Ogden Family Work Table, about 1810-15
Satinwood and burl satinwood, partially ebonized, and mahogany, with gilt-brass paw toe caps and castors and drawer pulls, baize writing surface, and mirror plate
31 in. high, 21 ≤ in. wide, 14 π in. deep
Photo by the Helga Photo Studio

Says Feld, “Basically the word ‘Phyfe’ has become a very generic way of saying neoclassical, like Kleenex is a way to describe tissue. His name became the moniker for the aesthetic. Neoclassical keeps reinventing itself. He helped create an indigenous New York form of classicism, and because he was so successful, his name became attached to the style. Our show uses the nearly five-decade span when Phyfe was working in New York (he had emigrated from Scotland before 1800) to take a look at what was happening in the way of design and aesthetics in New York during that period. Phyfe was a tastemaker, and really helped to define the New York ‘brand’ of neoclassicism which developed around him. Our show includes furniture (by Phyfe and some of his direct competitors), porcelain, glass, silver, and lighting all made in New York or abroad for an American clientele. This is an area that our gallery specializes in and has done several other major exhibitions and books on over the years. This was a natural way to expand our outreach on this subject matter to those interested in the era. We are also including fine arts (paintings, prints, works on paper, sculpture) to help paint a portrait of this moment (albeit a long and changing one).”

Here’s a example of a Phyfe table from his middle years:

MIDDLE YEARS
Attributed to Duncan Phyfe, New York
Pier Table, about 1817-22
Rosewood, with poplar feet, gilded and painted verde antique, and an unidentified wood, with die-stamped brass inlay inset with rosewood, ormolu mounts, white marble, black-and-gold marble, and mirror plate
36 9/16 in. high, 42 in. wide, 20 π in. deep
Photo by Joshua Nefsky

Phyfe worked for 50 years, and during that time his style evolved, Feld says, from a light early style to a middle period of more florid neoclassicism (the phantasmagorical period my grandmother loved), infusing pieces with gryphons and lions, and ending with a period where he made form-based pieces that were very sculptural — their only added decor was the application of incredible tropical woods as veneers. The two pieces above are from the early and middle years, and the piece below from the late years, show that progression:

LATE CAREER
Attributed to Duncan Phyfe and Sons, New York
Center Table in the Restauration Taste, about 1837-40
Mahogany, with brass hardware and castors, 28 1/8 in. high, 36 in. diameter
Private collection
Photo by Joshua Nefsky

The exhibit at the Hirschl and Aldler Galleries is free and open to the public from Tuesday through Friday from 9:30 am to 5:30 pm, and on Saturdays from 9:30 am to 5:00 pm, and by appointment on Mondays at The Crown Building, 730 Fifth Avenue, 4th Floor (57th Street), New York, NY 10019, 212-535-8810.

Jennifer Flanders

I was pleased to discover that at our Classic Woman awards program a couple of years ago, Jennifer became so inspired by Classic Woman honoree Susan Fredman’s Designs for Dignity organization in Chicago that she decided to establish the same organization in New York. Designs for Dignity uses pro bono designer services, materials and finishes donated by manufacturers, vendors, clients and showrooms to create beautiful, healing spaces for nonprofits and residences that serve people in need (http://bit.ly/w1l6uS ). Its philosophy is that everyone has the right to live in a home they can be proud of, regardless of financial or social status.

For the New York branch’s project, Jennifer had the clever idea of challenging ten top designers to find old pieces of furniture to redesign, with the idea of auctioning them off at a charity event in New York December 1. (You don’t have to be there to bid on an item; in fact, you can do it online: http://bit.ly/rM2RJC). Here is a chair Jennifer herself redesigned with Amy Statuto.

BEFORE

AFTER

Jennifer says, “We felt this was an apropos way to raise funds because part of what Designs for Dignity does is take advantage of all the waste and excess in the design industry. We are using the fundraiser to show ways in which old pieces of furniture can be given new life and re-used rather than thrown away.  We have a wonderful group of designers donating both their time and resources to this event, and we are hopeful that not only will this effort raise funds to help our NY chapter get off the ground, but it will also raise awareness in the NY design community.”

