At Home Spring 2014 by Community Journals

athome SPRING 2014

Eric Brown Design NE W YORK

GREENVILLE

CHARLESTON

NAPLES

1322 East Washington St. Greenville, South Carolina 864.233.4442 | EricBrownDesign.biz

Marguerite Wyche.

THE NAME TO KNOW. 43 Collins Ridge Greenville $885,500

Marguerite R. Wyche, President 16 W. North Street Greenville, SC 864.270.2440 www.wycheco.com

This handsome traditional two story brick home is located in Collins Creek on a quiet cul de sac. With five bedrooms, five full baths, and over 4600 sq ft. The home features expansive windows which create a very bright and open feeling. The classic open foyer with two staircases leading upstairs. Opening off the foyer is the family room with breathtaking high ceiling, large windows, and lovely private views into the rear property. The kitchen is very spacious and across from the den. The lower level offers a large rec room, with fireplace, and access to the screen porch and backyard. also, the room currently being used as an office could be another bedroom. Superb family home!

114 Marshall Bridge Greenville $495,000 UNDER CONTRACT A charming home with a welcoming front porch, high ceilings, open floor plan, large gracious kitchen, master bedroom with large master bath is on the main floor, two fireplaces, handsome den with bookshelves. Upstairs two additional bedrooms with a “jack and jill” bath. Attached two car garage. Well groomed landscaped grounds. Near GCC in Brookside Forest. Superb value at $495,500.

106 Rockingham Rd. Greenville $1,175,000 Charm, quality and an inviting lifestyle define this exceptional property found in one of Greenville’s highly sought after neighborhoods. The current owners literally took the original structure “down to the studs” in this total renovation and addition. The striking two story foyer with travertine floors and elegant stairs, leads to breathtaking living room/great room with limestone FP, wall of built-ins with wine cooler, & ice maker and an exceptional wall of windows from floor to ceiling which affords incredible light throughout the day from the private woods in the rear of the acreage. The new master suite, sitting room, dressing room is located just off to the right and has it own FP and private enclosed porch and entry to the patio. The new kitchen and keeping room are conveniently situated with easy access to elegant dining room, first floor laundry room, garage, and enclosed patio and outside terrace and fireplace. Truly a very special property in a enviable location with acreage, and privacy yet within minutes of downtown.

62 Rock Creek Dr. Greenville $743,500 Imagine an oasis of privacy created by tall hemlocks, rhododendron, a fresh water creek and an exquisite home all within walking distance of Greenville Country Club. This handsome 4 bedroom, 3 and a half bath residence has been lovingly restored to a superb condition while maintaining the charm and quality of its original design. Among the renovations include: new exterior Hardie-plank siding, new roof, insulation, kitchen, master bedroom and bath, screen porch, two car garage..and more! The charm of the mature garden creates the feeling of a mountain retreat with the lush vegetation, winding brick paths ,and a welcoming bench by the creek.

641 Altamont Rd. Greenville $725,000 Very rare property on 9+ acres on Paris Mountain within 15 minutes of downtown Greenville. Private, secluded acreage with 200 degree sweeping views of downtown to mountains. Also difficult to find on Paris Mountain is the gentle slope of the topography of this acreage, which allows space for the pool, lawn and ample area to play, walk and entertain. The existing residence has both a main home with 3 bedrooms and 3 baths and an attached guest house. Originally built as a summer retreat, this charming cedar shake and siding home is situated on the property to take advantage of its private, unique setting.

608 Byrd Blvd. Greenville $439,500 Within walking distance of the Greenville Country Club, this updated charming 3 bedroom, 3 full baths and 1 half bath home offers an open floor plan as well as inviting covered back porch overlooking a lovely mature, landscaped backyard. A gracious foyer leads to the large great room and wet bar which is open to the large dining room. The bright kitchen is a natural gathering place with a breakfast area and access to the back porch. There are three bedrooms and two full baths upstairs. The master bedroom hosts a private balcony. The Rec Room easily provides areas for game tables as well as sofas and â&#x20AC;&#x153;TVâ&#x20AC;? space. A full bath off the Rec Room allows this room to be converted to an additional bedroom for visiting family or friends. This is an inviting home with room to accommodate families of many ages, all located in an extremely desirable neighborhood!

No home here is the same.

Because no dream is the same.

Perhaps you wish to wake up to 50-mile views in every direction. Or read a book on your back porch, overlooking a quiet lake cove below. Whatever your dream home, whatever joys you want to experience with friends and family, The Cliffs can help bring your ideas to life. L I V E I N O N E C O M M U N I T Y . P L AY I N A L L S E V E N .

866.411.5771 | cliffscommunities.com

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Winner of two 2013 Southern Home & Garden Bridge Awards (Homes $1m - $5m): Best Exterior & Best Kitchen

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171 C hapm a n Ro a d $1 ,249,0 0 0

Chanticleer

1 3 C ol l i ns R i d ge $985,000 Collins Creek

37 C lu b Fo res t L a n e $ 8 40 ,0 0 0 Chanticleer

21 0 1 C l ev e l a nd S t r e et E x t $ 6 39 , 0 0 0 Collins Creek

108 Bre eds H i ll Way $549,000

21 0 Tr a i l s End $ 4 39 , 0 0 0 Cleveland Park

Greer

See All of My Listings on www.sharonwilson.net

Sharon Wilson

Number One in the Neighborhood™ Sharon Wilson has the uncanny ability to connect the right buyer with the right house in the right neighborhood - often discovering those very special homes. Recently honored with: Number One Coldwell Banker Agent in SC 2013 International President’s Premier Society 2013 (top 1% of all Coldwell Banker Associates Internationally) She’s in the loop. She knows Greenville. Connect with her for your next home. She’s everywhere. swilson@cbcaine.com • 864 918.1140

sharon wilson/connected Number One in the Neighborhood™

Contents

Feature Homes 52 Fun

& Function

72 Log

Cabin Update

88 Turning

Green Energy to Gold 108 DownTown Rondo Departments 12 19

Notes From Home

118

Building Character

Ideas in Bloom Ace of Vase

Book Shelf

125

Simply Unique

133

Labor of Love

146

Garden to Table

Flower Arranging: The Complete Guide for Beginners

Simply Perfect Design

Early English Porcelain

Design Radar

Arts & Antiques

athome SPRING 2014

So You Have Decided to Talk to an Architect Discovery Is A Beautiful Thing Love Match

Protecting the Land for Future Generations

COVER PHOTO from the Arts & Antiques, p.38. Photo by TJ Getz. CONTENTS PAGE PHOTO from Fun & Function, p.52. Photo by Patrick Cox

765 Haywood Road, Greenville 864-297-6458

NotesFromHome “It is spring again. The earth is like a child that knows poems by heart.” ~ Rainer Maria Rilke

pring is certainly a welcome sight this year after a harsh winter with a few really frigid temperatures (at least for this area). And the rain! Our house is covered with mildew from so much moisture. With a little scrubbing and some dry, sunny days it will be good as new.

Good as new applies to the featured homes in this issue. One is a certified LEED home in the Cliffs at Mountain Park. It’s a contemporary gem of sustainability. Another is an innovative take on a classic log home, which sits overlooking mature woods at the base of Paris Mountain. Then there’s a brand-new home in Greer that is functional, fun and a perfect fit for the young family for whom it was designed. Not to mention that it’s set on a beautiful piece of land. Thanks to all of the owners for a chance to visit. A visit to a downtown condo that will be part of The Guild of the Greenville Symphony’s Condo Rondo tour on May 10th is an experience in bold color and pattern. This biennial tour coincides with this year’s Artisphere celebration. In Arts & Antiques, we continue our education in porcelains. Enjoy a look at the early English varieties and learn how to identify them from other styles and periods. Our resident Garden to Table expert, Janette Wesley, and her husband, Renato Vicario, have added a new project to their repertoire: they have begun producing quality wines on their property in Cortona, Italy. Read her article to learn all about their efforts to protect the land for future generations while delivering not only wine but also olive oil for the enjoyment of those of us who live in the Upstate. Two new department features begin in this issue. One, Design Radar, is all about interior design; the other, Building Character, highlights the voices of local architects and builders. You’ll get tips and invaluable advise from both features. There’s more, too. Discover and enjoy!

Lynn Greenlaw, EDITOR-IN-CHIEF

Got a suggestion for a home or an interesting topic you’d like to read about? Please contact me at Lgreenlaw@communityjournals.com.

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Historic West End, Greenville, SC 864.233.3730 Biltmore Park Town Square, Asheville, NC 828.251.4535 www.AtwoodCabinetry.com KITCHENS • BATHS • LIBRARIES • WARDROBES • WINE CELLARS • HOME THEATERS

athome Lynn Greenlaw EDITOR-IN-CHIEF Kristy M. Adair Paul Mehaffey ART DIRECTORS Holly Hardin OPERATIONS MANAGER Diane Jackson COPY EDITOR CONTRIBUTING WRITERS Frank Bain Eric Brown Ruta Fox Mary Lawson Leigh Savage Katie Skoloff Allison Walsh Janette Wesley Jackie Wiley CONTRIBUTING PHOTOGRAPHERS Rachael Boling Patrick Cox Kristopher Decker TJ Getz Brianne Kuzemchuk Kevin Meechan Janette Wesley ADVERTISING DESIGNERS Michael Allen Whitney Fincannon

WHERE: Trade Route Import Furniture & Accessories (located behind Haywood Mall) 1175 Woods Crossing Road Greenville, SC | 864-234.1514

WHAT:

iture n r u rt F s Impo cessorie c &A www.TradeRouteImport.com

You’ll find a large selection of centuries-old Asian furniture and accessories beautifully mixed with one of a kind contemporary Asian home furnishings, all expertly hand crafted, painted and selected from China, Thailand, Mongolia and Tibet.

