January February 2025 by FLOWER magazine

FLOWER

HOUSE l GARDEN l LIFESTYLE

January • February 2025

38 Living on Island Time

Designer Charlotte Moss brings the glamour and nostalgia of yesterday’s Bahamas to a quintessential home in Lyford Cay.

50 Paradise Planted

A shared love for exotic horticulture results in a breathtaking Costa Rica garden that blends the wonder of nature with handcrafted artistry.

58 A Beautiful Blend

Cotswolds charm meets West Coast chic in a Brentwood, California, house designed by Brooke and Steve Giannetti of Patina Home & Garden.

68 Artist in Residence

Birmingham artist Patty B. Driscoll travels to Oak Spring in Upperville, Virginia, for an immersion in the gardens, interiors, and world-renowned library of the legendary garden designer, collector, and tastemaker Bunny Mellon.

ON THE COVER

This vignette from a home in Lyford Cay, Bahamas, features a Jonathan Sainsbury mirror surrounded by 18th-century seashell engravings. Photographed by Brittany Ambridge

“Just living isn’t enough,” said the butterfly. “One must also have sunshine, freedom, and a little flower.” —HANS CHRISTIAN ANDERSEN

PHOTO

ROB CARDILLO

Styling by Lillian August

Photo by Ron Royals

Mural Shown: Pastorale Gold

11 From the Field

A stylish bedroom built around a statement fabric, the latest in bedside lighting, and elements for a chic guest retreat.

18 From the Field: John’s Almanac

John Coykendall, master gardener for Blackberry Farm, shares gardening wisdom he’s gathered through years of hands-in-the-dirt experience.

27 Artisan

Marian McEvoy takes petals from one flower and combines them with the stems of another to fashion floral collages that spring from her unbridled imagination.

30 Sense of Place

In his new book, award-winning landscape designer Fernando Wong spotlights the luscious, layered gardens he has created in tropical climes from Miami to the Bahamas. In this excerpt, he shares the story behind a Lake Worth project in Palm Beach and its magnificent kapok tree.

ARTWORK BY MARIAN MCEVOY;

PHOTO (BOTTOM) BY DAVID HILLEGAS

WATERING CAN A Note from the Editor

“Though nothing can bring back the hour Of splendour in the grass, Of glory in the flower; We will grieve not, rather find Strength in what remains behind. . . .”

–WILLIAM WORDSWORTH FROM ODE: INTIMATIONS OF IMMORTALITY FROM RECOLLECTIONS OF EARLY CHILDHOOD

THERE’S SOMETHING SO CAPTIVATING ABOUT THE PAST. Nostalgia can play a significant role in our looking backward longingly. But often when I look back, I realize I wouldn’t want to go back—instead there are vestiges of bygone days that I move to incorporate into my daily life. I use my mother’s silver every day; I watch my father’s favorite ’60s Bond films; I’ve read every work ever written by F. Scott Fitzgerald; and I listen to Bach, Debussy, Aaron Copland, The Rolling Stones, and Nina Simone more than I listen to Billie Eilish, Harry Styles, and Beyoncé. I often find myself muttering, “They’re just not making music like they used to.” And they’re not. But I've discovered they are doing something interesting. When I stop and listen to today’s tunes or watch a contemporary Bond film or study an interior design in a current book or shelter magazine, I must acknowledge that many of these modern-day artists are sampling riffs from the past—and some deftly and with respect. And these are by far the most successful works.

The stories in these pages each uniquely honor cultural history through modern moments and personal accents. Take a look at Dennis Schrader and Bill Smith’s Edenic property in Costa Rica where they preserved the original feel and flora as much as possible, integrating innovative modern elements and a palette of electric but somehow perfect hues. The result is a romantic “back to paradise” mood with a “now” design philosophy.

In another island adventure in design, Charlotte Moss created a tour de force in Lyford Cay. She gathered treasures that evoke a sense of the shimmery Bahamas of yesterday while incorporating a fresh use of bold and saturated colors, along

with surprising yet thematic design and decorative objects. The home delivers the exact vibe of her clients’ dreams.