Laura Bohn Associates designed the two-drawer chest below:

BEFORE

AFTER

The event, a cocktail reception and auction where the upcycled items can be viewed, is Thursday evening, December 1, from 6 to 9 p.m at Newel’s new showroom at 425 E. 53rd St. Tickets are available online for $75 and at the door for $90.  It’s sponsored by VandM, which sells vintage furniture, antiques,  fine art and jewelry from around the world online (vandm.com). Designers represented are Bradley Stephens, Kevin Walz, Laura Bohn Design Associates, Drew McGukin, Christopher Coleman, Etienne Coffinier and Ed Ku of Coffinier Ku Design, Jim Aman and John Meeks, Jennifer Flanders and Amy Statuto, and Doug and Gene Meyer.

Czech Rhino Stamp Lamp by Monica Burke

The lamps are handmade of sturdy cotton with archival grade ink. I first saw Monica’s work when my daughter — who loves handmade things and likes to support emerging artists and craftswomen — gave one of her lamps as a wedding gift. The “Appearing Quote Typewriter” Lamp looks like an old typewriter with a fresh sheet of paper in it when unlit. When turned on, a quote appears — and you can pick the quote. She’ll customize it.

Monica Burke’s Appearing Quote Typewriter Lamp

The lamps are $48 at The Daily Grommet (http://bit.ly/vGUc0Q), and you can also find her work at etsy.com.

]]> http://www.traditionalhome.com/blogs/companion/2011/11/03/modern-shape-vintage-images-%e2%80%94-intriguing-handmade-lamps-at-a-reasonable-price/feed/ 0 http://www.traditionalhome.com/blogs/companion/2011/10/18/fish-in-the-garden/ http://www.traditionalhome.com/blogs/companion/2011/10/18/fish-in-the-garden/#comments Tue, 18 Oct 2011 20:51:37 +0000 Rebecca Christian http://www.traditionalhome.com/blogs/companion/?p=2843 I sometimes toss press releases touting garden accents and statuary because it seems to me you can’t improve on nature, and isn’t that what gardening is all about?

Nonetheless I hung on to a flier I got from a place called Fish in the Garden in Falmouth, Maine. There artist Tyson Weiss creates schools of fish out of colorful high-fired glazed ceramics or shiny brushed stainless steel that surge through gardens and interiors in a way that is surreal and calming. I’m particularly taken with this Cobalt Koi. I find myself looking at it several times a day, especially when I’m fighting with my computer.

Grouped together, the fish appear to be swimming in a school.

You can group fish meant to adorn interiors with especially designed tabs that hold the fish an inch away from the wall, creating interesting shadows. Different species of fish are available for the sake of regional relevance—for example if you live on the Florida coast you can order a barracuda, or in Massachusetts, a striped bass or bluefin tuna. (Do you suppose he could make a whiskery river catfish for a landlocked Iowan?). Just as in nature, the fish are weatherproof. Prices range from $49 to $480. The fish are available at fishinthegarden.com.

The gates open at the J & J show (Brimfield)

Brimfield Antique Show strikes the tiny town of Brimfield, Mass, three times a year– May, July and September.  Brimfield gave birth to the Keno brothers (both parents were dealers here) and the first place the twins offered antiques (stoneware) for sale. But with more than 5,000 dealers setting up shop along Route 20, where to begin? Our favorite stretch of field is J & J, the original Brimfield show founded by Gordon Reid in 1959 and still managed by Reid’s two daughters Judy and Jill. It was the J & J show that spawned all the rest and turned Brimfield into a destination for hard-core fans of vintage and antique furnishings.  Most of the 20 shows have their own start times and dates (roughly September 6 through 11), but J & J opens September 9th @ 8 am.  Antiques junkies begin lining up at dark to be among the first to enter the gates (see above). To find the J & J field, set your GPS on 35 Main Street. For a map of different fields, see Brimfield.