WHO: Living and traveling in Asia for more than 15 years has instilled in owners Sherry and Fred Smid a true passion for all things Asian. Their greatest enjoyment is being able to share the beauty of Asian style and culture with their customers.

LATEST NEWS: We’re busy preparing for our Spring shopping trip to China and can’t wait to see what awesome finds we’ll discover this time. Expect to see new arrivals this summer at Trade Route! TradeRoute 2/3V Spr14 AH.indd 1

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Mark B. Johnston PUBLISHER MARKETING REPRESENTATIVES Kristi Jennings Donna Johnston Annie Langston Lindsay Oehman Pam Putman CLIENT SERVICES Anita Harley Jane Rogers Kate Banner MARKETING & EVENTS ADVERTISING (864) 679-1200 DISTRIBUTION (864) 679-1240 Designed and produced by

COMMUNITY JOURNALS PUBLISHING GROUP Publishers of Greenville Journal, Upstate Business Journal, Town Magazine, & At Home Magazine. AT HOME Magazine (Vol. 12, No. 1) is published three times per year by Community Journals, LLC, P.O. Box 2266, Greenville, SC 29602, (864) 679-1200. Information in this publication is carefully compiled to insure accuracy. No recommendation regarding the quality of goods or services is expressed or implied. Contents of this magazine are copyrighted by Community Journals in its entirety. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written consent of the publisher. All rights reserved. Printed in the USA. SUBSCRIPTIONS: AT HOME Magazine is published three times per year (Spring, Summer, and Fall/Winter). The cost of a subscription is $20 annually. For subscription information, please contact us at 864-679-1200.

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A vibrant mixed-use development is taking shape on more than 1,000 acres of untouched real estate within the city of Greenville. A smart, flexible plan comprises diverse housing at varying price points, thriving commercial districts and an array of recreational amenities. Fostering a walkable environment, Verdae’s vision ranges from corporate headquarters and niche offices to a village square filled with specialty retailers, local restaurants and professional services, all interconnected by pedestrian-friendly streetscapes, a lush central park and abundant greenspace. It’s happening at Verdae.

Garden photo by Promotion Imaging, LLC

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verdae.com

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Where will it take you next?

2014 AUDI Q7 IN LAVA GRAY Photography: GETZ CREATIVE Location: MESA SOCCER COMPLEX Fashion: COPPER PENNY Hair and Makeup: STUDIO 7

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A Grand Opening 14 Years in the Making. The Reserve at Lake Keowee, voted Best Upstate Community, is putting two new neighborhoods on the map. For a limited time, you have the opportunity to reserve your homesite in Edgewater Park or Penninsula Ridge, premier lakefront neighborhoods near the Marina Village. Special incentives are also available this spring. Call about our Reservation Program and to schedule your Preview Visit.

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Obtain the Property Report required by Federal law and read it before signing anything. No Federal agency has judged the merits of value, if any, of this property. This does not constitute an offer to sell or a solicitation of an offer to buy where void by law.

IdeasinBloom

Ace of Vase

Wr i t t e n b y R u t a Fo x Photography by Patrick Cox

IdeasinBloom

pring! Get ready to fill the house with flowers. We asked three of Greenville’s top floral designers to create unique arrangements – then give professional tips on how to re-create them at home.

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MARY CAMPBELL OF WE TOOK TO THE WOODS THEME: Antique Mary’s style is influenced by the look of lush English country gardens. She likes to use unusual containers for arrangements such as antique pitchers and vintage-looking vessels like soup tureens, noting that it’s easier to arrange flowers if you pick something with a wide opening, not a narrow one. She advocates mixing it up, flowers from the shop and greenery from the backyard, or garden-grown flowers supplemented with store-bought greens. If the arrangement is “too tight,” cut the stems at different lengths and lift them up a little to fan them out. She advises that perfection is boring, so don’t make a bouquet symmetrical. To keep flowers fresh, add a small drop of bleach to the water, whether or not you are using the floral powder from the florist. www.wetooktothewoods.com

JULIE DODDS OF WILLOW FLORALS THEME: Casual Julie suggests making a casual arrangement by picking a container with a rustic flair. Think about a concrete planter, a galvanized pail, a corrugated metal box or a birch container. Inside, tuck two plants in their plastic containers along with one small votive filled with flowers from either the garden or a flower shop. There are no rules – choose the same blooms or vary them. It’s all about proportion, so choose one plant with a trailing vine and one with a little height. Switch out the flowers to freshen them as needed, and arrange some moss on top to fill in any bare spots; you can also add moss to the bottom of the container for additional height. This is a fast, easy and inexpensive way to get a designer look. www.willowflorals.com

KATE TIERNEY OF TWIGS

(FROM PAGE 19) THEME: Modern

Kate’s take on a modern arrangement features an unusually shaped vase such as this one in eco-friendly recycled glass, a very current look. A good rule of thumb is to measure one and a half times the height of the vase for the flowers, so for a vase that’s 12 inches high, the flowers should be around 18 inches in height for balance. To cover up the “mechanics” inside the bottom of a clear glass vase, choose from natural rocks, smooth pebbles, colored glass shards or real curly willow when in season. Wrapping a ribbon around the neck of the vase will add more color. www.twigs.net

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theBookshelf

Flower Arranging: The Complete Guide for Beginners Wr i tten b y Judith B la c kl o c k Bo o k review b y Jac k i e Wil l e y

lower Arranging: The Complete Guide for Beginners is the perfect gift for anyone who has ever planned a party – then stood in front of their centerpiece, holding a page torn from Southern Living and wondering what went wrong. I freely admit to having this experience on more than one occasion. Author Judith Blacklock runs a flower school in London and is well known throughout the UK. On one of my first visits to London, I was entranced by the plentiful and elaborate flower boxes and fresh flower arrangements I saw everywhere. It was obvious that fresh flowers were not just for special occasions, but for daily life. Given that philosophy, a book by Judith Blacklock is the perfect reference for novices. The book’s layout is very easy to follow. The chapter on “Choosing Plant Material and Making It Last” is a handy reference with clear illustrations. When I read the section on “Mechanics, Sundries and Accessories,” solutions to many of my past issues became obvious. The tools described here are explained well and are as simple as test tubes wrapped in ribbon or leaves, chicken wire, floral tape and rocks. This book is unique for its step-by-step instructions and illustrations on the use of the tools. The section on “Elements of Design” is a good basic reference on space, texture, color, balance and contrast, and how these properties impact your design. After establishing a good basic understanding, the book really delivers on the designs. From classic to contemporary and everyday to special events, it presents wonderful options. Many of us enjoy taking flowers to a hostess. The lovely options for handtieds are an opportunity to make a simple gift of a bunch of flowers extraordinary. The vase arrangements are well described with meticulous material lists and instructions. You can decide how elaborate you

want to be and choose a design tailored to any occasion. Many arrangements look so elaborate, yet are so simple to construct, that I am certain that after you finish this book your friends and family will be stunned at your newfound talent. Simple yet elegant, with something for everyone – Flower Arranging: The Complete Guide for Beginners is a valuable reference. ah

Jackie Willey is a Fiction Addiction volunteer. This book is available at Fiction Addiction (www.fiction-addiction.com), Greenville’s independent bookstore. Located at 1175 Woods Crossing Road behind Haywood Mall, the store stocks new and used books for children and adults; takes customer special orders; and hosts author events. For information, call 864.675.0540.

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DesignRadar

Simply Perfect Design It’s easy to create a look you love

Written by Katie Skoloff

hether you own a resort home on Lake Keowee or rent a studio apartment downtown, there are a lot of easy ways to bring simply perfect design into your life. Show off your smarts with how you organize your belongings on your shelves, walls and countertops. Here are a few simple tricks to sharpen up your home or office by learning to examine your own spaces with a designer’s eye. Tip 1: Redesign Your Bookshelves This is one of my favorite little style secrets. To start, take everything off of your shelves. If you are doing multiple sets of shelves, try to do them all at the same time so that you can mix and best use the items from each area. Once the shelves are empty, wipe them down and, if you like, paint the back of the bookshelves with a fun accent color from the room using a gloss or high

gloss paint. One tip here is to use the same type of paint or finish – for example, oil base or latex – that was originally used on the bookcase. Or you can always use chalk paint, which is sold locally by several shops. Try Vintage Made Modern for chalk paint – you may pick up other fun ideas for your furniture while there! Color or a darker neutral tone at the back of your shelves will really add creativity to the room and make your finished books

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A T T E N T ION TO D E TA I L

and items look brilliant. Next, take all of the paper covers off of your hardback books. Group your books by spine color and size so that all of your navy spines are together, from largest on the outside and smallest towards the inside of the shelf ends. Repeat this with each color. Odd or oversized books get laid down and stacked on top of each other in a pyramid. I like to top these book piles with a fun decorative item. Use the stack as a bookend for your other colorful rows of books. Paperbacks can go to shelves in locations less prominent or can be used as your horizontal stacks, mixed in.