Imagine the opportunity-of-a-lifetime for artist Patty B. Driscoll as she sat at the proverbial feet of the late iconic gardener and collector Bunny Mellon at her Virginia home, Oak Spring. Patty B. was invited for a twoweek residency where she produced her own interpretation of the wondrous world of plants and flowers. She gave voice to Mrs. Mellon’s pronouncement: “There is nothing that has not already been done in design. It is the joy of discovery that creates the excitement and interest of putting together old ideas with the originality of the individual person.”

Even the new California “Cotswolds” house, drawn and designed by Brooke and Steve Giannetti of Patina Home and Garden, nods to design history with a contemporary overlay. It references the 1920s Hollywood landscape that was peppered with neo-Tudor and other English-style structures, especially apartments, while weaving in Brooke’s clean but comfortably sophisticated voice into the interiors.

Each of these stories is an example of strength in the past paired with fresh vision. Wishing you all a Happy New Year— one filled with a deep appreciation for the old and new.

Love and SDG,

Margot Shaw EDITOR-IN-CHIEF

Please send your comments, triumphs, challenges & questions to: wateringcan@flowermag.com OR Letters to the Editor I FLOWER Magazine I P.O. Box 530645 I Birmingham, AL 35253 Get the FLOWER email newsletter! Sign up at flowermag.com/news

PHOTO

CARY NORTON

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VOLUME 19, ISSUE 1

MARGOT SHAW FOUNDER/EDITOR-IN-CHIEF

Karen Carroll EDITORIAL DIRECTOR

Julie Gillis MANAGING EDITOR

Nicole Gerrity Haas ART DIRECTOR

Amanda Smith Fowler STYLE DIRECTOR

DIGITAL

Jason Burnett DIGITAL GENERAL MANAGER

Carrie Clay ASSOCIATE EDITOR

CONTRIBUTING EDITORS

John Coykendall, Alice Welsh Doyle, James Farmer, Marion Laffey Fox, Elaine Griffin, Tara Guérard, Frances MacDougall, Tovah Martin, Cathy Still McGowin, Charlotte Moss, Matthew Robbins, Margaret Zainey Roux, Frances Schultz, Sybil Sylvester

For editorial inquiries: editorial@flowermag.com

Jennel O’Brien PUBLISHER

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ADVISORY BOARD

Paula Crockard, Winn Crockard, Gavin Duke, Gay Estes, Katie Baker Lasker, Mary Evelyn McKee, Michael Mundy, Ben Page, Angèle Parlange, Renny Reynolds, Scott Shepherd, Mish Tworkowski, Remco van Vliet, Evie Vare, Louise Wrinkle

A stylish bedroom built around a statement fabric, the latest in bedside lighting, elements for a chic guest retreat, and a new addition to the field: John’s Almanac.

PRODUCED BY AMANDA SMITH FOWLER

PHOTOGRAPHY BY DAVID HILLEGAS

PREVIOUS PAGE AND THESE PAGES, OPPOSITE: Window Treatments in Cheers embroidered fabric in Seagrass (to the trade) by Weitzner • The Baker Bed (starting at $2100) by Coley Home • Lavali embroidered fabric on Baker Bed in Plum/Multi (to the trade) by Brunschwig & Fils through Kravet • Ophelia embroidered bedding in Clover (starting at $124) by Matouk Schumacher from Matouk • Alba quilt ($675) and shams ($189 each) from Matouk • Rattan Swirl Breakfast Serving Tray ($750) by Casa Branca • Antique French Louis Philippe mid 19th-century burl walnut commode with St. Anne belge marble top (inquire for pricing) through Adams Antiques & The Potager • Leaf Lamp ($1250) by Kass O’Brien Ceramics • Fine Italian Wood picture frame (starting at $34) from Galassi through The Boutique • Puro 6” Tortoiseshell Vase ($84) by Juliska ABOVE, CLOCKWISE FROM TOP LEFT: Books information in Sources, page 76 • Corinne Footed Sorbet Dish ($65) and Cornelia Tumbler Old Fashioned ($130) by William Yeoward Crystal • Asian Garden Motif 05 salad plate ($135) and Golden Laurel dinner plate ($215) by Herend • Repousse sterling (inquire for pricing) by Kirk Stieff through Mirror Lake Antiques • Custom embroidery dinner napkins (inquire for pricing) by McKenna Designs • Custom Rug (inquire for pricing) from Jubin Rugs • Square Toe Leopard Print Ballet Flat ($498) by Frances Valentine