available at Amazon.com for $14.84

(http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=jane+packer+color&x=0&y=0

Packer, who has designed flowers for clients from rock stars to royalty, approaches floral design with the imagination and assured eye of a fashion or interior designer, using color to evoke mood and  intuitively understanding how fashion color trends affect the world of flowers. She notes, “Green has singlehandedly reinvented the chrysanthemum and the much-maligned carnation, reinstating them as desirable fashion flowers. Roses, anthurium and ranunculus have benefited from this infusion of green, too.” (She’s right, I think. At my son’s wedding a couple years ago, the flowers were entirely green and white, and the effect was striking.)

Working her way through the rainbow, Packer offers gorgeous floral takes on red, white, green, yellow, pink, and blue, and gives step-by-step directions for ten eye-popping projects, including a three-tiered “cake” made of scarlet roses. Here’s a topiary tree project from the Green section:

It doesn’t sound too difficult. You’ll need a container, florist foam and tape, a bamboo post, sunflowers, hydrangea flowers, and some snake grass or glossy leaves. There are simpler suggestions in the book, too, like presenting a breakfast tray with egg cups into which you’ve put not eggs, but half eggshells, filled with enough water to hydrate a tiny bloom. In other vignettes, cherry blossoms burst out of a rubber rain boot, and in a ruby vase full of brilliant parrot tulips, Packer has nestled crystal brooches among the blooms to reflect the jewel colors of the flowers and the vase. For the project below, Packer painted tree branches pink and hung them with jars of pink flowers. She’s used alstromenia in the higher jar and nerines in the lower ones, but you could use almost any pink flowers, she says. Wouldn’t the pink branches make a pretty arrangement for Easter or a bridal or baby shower?

Packer has flower shops and floral design schools in London, Tokyo, and New York, as well as a flower shop in Korea  (jane-packer.co.uk).  You can also buy her designs from janepackerdelivered.com. I especially love this arrangement of roses in a turquoise hatbox, a variation of red roses for a blue lady.

a fun arrangement from janepackerdelivered.com

I, for one, can’t wait to try her autumn wreath with oak leaves and perry pears from her book. I’m already jonesing for toasty palettes, and I know the project will put me in the mood for fall.

]]> http://www.traditionalhome.com/blogs/companion/2011/08/19/crazy-for-color-and-floral-designer-jane-packers-yummy-new-book/feed/ 0 http://www.traditionalhome.com/blogs/companion/2011/07/15/decorator-maverick-billy-haines-at-christies/ http://www.traditionalhome.com/blogs/companion/2011/07/15/decorator-maverick-billy-haines-at-christies/#comments Fri, 15 Jul 2011 19:16:04 +0000 Doris Athineos http://blogs.mydevstaging.com/blogs/companion/?p=2602

Furnishings by decorator maverick Billy Haines on the block at Christie's July 19 (photo credit: Kate Carr)

Back when interior design was just emerging as a serious, wide-spread profession in the United States, some of the top decorators in the country were creating furnishings that have stood the test of time. Think low-slung slipper chairs by movie-star-turned decorator Billy Haines (1900-1973).  Traditional Home writer Ted Loos calls these first-wave  designers “decorator mavericks” and describes the style as both neo and classical in the upcoming October issue of Traditional Home.

Now Christie’s auction house in Manhattan is offering vintage furnishings by Haines custom designed for the late Los-Angeles-based art collector Mrs. Sidney Brody.  The auction begins at Christie’s Rockefeller Center galleries this Tuesday afternoon, July 19, at 2:00 pm.  Here’s our wish list:

A pair of quilted floral linen "Seniah" chairs/lot 469 Estimate: $2,000-$3,000

Billy Haines orange vinyl armchair circa 1950 (photo by Kate Carr) Estimate: $800-$1,200

A vinyl upholstered sofa by Billy Haines, circa 1950 Estimate: $800-$1,200

For close-up views of all the vintage Haines, flip through Christie’s online catalog, but don’t miss the live auction Tuesday, July 19, at 2:00 pm eastern time. Read Wisecracker: The Life and Times of William Haines by William J. Mann (Penguin) to learn more about the Virginia-born designer who was the country’s biggest movie star by 1930.  For reissues of theclassical Haines tufted sofa, tap into williamhaines.com. And don’t miss the upcoming Decorator Mavericks story in Traditional Home which features Haines, Tony Duquette, Milwaukee-born Frances Elkins (1888-1953), Robsjohn-Gibbings, and Mississippi-born Samuel Marx (1884-1964).