Sposa Bella Photography

Tip 2: Hang It Up

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You can tastefully group and hang the artwork and mirrors in your home with just a few pointers. To begin, purify your space by reorganizing the majority of the personal pictures that are scattered about. Choose one wall (try your stairwell or longest hallway at home) to create a pictorial wall of art. Frame all of your pictures in a similar style, if possible, and organize them in groupings of themes such as color and black-and-white photographs or have them tell the story of your familyâ&#x20AC;&#x2122;s life in a timeline. You can use paper to create size templates to play with the layout on the wall or lay them out on the floor in a pattern you like before hanging. However you choose to accomplish this, you will not only free crowded surfaces from clutter, but also gain a large storyline which can become great topics of conversation for both family and guests. What is the golden rule of thumb for hanging artwork? Of course this is always location specific but here are a few guidelines that will get you there. First, survey the pictures and artwork in your home and see if you can find themes or groups to put them into, such as similar artistic styles or colors or framing techniques. Select the rooms in your home that best match the color and volume of these groups of art. Larger pieces can be the leader in the pack

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for deciding which groups should be placed in exact locations. When hanging groups of artwork or photos, place only four to five inches between the pictures so they appear as an anthology. To find the proper hanging heights, use the other horizontal planes in the room to guide the decision. For example, use the nearest window mullion (the dividing grill in the door or window glass). From there, match the height of the center of the piece of art to approximately 60â&#x20AC;? above the floor. If you need to adjust the art up or down a few inches to meet the next closest architectural horizontal line with the top of the frame, do this. If there are no strong horizontal accents to use as a guide for the top line of the art then go

ahead and put the center of the art piece at 60” above the floor. When there is a piece of furniture or wall trim carpentry under the artwork, we generally put 4-12 inches between the bottom of the artwork and the top surface of the furniture or trim carpentry; again using other horizontals such as the bottom line of a lamp shade as other points to fall in line with for the perfect hanging height. When in doubt, go lower with art placement rather than higher. And voila … happy walls!

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Tip 3: Clutter-Free is the New Black Get with the clutter-free program. Decide which objects in your living space have true sentiment and which ones you merely “like.” Do an analysis in each room to determine whether you truly need to hang on to a piece or if it can be donated. To help with this, ask yourself, “Have I appreciated or used this item within the last year or is it just collecting dust?” It is amazing to me how much STUFF we collect without even realizing it. This kind of purge can be done for most in a day and it makes such a huge difference; it is like a detox and a personal cleansing created just by eliminating the extra knick-knacks that find themselves creeping over the tops of our dressers and side tables. One handy hint is that if you collect enough items, SOS Thrift Store (Support Outreach Services) will do a pick up and take the items off your hands, free of charge. It is a tax writeoff, and you are giving back to the community -- what could be better? After you have cleared your items, try to live on a motto of “Buy one item=Clean another out.” This is an easy way to always stay on top of the task. You will fall in love with the fresh new look of your space! Katie Skoloff, ASID, CID, is owner and principal designer of In Site Designs ( w w w. i n - s i t e - d e s i g n s . c o m ) i n d o w n t o w n G r e e n v i l l e .

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S O M ET HI N G UN COMMON

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Arts&Antiques

Early English Porcelain A Collection and a Passion Written by Mary Lawson Photography by TJ Getz

t was love at first sight! Not with my husband, but with the stunning, never-used tea set displayed on the cherry hutch in his familyâ&#x20AC;&#x2122;s dining room. I was drawn to it. I had always loved that limey green in the leaves, and the gold was so soft. The pattern was unlike any I had ever seen. The persimmon, cross-hatched oval, alternated with cobalt round orbs of golden flowers which seemed to be held in place by the alternating green leaves and gold fern-like tendrils. It was truly a thing of beauty.

Fast forward many years and my husband and I are the current stewards, as I like to think of it, of this family heirloom. (#1) During the 20odd years that the tea set has resided in our dining room, I have been learning more about it. Along the way, I have continued my love affair with English porcelain, purchasing some for my own collection, more for my antiques business, and all the while looking out for the pattern on the set in my dining room. So far, I have never seen it. But the search for it, along with the quest to find out which porcelain factory made it, has sent me to shops, museums and books to learn about this fascinating first era of English porcelain.

As a collector, I now examine antiques of all kinds like a detective. There are clues embedded in objects that will reveal themselves if one takes the time to learn what to look for. I hope this article will serve as a primer on early English porcelain with a few tips to help collectors find their way. Europeans had been trying to make porcelain ever since it had been imported from China and Japan to Europe in the 16th century. They succeeded around 1740. The formula for porcelain was rapidly spread from Germany to England and from factory to factory. The first makers were entrepreneurs and the excitement of the rapidly changing technology in ceramics could be likened to our own dot-com age. From the fledgling factories of Bow, Caughley and Chelsea where the first English porcelain was made, there arose a porcelain industry. Much experimentation and many mergers occurred along the way. Fortunes were made and lost.

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Porcelain was only one of many kinds of fine ceramics made in England during the period from 1750 to 1825, the time period for this articleâ&#x20AC;&#x2122;s focus. So the detective would want to know what makes porcelain different from all the other ceramics. And the answer is that porcelain is translucent; you can see light through its body. So, as a collector, you will want to know if the piece you like is porcelain, or another kind of ceramic such as creamware, pearlware or ironstone, all of which were made in England during this time period. To find out, hold the piece in question up to a light with one hand and place the fingers of your other hand between the object and the light, preferably right on the back of the piece. If it is porcelain, you should see the shadow of your fingers through the body, indicating that the light is passing through the object. I can clearly see my fingers through the back of a cup from my tea set. It is porcelain. But who made it? I still donâ&#x20AC;&#x2122;t know. There is no trade name on the bottom of any piece. Instead, each piece has the number 168 painted in red. I have learned that this is probably a pattern number for whichever factory made the set. The mystery of knowing which factory made what pieces stems from the fact that many makers of English porcelain during this time period did not put a trademark of any kind on their wares. If you are lucky, you may be looking at a piece that in some way is marked by the maker. Derby and Worcester are among the earliest manufacturers of English porcelain, and both factories marked their work during this early period. Amazingly, both are still making 40 | athom e

porcelain today, Derby under the name of Royal Crown Derby, and Worcester, under the name of Royal Worcester. Although they both marked their wares, the marks changed over time. The good news is that these variable marks make it possible to date items more precisely and to see what styles were made during a time period; the bad news is that one needs a reference book to decipher all the marks. There are countless good references on English marks, but my favorite is Geoffrey A. Goddenâ&#x20AC;&#x2122;s Encyclopaedia of British Pottery and Porcelain Marks. The Derby plate and saucer (#2 and #3) may seem familiar since versions of both patterns are currently reproduced by the manufacturers today; however, these were made between 1800 and 1825. We know because painted on the backs of both is the distinctive red crown symbol (#4) that was used to mark Derby wares during

that period. Had this same mark been painted in black or blue, we would know that the items were made between 1782 and 1800. Eight different marks were used by Derby between 1825 and 1890. On the back of this Worcester plate (#5), we see the underglaze cobalt crescent mark used on Worcester porcelain from 1755 to 1790. (#6) Worcester, like Derby, was one of the most prolific manufacturers and used numerous markings during this period and later. But if there are no markings on the bottom, how can you tell that the porcelain is English, and furthermore, when it was made and by whom? During this first 75 years of making porcelain, the English tried to copy porcelain that had been imported from China and Japan. As a result many designs overlap. At the same time, the British East India Company would order sets of porcelain to be decorated in the latest English taste from China, so there was also Chinese porcelain decorated with Western designs. During the early years of English porcelain manufacture, there was more Chinese porcelain in England than English. A careful look at the body of the porcelain will tell the advanced collector which is which. The body of Chinese porcelain of the period tends to be slightly greenish grey or bluish grey in cast (#7), while the body of English porcelain is much whiter (#8). But one fail-safe method of telling the difference is that the glaze on English porcelain always covers the foot of the plate or cup and the areas where lids are placed on teapots and sugar dishes; whereas, there is no

glaze on the foot of Oriental plates or cups (#7) or on the contact points between lids and pots. Years ago, when I first saw this platter (#9), high on the shelf of a secretary, I thought it was Japanese Imari. The dealer told me it was English. I wanted to know how he could tell because I could see no marks on the back. He showed me a small incised number 5 on the back and pointed out that Oriental numbers were not Arabic like English. He also could have mentioned that the glaze covered the foot, although it had become discolored with use. I bought the platter and it became another springboard

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for my interest in English porcelain. I wondered who had made it. Several years later, looking through a reference book, I saw a platter with the same pattern. The one in the book was made by Coalport. But that did not necessarily mean that my platter was also Coalport. There were no patents during this time, and manufacturers frequently copied popular patterns. But as the detective, I had a clue. I began a focused reading. I learned that Coalport wares from 1810 to 1825 frequently had impressed numerals on their backs. I also learned that there were often six slight indentations around the edge of Coalport plates and platters of the period. My platter had these indentations along with the impressed number. I am now certain that it is Coalport. A few years later I bought a pair of Coalport plates at the Greenville County Museum of Art Antiques Show for my mantel (#10). They also have the six equidistant indentations around the edge and the same painted decoration on the

back as the platter (#11). These clues let me know that the plates date from 1810 to 1825. Four years ago, my husband had a meeting in London. I tagged along and had a wonderful week looking at art and porcelain. I spent three days in the Victoria and Albert Museum, one of the great decorative art museums of the world. No surprise, English porcelain is one of their strengths. I also did some shopping and found another pair of English plates from the same period for my mantel (#12). These, however, are marked Chamberlain Worchester in painted red script, telling me that they are also from the early 19th century. Both patterns have the same palette of cobalt blue, orange-red and green, with gilt highlights. Both pairs also feature blue â&#x20AC;&#x153;fingersâ&#x20AC;? holding on to the plate, a popular design motif for the period. Any design features could be pirated by other factories, and those that proved popular usually were. The pattern on this Coalport plate (#13) was made in 1807 according to an early Coalport design book. The floral features on these three plates are remarkably similar, with leaves of cobalt with gilt veins protruding below the stylized blossoms. However there is no green in the palette of the 1807 plate, only the cobalt, orange-red and gilt. But clearly there is interplay of style and design between factories.