CLOCKWISE FROM TOP LEFT: Carlyle, Torcello, and Savona Cashmere Throws (starting at $695) from Scandia Home • Paint colors (top to bottom): Walking in the Rain, Grail, and Rio del Valle (inquire for pricing) from Alkemis Paint • Hervé Stone Top Chest ($7500) by Suzanne Kasler for Hickory Chair • L64-66H King Bed in Wonderland Fawn (to the trade) from Lee Industries

Guest bedrooms don’t need to be a snooze.

You can’t miss with a serene color palette, but add a dash of personality with a playful pattern. And thoughtful touches like a cashmere throw, a chest spacious enough to unpack their things, and a vase or two of fresh flowers make guests feel right at home.

—AMANDA SMITH FOWLER, STYLE DIRECTOR

Light can transform a room, bringing it alive and shaping the mood of the space. In the bedroom, the right lighting creates a sense of calm and warmth, turning it into a restful sanctuary or an inviting retreat.

—DESIGNER BARBARA BARRY

White Azalea Ginger Jar Lamp ($3080) by John Derian, johnderian.com

Baroque Table Lamp ($860) by Currey & Company, curreyandcompany.com

Blanco Lamp (to the trade) from Wildwood, wildwoodhome.com

Natan Moss Tapered White Lines Lamp ($1600) through Hollywood at Home, hollywoodathome.com

Clarity Taper Lamp (to the trade) from the Barbara Barry Collection for Baker, bakerfurniture.com

Bouquet Table Lamp ($2997) from Theodore Alexander, theodorealexander.com

John’s Almanac

John Coykendall, master gardener for Blackberry Farm, shares gardening wisdom he’s gathered through years of hands-in-the-dirt experience.

PORTRAIT BY

DAVID HILLEGAS

Ifirst visited Blackberry Farm, tucked in the foothills of the Tennessee Smoky Mountains, over the New Year's holiday in 2009. The trip included all the Farm has to offer—a bucolic setting, wonderful dining, impeccable service, and exceptional hospitality with every possible need or want anticipated. A highlight of that stay was spending the day with John Coykendall, the Farm’s master gardener. At the time, I had no idea of the permanent imprint that experience would leave on me, but 15 years later, I still believe wholeheartedly that he is a bright soul on this earth. I was blessed to have the opportunity to soak in his wisdom and experience—both in the garden and in life.

John doesn’t have a cell phone. He doesn’t answer to the same demands this world makes on most of us. He marches to the beat of his own drum and follows the rhythms of the seasons. John plans for the future and passionately learns from the past, but he resides thoroughly in the present. He’s not easily distracted, and when he chooses to take up a conversation with you, he’s in it completely. His words and his actions are heavily influenced by tradition and history, but he’s just as quick with a joke and always ready for a good laugh.

with gardening was limited, his enthusiasm didn’t dampen a bit—he was excited about my potential and encouraged me, instilling a confidence I hadn’t yet earned. We spoke of my grandfather’s gardens and how much we both loved the lingering smell of tomato vines. He drew diagrams showing me exactly what to plant, where to plant, and when. He even shared seeds with me, labeling each in his distinctive handwriting.

I am thankful that my children have grown up in an environment where they could run over to the garden, interact with John, pick vegetables straight from the ground, and embrace the enchantments of simpler times.

—MARY CELESTE BEALL, OWNER OF BLACKBERRY FARM

That January day, I sat alongside John and harvested seeds. I have no recollection of the type, but I do recall the anticipation and hope for what ultimately would emerge from them. We discussed upcoming plantings at the Farm and some of his favorite crops to grow. When I confessed my own experience

As I write this, many a moon later, I look outside my rear windows over the dream garden I am currently creating and building. The time has finally come to put to good use the ideas, knowledge, and encouragement from John, and it was worth the wait. For admittedly selfish reasons, I imagined a way to continue to learn and grow from his wealth of experience, and it’s one I’m excited to share with FLOWER readers. Over the course of this year, John will create a seasonal guidebook, what I envision will become a step-by-step guide to growing a perfectly imperfect garden. I believe it will help all of us to become our own best versions of a backyard farmer. The act of gardening teaches us some of life’s greatest lessons—the need for patience, hard work, and optimism—and I can’t think of a better instructor to lead us down that path. We’ll try and possibly fail, try again and hopefully succeed, and unearth some of his wit and wisdom along the way. Welcome to John’s Almanac.