Perfect Palmer Penmanship

Good riddance, say those for whom poor penmanship was the bane of their grade school years (especially boys). It was for them that a method called Handwriting Without Tears was developed. When even little kids learn to write on a keyboards, briskly practical people say, it’s maudlin to mourn the demise of cursive, which is going the way of the fountain pen, cuneiform and hieroglyphics. As Douglas Adams once wrote, “Anything invented after you’re 35 is against the natural order of things.”

Cuneiform, written on clay with a reed for a stylus

Traditionalists fear, though, that when the death bell tolls for cursive, more than loops and flourishes (and the dotting of Is with hearts by the young female of the species) is lost. It can be argued that cursive hones fine motor skills, improves ideation and expression, teaches letters and shapes, enhances memory, reveals personality (remember the dubious “science” of  handwriting analysis?) and links us to the past.

How I quaked in my white pleather go-go boots in 8th grade when Miss Ryerson, she of the hot dragon breath and dandruff collar, picked up one of my papers with its curlicued capitals,  exaggerated slant, floaters (letters that drifted above the line) and sinkers (below). Her mission was to stamp out all evidence of individuality in handwriting, and it was really rather thrilling when her beady eyes bored into yours – at least in the unrelieved tedium of school, your abject, scalp-tingling terror reminded you that you were still alive. She believed that sloppy handwriting indicates sloppy thinking, and I hate to admit it, but I’ve come to agree. At the beginning of the semester you were allowed three erasures per paper, and at the end, “Zero!,” as she proclaimed with fanatical zeal.

Today, many teens and twentysomethings have a hard time deciphering cursive, which means that reading historic documents – or even their grandparents’ letters – is difficult. If you’re like me, you treasure the instant intimacy conferred by coming upon a recipe, letter, or receipt with your late loved ones’ script on it. Letters from my dad on onion skin paper have writing as gangly as he was, its controlled haste evidence of twin inclinations toward perfectionism and speed.

When I want to put soul into writing, my first draft is longhand in black ink on yellow legal paper rather than keyboarded, and I swear the difference in the result is as marked as that between instant coffee and brewed. Yet, I envy writers who can compose brilliantly on a laptop.  And I still chuckle at Truman Capote’s snotty dismissal of showboater Jack Kerouac’s legendary feat of typing his stream-of-consciousness travelogue On the Road on paper that he taped into a 120-foot scroll. “That’s not writing,” Capote sneered. “That’s typing.”

Of course, everything was new once, and cursive itself was developed to make handwriting faster by connecting letters to make a word all at once, avoiding blots because the quill didn’t have to be lifted from the page as often. Like many objects invention has rendered inefficient, the fountain pen and the typewriter have achieved what typewriter collector Richard Polt calls “the allure of the archaic.” Hence the popularity of Mont Blanc’s John Lennon Special Edition Fountain Pen, retailing for $1,000 (imagine!).

The Mont Blanc John Lennon Fountain Pen

Meanwhile hipsters have begun collecting and using typewriters. I love them, too, along with Anne Sexton’s poem in which she calls her typewriter “my church with an altar of keys always waiting.”

Poet Anne Sexton

In a clever infusion of the old into the new, there’s even an app through which you can handwrite words with a finger or stylus and see them transformed into the magic of print to be emailed or tweeted.

Do you think it should be curtains for cursive?

This post originally appeared in the Telegraph Herald, Dubuque, Iowa.