The approximate dates of unmarked English porcelain are best determined by looking at the shape and decoration of the piece and comparing it to similar marked pieces whose dates are known. Again, the reference books are helpful. A look at the shapes and designs of five sugar dishes will give an idea of how fast fashion changed (#14). The first two show the fluted form and the restrained Adam style decoration of cobalt blue with gilt highlights typical of the years shortly before and after 1785. As the century changed, sugar dishes grew handles and the decoration became more complex. The third sugar dish, from my tea set, was probably made around 1810. It features balanced decoration and the addition of enamel painting to the cobalt and gilt scheme found in the earlier examples. The fourth and fifth examples have a shape similar to the third, but their decoration has become quite exuberant, clearly influenced by the Orient, but distinctively English. They probably were made later than the third, but still before 1825. The fifth pot with its little bun feet and roped handles has the red Derby mark, so we know it is not later than 1825. Teapots, cups and saucers also tell their age by their shape and decoration. Many reference books have pictures illustrating the subtle differences in shapes for cups and

teapots, which help to identify dates and sometimes makers. Cup saucers during the period were quite different from modern ones. Today a cup saucer has an indentation for the bottom of the cup. Those made before 1825 would not have this indentation and were shaped more like a small berry bowl. Generally, the higher and more rounded the saucerâ&#x20AC;&#x2122;s rim, the earlier the saucer and matching cup. Tea sets and dessert sets were produced in large quantities during this period and the fashion changed quickly. Both were status symbols and were displayed prominently in homes. A few other examples of English porcelain show the breadth of design during this period. The earliest (#15) is a leaf-shaped dish made by the Bow factory around 1755. Its design is a copy of a popular Japanese Kakiemon pattern featuring quail and stylized trees and plants.

Kakiemon porcelain was made and imported to England during the 17th century. It was more restrained than later Japanese Imari. The Bow factory was copying a 100-year-old pattern. Now their copy is over 250 years old. The next is a beautifully shaped dessert dish (#16) displaying the Meissen influence on English porcelain with its rich green border, floral sprigs in the center with insects, in this case butterflies, darting around the sprigs. Within border cartouches are four beautifully rendered different landscapes, one with a cottage,

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one with a manor house, another with a castle and, the last, a church. These sites could have been commissioned by the purchaser and may represent real places or may represent an allegory of his journey through life. There are no markings on this dish, but it characterizes the tradition of realistic landscape painting on porcelain that was popular during the period. werespace paid a premium porcelain especially Enjoy yourPainters outdoor all yearatlong! Wefactories, can close in your those who specialized in landscapes and in botanically accurate existing porch to keep the pollen, rain and bugs out. floral painting. Many worked for several factories, further confusing the labeling of maker. DOING BUSINESS FOR OVER 30 YEARS FOR A REASON! Finally, this piece (#17) shows another SALES • SERVICE • INSTALLATION • 100% FINANCING English obsession, flowers. In this case it is a realistic botanical print for a plate in a dessert service. Each plate would have been painted with a different flower. There is only a pattern mark on the back of this plate, and it could have been made by a number of makers. Minton and Spode both made botanical dessert sets, but Spode marked its wares from the beginning. The shape of the plate and the reticulation in the border are probably the keys to its maker. The beauty of English porcelain is astounding. You need 17 not know anything about it to find it irresistible. But the more you learn, the more miraculous it seems that we can still handle and enjoy these objects made 200 years ago. Have fun collecting. ah

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(Left) The long hallway spans the home from kitchen to bedrooms, offering a long swath of heart pine flooring, courtyard views and unique art. (Above) Dickens tends to select neutral bedroom furnishings but spices them up with funky accents. Several walls are home to large arrangements of prints, which Dickens arranges on the floor first to ensure proper scale and balance.

rom brainstorming in 2011 to completion in early 2013, Michele Dickens of M. Dickens Design collaborated on the design of this graceful Greer home, and the result is an elegant 7,5000-square-foot space that maintains a cozy, family-friendly vibe that never feels sprawling or impersonal. Dickens, who has worked as a buyer with Carolina Furniture and Interiors and owned the shop Nest, said consulting with the homeowners and architects from the beginning was a huge benefit. “It was a total dream job,” Dickens said. “Some parts of the home were literally built around the furniture. I knew what I wanted to see, and part of that comes from having a store. I knew what was out there, and I was able to create rooms around

pieces I wanted and that the homeowner loved.” Dickens even devised the U-shape of the structure, consulting with architect Thomas Croft. She knew the homeowners wanted a lot of space, and upon seeing the rolling property, dreamed up a plan that looks like a moderate-sized one-story home from the front, but sweeps back to flank a beautiful courtyard with pool and pool house. “It looks pretty grand from the driveway, but not like a giant monster. It’s perfect for the land.” The entryway leads to a long hall that runs across the front of the home, with a central loggia offering stunning views toward the courtyard and pool. A curved shelf and artfully covered books creates a focal point.

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(Top left) The large tub in the master suite is a favorite feature, as is the unique light fixture - one of many throughout the home. (Top right) The downstairs office bathroom is a classic example of Dickensâ&#x20AC;&#x2122; style mix - elegant geometric wallpaper and a rustic mirror made of oyster stick, a wood with natural holes. (Above) In an older daughterâ&#x20AC;&#x2122;s room, the window was sized with the pink love seat in mind. The papier mache animal head, bold drum pendant light fixture and Sugarboo art add personal style.

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The downstairs office is one of Dickens’ favorites thanks to its glazed linen window treatments, roughhewn desk and animal hide rug. The massive sewing table offers plenty of room for projects and storage.

To the left are the master suite, two bedrooms and a spacious laundry room accessible through a barn-style door that opens on casters. Dickens liked the idea of a more rustic door that creates interest in the area. “Some things we just had to have, and that was one of them,” she said. The older daughter’s room was built with large, bumped-out windows designed to fit a vibrant loveseat. The massive drum pendant and colorful art from Sugarboo Designs, a Georgia company, give the room creative personality. The master suite was designed in soothing neutrals, with a hard-to-find linen press dominating one wall. The distressed piece was

selected because it brings a touch of “old” to a brand-new home. Two walk-in closets offer plentiful storage, and Dickens accented one with a chandelier made of glass beads and capiz shells. The lower level includes an office and half bath that Dickens calls a true representation of her style. “I love the mix - the geometric quality of the wallpaper that is a little bit glitzy, and then the completely rustic mirror,” she said of the half bath. The office offers a similar eclectic blend, with glazed linen window treatments, modern chairs from Ikea, a rough-hewn desk and an animal hide rug. A huge sewing table fills one side of the office.

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The polished Carrara marble island, at 8â&#x20AC;&#x2122; by 6 â&#x20AC;&#x2DC;, dominates the kitchen, along with a distressed glass-front bookcase that dictated the size of the wall.

(Top left) Just off the kitchen, the breakfast room offers views of the pool area and expansive back yard. (Top right) The dining room, with itâ&#x20AC;&#x2122;s cross-back chairs and soft blue tones, was designed to be elegant without any formality or stuffiness. (Above) The living area is a favorite place to relax, with an attention-grabbing sunburst mirror and another dramatic light fixture, this one made of wood and with light-reflecting mirrors inside.

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The downstairs recreation room has polished concrete floors, a white railing accenting the staircase and, next to that, a napping nook complete with twin mattress and a step stool hidden in the drawer so kids can easily climb in.

Back upstairs, to the right of the main entryway, are the dining room, kitchen and living areas. The airy dining room was filled with furniture from Dickens’ former employer, Carolina Furniture and Interiors, and was designed to be sophisticated but without formality of stuffiness. More Sugarboo art, emblazoned with familyoriented phrases, graces the hall to the kitchen. Another favorite touch is the “holding spot” next to the kitchen, which houses items that are used every day but don’t need to be seen in the main kitchen area. Wallpaper covered with flocked silhouettes, in bold pink and green shades, spices up the space, but since it’s in a storage

area, “it’s not staring at you, and you don’t get tired of it,” Dickens said. Central in the kitchen is a massive 8-foot by 6-foot island of polished Cararra marble. A large distressed glass-front bookcase was purchased during the design, and Dickens called Croft and had him bump out the kitchen wall specifically so it could fit. “That’s an advantage to working with a designer when drawing - to consider the size of furniture and paintings,” she said. The living room includes touches that occur throughout the home - papier mache deer heads, bold light fixtures - as well as a storage chest that opens to the surprise of a blue interior.

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Downstairs is another living space that looks out over the pool. Dickens incorporated many favorite features here, including polished concrete floors that lend an industrial look, intricate railings on the stairs leading to the room, papier mache trophy cups, and even a “napping nook.” This curtained spot under the stairs is home to a twin mattress, and one drawer beneath opens to become a step stool so that the younger family members can easily clamber in for drawing, sleeping or daydreaming. Dickens said she was thrilled to work on the project from the beginning and was glad to find a client who shares her love of beautiful and sophisticated rooms that are never stuffy or boring. “We both like beautiful things that are kind ah of quirky and not so serious,” she said.

The beautifully landscaped grounds behind the 7,500-square-foot home include a pool, pool house, a large barn and a play area, with a tennis court under construction. (Below) Michele Dickens is owner of M. Dickens Design.