— AMANDA SMITH FOWLER

PREVIOUS PAGE: An advocate for saving and sharing heirloom seeds, John authored a book on the subject titled Preserving our Roots (LSU Press, 2019). THIS PAGE, TOP: After a long day in the Blackberry Farm garden, John heads back into the shed. ABOVE, LEFT TO RIGHT: Hyssop enjoys his own respite on a windowsill. • John has been keeping meticulous garden notes and sketches for decades.

PHOTO (TOP AND BOTTOM) BY DAVID HILLEGAS; (BOTTOM RIGHT) BY SARAH RAU

Shovel, hoe, hard-tooth rake, fork hoe, trowel, gardening gloves

Look for a space that drains well and has a nice amount of sunlight. For most fruits and vegetables, you’ll want a location that has full sun or mostly sun throughout the day. Pay attention to the course of the sun to determine your bed path for that season. Also, be sure to check for proper drainage of the soil. Look for standing water after a good rain. Most plants don't like to go to bed with their feet (roots) wet.

Create a map of your garden, and lay out plants according to the sun's warmth in the morning and afternoon. Hang on to your garden plans from year to year so you can keep up with rotating your crops or plants. The soil needs to have minerals replenished, and no matter how small or large the plot, it’s best done through crop rotation.

Planning & Preparing

summer, and fall. If you wish to plant heirloom or unusual varieties, the best option is to order seeds. Read seed packets carefully to determine which varieties may be directly sown into the soil and which need to be started indoors earlier. Order now in time to begin in the early spring. Starting your own seeds also saves money. My favorite sources are Seed Savers Exchange, Bakers Creek Heirloom Seeds, and Southern Exposure Seed Exchange. You can also pick up plants from local growers and plant them directly into the ground once it is warm enough in your zone, but you’ll find the best selection from starting your own seeds.

year, put wood chips on top of the soil to help keep weeds from coming up and to prevent erosion.

If you have a garden tiller, break up the ground at least one foot in depth. Cut out any large roots and remove all large rocks from the soil. Then put a lot of compost in and work it into the soil. It’s important to use good compost material. If you have

Locate the water source and begin to determine if watering from above with a sprinkler system or below with a drip hose might be best for your garden. Watering above is good for any area where you have grass, flowers, or greens. For most vegetables, tomatoes especially, you want to do drip irrigation because watering from above can create mildew.

Weeding is very important in winter, not just in growing seasons. Keeping weeds under control from the beginning of the season creates a healthier garden and a nice appearance.

You’ll need plastic seed-starter trays, cell packs, or plastic pots from your local garden center. Use a sterile seed-starter mix to ensure seedlings are free from soil-borne diseases. It’s important to maintain temperatures around 75-80 degrees until the seeds begin to germinate. Once most of the seeds have sprouted, 70 degrees is ideal for continued plant growth. Introduce new plants to the outdoors before planting. Harden them off by moving plants outside in partial shade a few days prior to planting them into the ground.

There is that feeling of satisfaction you get when you see those first crooks emerge to the surface. From the first sprout to plants maturing enough to be set out in the garden, I look forward to the process every year.

—JOHN COYKENDALL

Botanical Dreamer

Marian McEvoy takes petals from one flower and combines them with the stems of another to fashion floral collages that spring from her unbridled imagination.

BY ALICE WELSH DOYLE

“Ihave always been very manual, and I like fixing things, doodling, drawing, sketching, and making and gluing things together,” says Marian McEvoy, the former fashion and interiors magazine powerhouse. However, she had never contemplated making such things for anyone but herself and her friends, and she certainly never envisioned making a profession out of it.