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LOG CABIN UPDATE

Paris Mountain home boasts an innovative approach to an old idea Written by Allison Walsh Photography by Kristopher Decker/Firewater Photography

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Board-formed concrete starts outside and continues beyond the front door of the main house. Nick chose a commercial frame for the front door to accommodate a handmade door gifted to him by a friend from Honduras. A companion door marks the master bedroom at the opposite end of the house. To achieve a more open, inviting entryway, Nick went to bat with the builders to eliminate the original beam supporting the roof edge outside the front door.

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ICK MOODY WANTED TO LIVE IN THE WOODS. AND WHAT BETTER WAY TO LIVE IN THE WOODS THAN IN A LOG CABIN – A TREE HOUSE OF SORTS. BUT NICK IS A BUSY GUY. HE RUNS HIS OWN IT CONSULTING FIRM, IS BUILDING A NEW YOUTH ORGANIZATION FROM THE GROUND UP, AND SPENDS WHATEVER TIME HE HAS LEFT BACKPACKING OR OTHERWISE COMMUNING WITH THE GREAT OUTDOORS. NICK DOES NOT HAVE TIME FOR THE UPKEEP A TRADITIONAL LOG HOME REQUIRES. NOT TO MENTION HIS CONSERVATIONIST SPIRIT WAS LOOKING FOR SOMETHING A LITTLE GREENER THAT MATCHED HIS MODERN SENSIBILITIES.

“When I told people I was building a modern log cabin, they really didn’t know what I was talking about,” Nick says. Not willing to give up on his dream, Nick did a little digging and found his way to Timber Block, a Canadian company that was just beginning to make headway in the U.S. market. Rather than building with a whole log – which in a traditional log home will continue to settle over the life of the home as the wood loses moisture content – Timber Block replaces the interior wood with high-density polyurethane foam insulation. The interior wood is then recycled into other usable building components. The foam-filled logs are stacked and bonded in panels according to the house plan in the controlled environment of the factory. Using this technology Timber Block claims to deliver four times the energy efficiency of a traditional log home.

Nick’s house was shipped to him in ready-toassemble panels on two tractor-trailers, then craned off and assembled on site. This made for a much cleaner jobsite that produced far less waste, as well as a massively efficient building process. “The biggest benefit was the time from this being raw property to this house being here was six months,” Nick says. “That’s a very short building time.” Timber Block does offer both stock and custom plans, but Nick knew exactly what he wanted. He drew up a plan and then consulted with Frank Bain, a local architect friend, before turning it over to the Timber Block engineers. “I have a lot of experience working in homes, crawling under homes, pulling wires,” Nick says. “All of that time I was making mental notes about things that I wanted to do in this house.”

(opposite) Multi-pitched eaves lend added flair, while their four-foot width and a secondary lower awning mean Nick and his pups can circumnavigate the house on a rainy day without getting wet.

I WAS REALLY BIG ON HAVING ALL THE DOORS OPEN – SO THAT INSIDE AND OUTSIDE ARE ONE. I REALLY WANTED TO OPEN IT UP AND BASICALLY HAVE A TREE HOUSE.” -NICK MOODY SPRIN G 2014

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“WHEN I TOLD PEOPLE I WAS BUILDING A MODERN LOG CABIN, THEY REALLY DIDN’T KNOW WHAT I WAS TALKING ABOUT.” -NICK MOODY

NICK ALSO LEARNED A LOT ABOUT WHAT HE WANTED AND DIDN’T WANT FROM HIS FIRST HOUSE – A TYPICAL SUBURBAN HOME IN A NEIGHBORHOOD ON GREENVILLE’S EASTSIDE. “It was a great house, but there were walls in between every single thing and I used maybe 20 percent of my house,” Nick explains. “Here I used fewer walls so I can change things whenever I want.” The living area of the main house is essentially one big room that comfortably contains the kitchen, dining and sitting area. The two guest bedrooms anchor this space on either end, and the master bedroom suite occupies the far end of the house. The layout is simple, but every bit of it is used well and often. (Nick jokes that his goal for the guest bedrooms was to make them comfortable, but not too comfortable.) Another thing he learned was that working from home is a great way to save money on office space, but finding a way to maintain physical separation between home and work is essential to preserving one’s mental health. So he decided to expand the detached garage both up and down to give NewWave Consulting a room of its own. The

underground portion was originally used to store equipment, but now serves as home base and meeting space for The Agency, the outdoor youth leadership program Nick launched in 2013. Everywhere you turn in Nick’s home you see his intention to fully engage with its natural surroundings. Nearly every window in the house can be thrown open to catch the breezes coming down the mountain. A Big Ass Fan that lives up to its name catches those breezes and circulates them through the house, helping to keep energy costs low. Most of the living room wall is actually a giant garage door that can be opened rain or shine, thanks to a creatively designed wider-thanstandard eave and secondary awning that keeps Nick and his three pups dry in a downpour. Even the synthetic turf – which allows those pups to come and go as they please without worry of tracking in mud and dirt – feels natural in this modern mountain masterpiece. ah

(opposite) Nick designed the kitchen tile himself, adding splashes of red to alleviate his fear of living in a “big pine pox with no color.” He credits Chuck Fern of Fern Cabinetry with bringing his vision of clean, modern kitchen cabinets to reality. SPRIN G 2014

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The master bedroom is a smaller scale replica of a villa at Azur Luxury Lodge in Queenstown New Zealand. Board-formed concrete finished with the feel of wood is repeated in the master bath, along with a river rock floor and steam shower enclosed using scrap roofing materials from the homeâ&#x20AC;&#x2122;s exterior.

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More thresholds crossed. For more than 80 years. For more than 80 years, Caine has been the first name in Upstate real estate. Although quite a bit has changed in those eight decades, some things havenâ&#x20AC;&#x2122;t: like the personal

service people expect from our agents. And the results they expect from our company. Learn more about both at cbcaine.com.

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Cliffs at Mountain Park Home designed with LEED in mind Written by Allison Walsh / Photography by Kevin Meechan (exteriors) and Rachael Boling (interiors)

SPRIN G 2014

hen building a new home it only makes sense to choose materials and design elements with an eye toward energy efficiency, but some homeowners set their sights even higher. For these homeowners, there is Johnston Design Group. Based in Greenville and nationally recognized as a leader in sustainable architecture, Johnston Design Group was the green genius behind this stunning contemporary mountain home at The Cliffs at Mountain Park. The owners are Mary and Graham Hallward, Canadian citizens who split their time between Toronto and Travelers Rest. 90 | athom e

David Anderssen, who headed up the project for Johnston Design Group, says that while the majority of the firm’s homes are designed to meet LEED standards, not all homeowners choose to undergo the certification process. “There is a third party verification cost that some people see as a waste of money,” Anderssen says. “But that process often leads to identifying deficiencies that can lead to further energy savings.” The LEED for Homes rating system measures a home’s performance based on eight categories: site selection, water efficiency, materials & resources, energy and atmosphere, indoor environmental quality, location & linkages, awareness and education, and innovation. Homes earn points in each of these areas toward certification. This Mountain Park home was

designed with the goal of achieving a higher than basic level of certification. Anderssen worked closely with the team from Linda McDougald Design | Postcard from Paris to develop a design that seamlessly blended the client’s contemporary aesthetic with the home’s natural surroundings while taking care to select the most energy efficient and environmentally sustainable materials possible, both inside and out. “The client had a keen interest on maintaining a high level of environmental sustainability without sacrificing lushness of finish,” Anderssen says, offering as an example the reclaimed antique oak flooring used throughout the home.

The objective for this project was to design a home that satisfied the client’s contemporary aesthetic while still blending with its natural mountain setting.

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â&#x20AC;&#x153;The client is able to open the home up and blur the line between indoor and outdoor living.â&#x20AC;? David Anderssen, -Johnston Design Group

Johnston Design Group and Postcard from Paris collaborated seamlessly on the design â&#x20AC;&#x201C; using natural materials in an interesting way for a light, clean feel.

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Large, clear glass openings are a must to maximize views and natural light in this spectacular mountain setting, making high-efficiency windows a top priority. These boast doublepane insulated glass to keep warm air on the right side yearround. Modeling software was used to properly orient the home and right size the overhangs to maximize day lighting while eliminating glare and solar heat gain. The exterior openings and floor plan were arranged to take advantage of the moderate climate and mountain breezes. “The client is able to open the home up and blur the line between indoor and outdoor living,” Anderssen says. This is achieved through pairs of 12-foot bi-folding doors on each side of the house; retractable screens allow for year-round bug-free enjoyment of this creative feature. 96 | athom e

For the exterior, vertical grain tongue and groove cedar siding was selected for its clean, elegant look, and a clear heartwood stain was chosen to accentuate this high quality wood’s natural properties. Inside, exposed structural steel reveals the skeleton of the house, and board formed concrete lends the feel of wood without the trees. A highly reflectant zinc roof contributes to the home’s energy efficiency, as do the geothermal heat pump that also heats water for home, LED lighting, and spray foam insulation in the walls and roof. Anderssen says that when homeowners begin to look at more aggressive energy saving technology they should consider how long it will take to realize a return on the initial investment and determine what payback time frame meets their comfort level. ah

Vertical grain tongue and groove cedar siding gives the exterior a clean, elegant look, while the clear heartwood stain accentuates this high quality woodâ&#x20AC;&#x2122;s natural properties. A highly reflective zinc roof contributes to the homeâ&#x20AC;&#x2122;s energy efficiency.

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The porch is a favorite gathering spot year round, thanks to a cedar fireplace to keep things cozy, and beautiful Pennsylvania blue cut flagstone flooring.

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The master bath boasts wood floors and Chenille White marble countertops. Throughout the home a relaxing palette of slates, grays and beige contributes to the clean, contemporary feel.

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“Working with the Marchant company was nothing short of a spectacular experience. We were in search of our first home together and with that came tremendous excitement. We envisioned a long term home spacious enough for our family and friends. Considering these goals, our team (Brian, Anne and Jolene) showed us multiple listings. They were extremely accommodating and flexible with our hectic schedules.” – Richard & Elizabeth, 2013

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DownTown

RONDO RONDO RONDO RONDO Residents welcome us into their city abodes

Written by Lynn Greenlaw Photograhy by Patrick Cox

Do you know what “rondo” means? Neither did I, until The Guild of the Greenville Symphony educated me. It is a term for a musical composition built around a recurring theme. Hence, the name of the Guild’s biennial fundraising downtown condo tour, “Condo Rondo.” On Saturday, May 10, from 10am-5pm, Condo Rondo provides the opportunity to visit five outstanding condominium homes all within walking distance of each other in the Main Street area of downtown Greenville. All of the units are a distinctive showcase of their owners’ interest in art, antiques, exotic collectibles and individual lifestyles. If you’ve ever considered living downtown, this tour would be a good opportunity to explore your many options. 110 | a thom e

Ticket information and the locations of presale ticket outlets are available online at www.guildGSO.org. As a tease of the tour, we were invited to visit the condo of Selena Riddle, owner of Elegant Environments, who specializes in commercial and residential design. In this uniquely decorated condo, Selena has chosen to demonstrate her contemporary decorative skills with a colorful collection of handsculpted custom designed rugs, Italian leather furniture, crystal chandeliers, carefully chosen artwork (some purchased during downtown’s annual arts festival, Artisphere) and out-of-the-ordinary floor and table lamps. ah (Top left) Swarovski crystals adorn the dining room chandelier. The table is a Baccarat design made of acrylic and glass. (Top right) The master bedroom has a bedspread of Italian silver lame. (Right) Funky bar stools are laser cut sheet metal.

Below left) From the collection of artwork in the condo, this piece is titled "Wild About Music." (Below right) Selena Riddle, condo owner and principal of Elegant Environments.

"This event only happens every other year, so donâ&#x20AC;&#x2122;t miss it!! All proceeds benefit the Greenville Symphony Orchestra." The Guild of the Greenville Symphony.

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Regatta at Argenteuil by Claude Monet

Justin Winter & Associates is pleased to announce that they have joined the Sotheby’s International Realty® network, representing distinctive properties in The Cliffs® and The Reserve at Lake Keowee®

Justin Winter Sotheby’s International Realty 119 Buck Ridge Road Sunset, SC 29685 © MMXIV Sotheby’s International Realty Affiliates LLC. All Rights Reserved. Sotheby’s International Realty ® is a licensed trademark to Sotheby’s International Realty Affiliates LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Office Is Independently Owned And Operated.

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BuildingCharacter

So You Have Decided to Talk to an Architect How to make the most of your design meeting Wr i tten b y Fran k B ain , A IA CR A N | AIA Greenvill e

hether you are building a new home or remodeling your existing residence, there are a myriad of questions and decisions to be addressed before any hammer hits the first nail. There are many resources available to the homeowner today with the goal of making the design process easier. However, in this information age, it is sometimes overwhelming to sift out the “good” advice and discover what is right for you and your project. If your needs are specialized and you would like a design professional to assist you in sorting through all of the options available, you may have decided to talk to an architect. Architects specialize in many different building types, but an architect who focuses on residential design and renovations may be your best resource to offer guidance through the entire design and construction process. So, if you’ve decided to take the step of engaging the services of an architect, here are some tips to help you get organized and make the most out of your design meetings. Just as you would when meeting with your accountant, tax professional, attorney or doctor, it makes sense to be prepared and bring all the needed documents to your meeting with the architect. Consider the following guidelines to get you started: Make Two Lists. As you begin to think about your project, whether it’s your first house, a seasonal residence or a renovation, take time to create a “wish” list and a “needs” list. These lists help to identify what you’d like and what you must have to meet your family’s needs. The “wish” list allows you to dream, while the “needs” list keeps your feet on the ground. The process of creating the lists establishes expectations, minimizes impulsive decisions and fosters an objective balance between fantasy and reality. This exercise can also help determine the location and setting of your new home. Together, the lists you create become the foundation for a focused design and the program for a house that best suits your lifestyle, going a long way toward assuring your satisfaction now and long into the future. Take your time here. Keep both lists on hand for brainstorming sessions as well as random thoughts. Put time aside to add to your lists following visits to open houses, model homes, sales centers or 118 | a thom e

local home shows. Upon completing each list to your satisfaction, take an objective look at what’s really needed and what you’re willing to trade-off, for whatever reason. Prioritize each list and eliminate items that you know are unrealistic or unnecessary. Then transfer low-priority items to separate lists of wants and needs that you can hope or plan for in the future. As architects, we find that it is easier to provide clients with exactly what they want when they come prepared with clear ideas. Start a Clip File. Supplement your lists with photos and articles from magazines, newspapers and books on design. There are many online resources where you can post images and create a “gallery” or an “idea book.” To reinforce your ideas, add notes or captions to provide even greater detail to communicate to your architect. Think Outside of the Kitchen. In addition to the most common rooms, keep in mind storage areas, laundry and service rooms, and family and entertainment spaces. Outdoor living spaces also should be considered. These additional spaces are vitally important to the comfort of your family and critical to your ultimate satisfaction. Consider the Exterior. Consider what you want and need regarding the environment around your home. Do you like shady areas or lots of sunlight? Examine materials with respect to maintenance and their effects on the environment. Documenting such preferences will help you narrow the choices of what type of style your home may be. Is sustainability important to you? With today’s ever-rising energy costs, the efficiency of the components and systems in

your house should be updated wherever possible. Be Honest About Your Budget. Odds are this is one of the biggest personal investments youâ&#x20AC;&#x2122;ll make in your life. Be realistic and honest with your architect about your budget for both design and construction. This will help your project go smoother throughout the process. If your goals and needs donâ&#x20AC;&#x2122;t align with your budget at first, an architect can help you with design ideas and adjustments to hopefully help you achieve your goals. By the time you are finished, what started as a

rough collection of ideas has evolved into a clear-cut set of expectations and priorities. At the same time, you have created a guide for your residential architect that will be of great assistance in the creation of a home that has increased value, meets your lifestyle and reflects all that you hoped for in your new or renovated home. ah Frank Bain, AIA, is owner of Anthemion Architecture and co-chairman of Custom Residential Architects Network in Greenville. SPRIN G 2014

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PLANT • PROMOTE • PROTECT

TreesGreenville is a membership-based nonprofit organization founded in 2005. Our mission is to plant, promote, and protect trees in Greenville County. We plant trees in parks, schools, and neighborhoods; promote the benefits of trees; and protect our urban forest by teaching the community about proper planting and care. For more information about our mission or to make a donation please visit our website www.treesgreenville.org.

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SimplyUnique

Discovery Is A Beautiful Thing One unforgettable day turns into a lifetime of memories

Written by Eric Brown Finial photography by TJ Getz

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SimplyUnique

f I turn back the pages of time in my family history, a quarter of a century, there’s the day that I discovered Clevedale. I always knew it existed, that old house near where I grew up. But that day began my journey with the old house that would yield a lifetime of memories and treasures. Before that day, I would often slow down on my passes to admire the old house hidden in the large trees until something as simple as a passing flock of bluebirds would suddenly divert my attention and on I would go. Thus, my early experiences with the grand lady were more like curious glimpses – blurs of dappled sunlight and distracting imagery that never allowed me to truly see her. On this, my discovery day, I ventured out to Clevedale with my dear friend Lucy. We had hopes of finding subject matter for a college photography assignment. Arriving at the front gate, we parked the car at edge of the property. As we began to walk down the country road that abutted the property, a yardman appeared seemingly from nowhere, emerging from the bushes. He startled us. We informed him of our desire to photograph the house from the road but that we would love to go closer, onto the property, so we might capture closer pictures. He replied that he was there to clear thickets of overgrowth in preparation for the house being put up for sale. He joked that his efforts were futile – that the house would most likely be torn down and the property made into homesites for a proposed subdivision. He then gave us permission to look around. Not a problem, he said to us, adding that the property was beautiful and should be photographed before its probable destruction. We walked up the driveway, mesmerized by the avenue of large crepe myrtles, gigantic deodar cedars and pecan trees. As we approached the house, we observed the beautiful park-like setting. There were formal gardens, statuary and out-buildings including an enormous greenhouse. Lucy and I took many pictures before getting back into the car. At this point, we decided to skip our class and immediately go see my father. We told him of our experience, that the house and gardens were for sale, and that the man we encountered feared 126 | a thom e