“Sometimes when you are in a bit of a flux, you should listen to the people around you. They can often enlighten you about where your talents are or your next chapter lies,” she says. In 2016, her friend Jane Stubbs, a purveyor of rare books and prints, encouraged Marian to make some pieces for a Christmas pop-up shop at Eerdmans Fine Art in Greenwich Village. Her unique creations of cork, twigs, acorns, and pinecones formed in shapes such as pyramids, domes, and other elaborate

architectural fancies, dubbed corkillage, were well received, and a formal exhibition followed the next year.

Jane then introduced Marian to Kate Rheinstein Brodsky, owner of the celebrated interiors shop KRB in New York, and a collaboration developed. “Jane and Kate really gave me my second act and helped me realize I could actually make, market, and sell my work,” Marian says. Soon, she put her high-octane magazine editorial life aside and traded in the city lights of Paris and Manhattan for the Hudson Valley. “I had rented an old farmhouse there for a couple of summers with my best friend, Madison Cox, who is a wonderful garden designer, and I just fell in love with the house and the area,” she says. The farmhouse has expansive river views full of inspiration, especially for the botanical collage work she now focuses on for KRB, along with her colored ink drawings. Kate says, “I love the way

This collage on a green background includes spirea, petunias, anemones, Queen Anne’s lace, and roses with raspberry leaves.

“I’ll take a stem from a fiddlehead fern, a leaf from some tree in China that I can’t pronounce, and petals from a lily and put them together.” —MARIAN MCEVOY

Marian combines the shapes and textures of different plant materials—a fiddlehead fern with a carnation petal, grape leaves with roses—to create marvelous kaleidoscopic works. In her mind, she can see how all the shapes and pieces are going to look together in the end. It’s quite remarkable.”

While Marian’s work is delicate and orchestrated, her garden is anything but. “I’m a terrible gardener, and I hate to cut things back and prune. I basically have a jungle. But I love the fullness and abundance of it. If you give me an ikebana arrangement, I’ll break out in hives!” she laughs. Any plant materials are fair game in her world, but Marian does prefer flowers, leaves, and vines that look like they are moving or dancing. She has a few favorites such as viburnum and allium in all shapes and sizes. Lately, she has been taken with lilies, finding the petal structure and scale compelling.

Marian explains that because every piece must be pressed tightly against UV plexiglass, it is difficult to use thick stems even though she loves them. Some materials are simply too brittle to mount. She is certainly not a purist, and her collages would not be presented in a botany class for examination. “I’ll take a stem from a fiddlehead fern, a leaf from some tree in China that I can’t pronounce, and petals from a lily and put them together.”

different directions as far as color and scale. “I am by nature a red person, but through working with Kate, I’ve learned to love more shades of green. I’ve even embraced purple, lilac, and mauve,” she says. “I also am creating some very large pieces. Kate recently requested a 60 x 40 collage.” In addition, Marian has been toying with cut-out sections of leaves, silver and gold gilding on materials, and bleaching applications. As Kate explains, “The bleached pieces appeal to a different palette and offer another dimension for looking at a collage.”

Marian’s collaboration with KRB has also taken her in

For KRB’s 10th anniversary, Kate introduced high-quality prints of the artist’s collages. “What I see with the prints is an opportunity for Marian to use materials that won’t behave and lie perfectly flat,” says Kate. “Or she may use quirky, preserved things that would likely crumble when pressed under the UV frame. I think it’s a wonderful avenue to continue to share what she does in a new way.” While her work is in high demand and she has outsourced the pressing process, Marian remains a one-woman show, operating out of a small but extremely organized studio in her home. Kate says, “I think Marian has a very rich inner life and she does more in a day than most of us do in a week.” In fact, Marian has come to feel that her detailed and meticulous work is a form of meditation. “The days pass so quickly,” she says. “I’m happiest of all when I am working.”

ABOVE: Marian in her home studio where she creates her meticulous and fanciful collages. OPPOSITE, CLOCKWISE FROM TOP LEFT: The floral collage over the fireplace at the KRB store mixes bleached monstera and bronzed English walnut leaves with fern leaves, gilded eucalyptus leaves, ranunculus, roses, and spirea. • “There is always something new that catches my eye,” says Marian. “It may be a weird color combination or something I saw on Instagram.”