its destruction … If I move the timeline ahead a few weeks, my father is now buying Clevedale. Thus begins a bittersweet journey of our family’s time as custodians of this beautiful property. The excitement that ensued with ownership was soon curtailed when Dad and I discovered that my mother had a very bad form of cancer. We were devastated. In a matter of months my mother couldn’t go down the stairs at Clevedale unless it was to get in the car to see the doctor. It became increasingly difficult for Mom to visit the gardens that we were restoring. One day I walked out to the second floor terrace, and it occurred to me that my mother could sit in a shaded corner of the terrace and comfortably look down on a very large expanse of the grounds. The only dilemma was that she longed to see flowers, and this view was a vast array of trees and lawns. So, I decided to create a parterre full of flowers for her. I discussed this with my father, and he thought it was a wonderful idea. We began planning. What we didn’t plan on was the unity that would result from this endeavor. As it turned out, Mother got more enjoyment from watching Dad and me work together than she did from the resulting parterre. Almost every day during the first summer of implementing the plans, Mom would observe the progress from her new perch on the second floor terrace. Sometimes she would clear her throat loudly to break up an argument that Dad and I were having. Instantly we would regroup and remember the reason behind creating the parterre. Planning the design and preparing the area were very involved. First, we needed about 400 English boxwoods, 200 irises, dozens of flats of blooming ground cover and hundreds of bulbs. When we tallied this up, the cost was staggering. Unfortunately, Dad was spending vast amounts of money on experimental drugs for Mom’s treatments; she had agreed with her doctors to be a human test rat for the fight to find a cure. Our only way to keep the garden on track was if Dad grew the plant material himself. We had what we needed: a large greenhouse and a smaller one that actually had a built-in troth filled with sand (for rooting plants), hundreds of pots and a potting shed at our disposal. So, onward

we went. We began preparing the site. Dad was in charge of rooting the boxwoods. I was in charge of gathering the iris and Lucy worked on the seed selections. On the property there were numerous beds of lovely sky blue irises. I gathered them all, dividing the tubers to create greater quantities and healthier specimens. What we thought would take less time, ended up taking approximately four years. My mother’s health would improve and decline like the changing of the seasons. She would often tell us that the act of creating the parterre was as good to her as some of the medicines: its creation process drawing us all together in a group project. Our family had become a stronger unit, a team. One day a curious, unusual discovery happened. As part of my role in creating the parterre, I would find topsoil to take to my father in the potting shed. While shoveling topsoil, in my favorite location under a large and rare American chestnut, my shovel hit a rock. Since we valued all our rock discoveries as great accents in the less formal areas of the gardens, I carefully removed the rock from the ground. As I pulled it out, I realized this rock had carvings, a man-made shape. More carefully, I continued to dig and soon discovered a total of six carved fragments that fit together like a puzzle. The object I had un-earthed was a hefty gothic finial. Where did it come from? There were no gothic structures on our property. I took the parts to a large outdoor water bowl/footbath that we used for our Dalmatian Conrad (named after Conrad Cleveland, the home’s previous owner) and carefully cleaned the pieces. It was beautifully carved granite. I took it upstairs piece by piece to show my mom, who at that point was again bedridden. Many months later, Lucy and I went to The Episcopal Church

of the Advent with her grandmother Libba. As we were standing outside, I looked up at its tower. The tower had four spires each topped with large finials … that looked exactly like my mysterious gothic finial. When I returned home to Clevedale, my hunch was correct. I later discovered that my finial was actually the original finial that had been blown off by a lightning strike, I think, in the early ‘70s. Curiously, the lightning had blasted the finial into 6 perfect pieces. We also learned that Conrad Cleveland had replaced the blown off finial with a replica. He must have brought the original to Clevedale and placed it in a forgotten area of the garden. To my additional surprise, I later found an old box in the potting shed; in

it, a picture of the new finial placed on top of the church. My sleuthing and the results impressed Mom and Dad. Lucy’s grandmother thought it amazing that the finial had been rediscovered, the pieces buried in the garden for so long a time. I always thought I would send the finial back home to the Advent. But I never did. Sometimes I would pull it out to show friends at dinner parties. Other times I would bring it in the house and arrange it in various ways as a curiosity. I hauled it around with me on my different moves: to my office/showroom and to my next two homes. With each move, I would go through the ritual of gathering the pieces and placing them together in its complete form. Only then, would I repack them for storage. It’s been with me all these years -- through wonderful moments and great tragedies. Looking back, I did wonder if this once-sacred object had any symbolism for me. The finial, in 6 parts, has been with me through the deaths of my sister,

my mother, my dear Dalmatian, Lucy’s grandmother, Lucy’s mother and my dad. I’ve also discovered six incredible friends that I will have for life. Through it all, my connecting bond has been Lucy, my oldest and dearest friend; she is sort of my everpresent 7th piece. Now, I think it’s finally time; in this present day, I can see the finial going home. If the finial is back in place at the Advent, I think the church itself will become its seventh piece. Much like in my garden at Clevedale, it could become a garden curiosity, a feature on the church grounds. This may or may not happen but the thought of it makes me smile. I miss my beautiful Clevedale, but my days there became too sad to bear. Dad had saved the house from destruction and restored it from a state of near ruin. After the loss of my entire family and an inner circle of loved ones, I simply had to pass the torch. Hopefully, it would go to someone that understood my family sagas and loved the place as much as we did. My last walk through the house was very emotional. I touched everything one last time. The walls that I painted to resemble scored sandstone blocks were a surprise gift to my dad. I painted them in a weekend when he had taken Mom to Duke for doctor’s appointments. The mantles and baseboards I painted to resemble marble, another weekend creation as a surprise for my mother. I had beautiful French wallpaper by Zuber installed in the entrance hall, “les courses des chevaux,” a nod to the one-time horse racetrack that used to be behind the house on the far south side of the property, portraits of my grandparents and a graphite sketch of my mother, proudly sporting her closely cropped silver hair newly re-grown. A portrait I commissioned in New York when I took her there for an “it’s in remission!” trip. Finally, I walked in the garden to pick up the finial. It had made it back to its perch in the parterre. I couldn’t forget it. I picked it up piece by piece and then wrapped it in towels, placing it in my car. It’s time for me to start a new journey. The finial will be replaced by a new symbol. I think my future path will be more spiritual. I am ready. The answers to life’s great mysteries are there, waiting. Discovery is a beautiful thing. SPRIN G 2014

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Designs From

Beth’s House

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LaborofLove

Love Match

Canadian speed skater tracks his mate in Greenville Written by Lynn Greenlaw | Photography by Brianne Kuzemchuk (brietakespictures.com)

Gillian once told Spencer that she would “happily marry him with aluminum foil around her finger.” On New Year’s Eve 2012, Spencer dropped to one knee, put an engagement ring wrapped in aluminum foil around Gillian’s finger and asked her to marry him. SPRIN G 2014

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pencer Zettler says it was “Notebook love. Love at first conversation.” Then it took five months for him and Gillian Trimboli to make a more permanent connection. While visiting his parents in Greenville, Spencer (a professional speed skater for Canada) first met Gillian (the director of a Greenville food and wine festival) while volunteering for a fundraising gala. Gillian turned him down for a post-work drink. They met a short time later for a second time at another event where they were reintroduced by a friend of Gillian’s – Spencer’s mother. This led to a Facebook connection, but nothing more as Spencer had returned to Canada. A few months later, a skating injury led to a permanent return to Greenville for Spencer and – at long last – a date with Gillian. It’s been smooth skating ever since. Their lovely wedding celebration took place at the impressive Hotel Domestique in Travelers Rest.

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A mixture of family, longtime friends and teammates provided support to Gillian and Spencer by serving as bridesmaids and groomsmen. In their leisure hours, Spencer and Gillian enjoy cooking and working in the kitchen together. They share a love of entertaining friends and family.

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After honeymooning on Tybee Island, the couple recently relocated to Charleston. Gillian is the executive director of Charleston Wine + Food Festival and Spencer is an account executive for Revel Systems.

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GardenToTable

Protecting the Land for Future Generations: the Making of Vicario Wines W r i t t e n b y J a n e t t e We s l e y | P h o t o s p r o v i d e d

“The peoples of the Mediterranean began to emerge from barbarism when they learned to cultivate the olive and the vine.”

t was a miracle that I first encountered wine in a Nazarene Sunday School class. Long-haired, lanky Mrs. Loretta, concerned with my future, told us the story of the phenomenal wedding in Caanan, the first of the seven astonishing events with substantial symbolic significance by which Jesus demonstrated his divinity. Whether the story talks of an actual material transformation of water into wine, or whether it was a spiritual allegory, could be debated forever. However, certain truths documented by Mago, a Carthaginian writer, demonstrated that wine in Canaan, now Lebanon, followed a long tradition in the Mediterranean region that dated to the Early Bronze Age, 35002000 BC. Early Canaanite civilization was characterized by small walled market towns, surrounded by farmers growing green produce, alongside commercial growing of olives, grapes for wine, pistachios, and wheat. It was a beautiful landscape, rich in resources. Turning grapes into wine, a world of wonder passed down through thousands of years of experience, was the first step toward a heavenly evolution of the human experience. I grew older and my education advanced from Bible School to a college classroom. I studied art history and studio art at Converse College. Drastically, my life transformed when I seized the instruction of Professor

Thucydides, 5th Century BC

Judy Jones, another thin, tall thinker. She told me, “Go to Italy.” So I did. Three months of study became a true renaissance, a rebirth that grew from nurturing honesty and self-discovery by putting brush to canvas, especially enlightening on the hilltop Etruscan town, Cortona. I finished my art degree, partly in Spartanburg, partly in Cortona, but did not get enough to quench my insatiable desire of the quilted Italian landscape tended by tough gentle hands of the Tuscan people. Stunningly beautiful, the view from Cortona was miles of yellow squares of wheat and sunflowers, bordered by lavender violet, patterned by stripes of vineyards, dotted with sheep under olives, uplifted by songs of nuns and sheltered by steadfast centurions: the cypresses, who marched along the mountain roads toward the church and cemetery. Golden fields were stitched to wide blue skies with white puffy clouds; a pink red sun poured colors between the mountains at the end of the day. The apparition filled the depths of my humanity. As I understood the landscape, I had a feeling of belonging, a true sense of place, and I began to see the role of the field and the earth as what defined the uniqueness of people. It was the interaction with environment that gave identity, created character and gave life a sense of meaning.

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A few years later, I met Renato Vicario in the kitchen at Ristorante Bergamo, a delicious decadence on a corner of Main Street Greenville. As lovers of art, awed by beauty and crazed for history, we discovered by Internet a 1,000-years-old villa in Cortona, and fell in love with our destiny. Villa Sant’Andrea, an expresbytery, originally built in the 11th century, adorned seven dreamy acres of olive groves and fruit trees. The walled garden, once a 9th century leper’s hospital for women and a place of spiritual healing, defined a glorious garden of figs, olives, almonds and sour cherries. We stepped across the ruins of the church of Sant’Andrea that delineated a foundation, and summoned visions of priests and donkeys who slept under the handhewn chestnut beams to bless our venture. We later purchased a vineyard and other acreage, and the transfiguration to wine making began. Not to think of history in Italy was impossible. Evidence of past people existed in every corner, and especially in agriculture. Ancient olives planted centuries ago crowned the hills like silver strands of hair on old wise heads. Vines grew wild in trees and ivy streamed along pathways. Who put them in the ground, I will never know.

RENATO VICARIO

As we planted our vineyard, I thought about those who came before me. Amazingly, even the ancient Phoenician culture had a significant effect on the history of wine and even our own Cortona. The Phoenician civilization centered in the northern reaches of Canaan – the place of the water and wine miracle – along the eastern shores of the Mediterranean Sea, in what is now Lebanon. Between 1550 - 300 BC, the Phoenicians developed a maritime trading culture that expanded their influence from the Levant to North Africa, the Greek Isles, Sicily and the Iberian Peninsula. Through contact and trade, they spread not only their alphabet, from which almost all modern phonetic alphabets are derived, but also

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their knowledge of viticulture and winemaking, and propagated several ancestral varieties of the Vitis vinifera wine grapes. People enjoyed drinking wine, but took a great interest when it became significant to religion and to culture. The Phoenicians marketed wine, or cherem, as an acceptable offering to both gods and kings which increased its trade value in the ancient world. Around 1000 BC, the Mediterranean wine trade exploded and made the Phoenicians and their extended seafaring network prime beneficiaries of the amplified demand. The Phoenicians not only traded wine produced in Canaan but also developed markets for wine produced in colonies and port cities around the Mediterranean Sea. Carthage, in modern-day Tunisia, was the Phoeniciansâ&#x20AC;&#x2122; most successful colony as it had an ineffaceable association with wine. Wine played an important role in Phoenician religion, and the god of wine, Bacchus, a subject of many artists, may have originated in the wine rituals of Canaan. Certainly the great temple at Heliopolis or Baalbek, now a World Heritage site, was famously noted for vines and wine drinking. Such rituals may also have influenced the Greek Bacchae, the Jewish Passover Seder feast, the Christian Eucharist and even the stories I heard in Sunday school class. Trade as well as war spread vines and wine over the Italic peninsula. At the Battle of Lake Trasimeno, 217 BC, the Carthaginians,

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under their commander Hannibal, defeated the Romans by traveling through what is now Spain and France, crossing the Alps on elephant backs. The battle, one of the largest and most successful ambushes in military history, took place within viewing distance of our vineyards, just down the hill from Cortona, Italy. After the Phoenicians, the Roman armies continued planting grapes throughout their empire, along Roman Roads, a way to provide food and drink to the soldiers.

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Working in the vineyard, I thought of this history. A Roman Road ran right through our property. It was enough to twist my face southward where the shores of Lake Trasimeno glimmered and I understood how this land, like most lands, has changed ownership so many times over the centuries. Even now, this land does not really belong to me and my family, but to the future, and those who will be here after me. I could only be a temporary caretaker.

Some 19,000 grape vines held together by 70 miles of wire, enough to stretch from Cortona to Florence, were put into place over a period of two years. Alongside 220 olive trees, we planted 300 “Visciole” or old type wild sour cherries, a tree that is rare and disappearing, and vanishing varieties of apples, cherries, apricots and plums, some which date back to the writings of Pliny. Friends thought us crazy for starting something like this at our age, not exactly old, yet certainly not young. New vines take at least four years to production stages, and then the wine, after it is made, takes a few years before it is ready to be sold. Fruit trees sometimes take 7-10 years to bear. Yet, if those priests or lepers who planted the olive trees at Villa Sant’Andrea hundreds of years ago had only thought of themselves, we may have never been able to share the olive oil with those who treasure it in the states or even to teach the simple and pure traditions of making it to the next generation – keeping in mind my daughter and two sons, who are also business partners with regards to wine and agriculture production. The Vicario wines, respectfully made, are Tuscan red wine of Sangiovese and Cabernet Sauvignon grapes; one, we called Tramonto, Italian for sunset, a pink red reminder that as the sun pours its color over the vineyard, no regrets were to be had in the work of the day. Clean farming methods, without any chemicals added, fertilizing with cover crops and manure, inviting beneficial insects, kept the earth safe for the future and kept us, the producers, in good conscience.

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Other future vintages from the newly planted vines include a Sangiovese-Cabernet Franc blend. It will be called Stemma, Italian for family crest or family tree, a reminder that roots and vines are of the past but also for the future. What follows the growing methods in the vineyard must transfer as well to the cellar or the beauty of nature would have been lost – clean tasting wine, full of the fruit, with minerals extracted from the terroir, nothing added, nothing disconnected. Renato Vicario has always been a purist. He learned about winemaking from his grandfather Carlo, and he learned about good taste in food from his great grandmother. With these two skills together, the fresh, pure, radically simple flavors of the grapes in our wine emerged, naturally made on their own yeasts, no sulfites added. Wines like this are called “naked” by writer Alice Feiring, who said: “For me, wine is the point in which culture, nature, history, man and art meet inside a bottle. There is nothing that compares.” A wine like this can be a spiritual experience. It brings people back to well-being not only for those who drink it but also for those who make it. It cannot be reduced to “tasting notes” that capture the aromas and flavors in a phrase. A natural naked wine is deep, interesting and wonderfully expansive. It can appeal to your mind but also your heart. It is good for you and good for the earth. The creation of a fine wine mirrors the art of a good story or fine painting. The elements of each are taken

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from nature. They are observed and collected, then composed by passion into a new, different body, to be preserved, shared and celebrated, touching the senses. I’ll never forget my Italian “Manifest Destiny,” nor the beautiful professor who sent me on the journey to Italy. Judy Jones died a few years later of ovarian cancer, but her paintings hang in my home to remind me to share all that is good and artful and everlasting. Her art, like the wine, was a supernatural event, Stemmas of beauty and richness, a soul passed from generation to generation. I truly believe I encountered a miracle. ah

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We’d like to add you to our long list of satisfied customers. Call us today at 864-232-9015 for a free estimate. We look forward to serving you! RESIDENTIAL • COMMERCIAL

IKE’S CARPET, RUG & UPHOLSTERY CLEANING, INC.

128 Poinsett Hwy., Greenville, SC • 864-232-9015 • www.ikescarpet.com

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A refreshing new logo just in time for spring...

Proudly publishing the pages of:

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estates Homes as distinguished as our readers.

245 Darling Sparrow Way

4BR, 4.5BATH · MLS#1272536 · $1,550,000 Cliffs Realty Sales SC, LLC Vince Roser (864) 660-8422 www.cliffscommunities.com

The Cliffs at Keowee Vineyards® 305 Buttercup Way, Waterfront with Dock

4BR, 3.5BATH · MLS#20149726 · $1,295,000 Justin Winter Sotheby’s International Realty www.justinwinter.com · (864)481-4444

109 Ramsford Lane

5BR, 5.5BATH · MLS#1274983 · $949,900

Berkshire Hathaway HomeServices C. Dan Joyner, REALTORS® Melissa Morrell (864) 918-1734 www.greenvilleagent247.com

15 Calaverdi Court

6BR, 5.5BATH · MLS#1275205 · $1,520,000

Berkshire Hathaway HomeServices C. Dan Joyner, REALTORS® Carole Atkison (864) 7871067 www.SpauldingGroup.net

121 Ramsford Lane

5BR, 5.5BATH · MLS#1263785 · $1,249,900

Berkshire Hathaway HomeServices C. Dan Joyner, REALTORS® Carole Atkison (864) 7871067 www.SpauldingGroup.net

105 Putney Bridge Lane

5BR, 4.5BATH · MLS#1265239 · $890,000

Berkshire Hathaway HomeServices C. Dan Joyner, REALTORS® Carole Atkison (864) 787.1067 www.SpauldingGroup.net

115 Trout Lily Lane

5BR, 4.5BATH · MLS#20135169 · $1,395,000 Cliffs Realty Sales SC, LLC Ross Kester (864) 660-8401 www.cliffscommunities.com

104 Tooley Road

5BR, 5BATH · MLS#1268349 · $1,165,000

Berkshire Hathaway HomeServices C. Dan Joyner, REALTORS® Melissa Morrell (864) 9181734 www.greenvilleagent247.com

128 E. Tallulah Drive

4BR, 3BATH · MLS#1274517 · $459,000

Berkshire Hathaway HomeServices C. Dan Joyner, REALTORS® Becky Orders (864) 270-0743 www.SpauldingGroup.net

At Home Estates is a feature of At Home Magazine. To advertise your listing in At Home Estates, contact Annie Langston at 864.679.1224 or alangston@communityjournals.com

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1322 East Washington St. Greenville, South Carolina 864.233.4442 | EricBrownDesign.biz

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