• At her home in the Hudson Valley, Marian prefers an untamed and abundant look in the garden and loves plants with movement like vines. • Mongolian bluebeard and petunias with English walnut leaves form the base of this collage with a yellow background.

The Young Man and the Tree

BY TIM JOHNSON | PHOTOGRAPHY BY CARMEL BRANTLEY

WE WERE IN NEW YORK when we got the call to redo the landscape of the Firestone Estate in Palm Beach. The house was famous because it was on an unusually large lot (more than three acres) on Lake Worth and had been designed by one of the great Palm Beach architects, John Volk. We had become obsessed with Volk after having had the privilege to rent a Volk house on Pendleton Avenue when we first came to Palm Beach. He had a particular gift for determining the scale of rooms, which were always appropriately grand but also livable. The Firestone Estate was arguably one of his best houses. This was a fantastic project for us because the owners were extremely sympathetic to and respectful of Fernando’s design. It was also wonderful because the property boasted one of the great kapok trees in the southeastern United States. In fact, it was this magnificent tree, brought from the Bahamas in the

1800s, that attracted our clients to the place. Sadly, the house had been the victim of a complicated divorce, resulting in years of neglect and slow rot. By the time our clients came to inspect the property, the grounds were so overgrown that it was impossible to see the giant kapok from the loggia at the back of the house. It was not until they walked down a path away from the house that the glorious tree came into view.

It may be hard to believe today, but there was a time in the United States, belore landscape architects existed, when the task of designing the grounds of a house was typically undertaken by the architect. This property was no exception. Volk had designed a simple tropical garden that Fernando tried to honor in his selection of trees and palms, as well as in his design of the fountains and renovation of the pool. We think that the master would have approved.

The enchanting garden at the back of the house features beds filled with blue Salvia and purple Duranta ‘Sapphire Showers’ trees.

LEFT: A mighty kapok dominates the landscape of this historic Palm Beach estate. Royal palms soar behind the tall Cuban laurel hedge ringing the property. Ficus Alii standard and purple Durant ‘Sapphire Showers’ trees rise on the left above Podocarpus hedges and cones, white hibiscus, pinwheel jasmine, and low cotoneaster hedges. BELOW,

LEFT TO RIGHT: A majestic Cuban laurel hedge towers over lower Podocarpus hedges, beds of Apostle irises, Green-Tip cocoplums, yaupon holly, Jasmine Minima, and a Diamond zoysia lawn. Ganges primrose surrounds the coral-stone fountain.

• A monarch butterfly visits a purple Duranta ‘Sapphire Showers’ tree.

From furniture and lighting to wallcoverings and fabrics, ADAC’s 65+ showrooms offer high-end home furnishings that are not only well crafted, they come with a unique point of view that is sure to inspire.

JOIN US IN 2025

Digital Day at ADAC

March 5

ADAC Spring Sample Sale

March 19-21

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Co-sponsored by VERANDA

April 22-24

Southeast Designers and Architect of the Year Awards Gala

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April 24

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Cipher Table Lamp by Lasvit, Minotti by HA Modern

In his new book, The Young Man and the Tree (Vendome, 2024), acclaimed landscape designer Fernando Wong treats readers to an inside look at some of the most beautiful, private tropical gardens he has created.

LEFT: A spectacular banyan tree. ABOVE: A 1930s decorative pot planted with a blue agave peeks out from a beautiful mass of purple Duranta ‘Sapphire Showers’ flowers. BELOW: Confederate jasmine surrounds an Adam-style round window.

Sweet Dreams

After exploring the latest in bedroom design starting on page 11, go to flowermag.com/ dream to discover more beautiful bedchambers. We’ve gathered stately suites, guest retreats, and even an open-air sleeping porch. There are dozens of spaces to inspire your beauty sleep. Snuggle in and enjoy.

PALM BEACH CHIC

Join us in sunny Palm Beach to revisit stylish home and apartment makeovers from Kim Coleman, Ellen Kavanaugh Interiors, and Kemble Interiors. Plus we’ll explore Renny Reynolds’ lush, tropical garden and check in with designers of every stripe who have migrated to the area. Go to flowermag.com/palm-beach

FLOWER MAGAZINE FLOWER OF THE YEAR

Which flower will be prevalent in arrangements, flourishing in gardens, and influencing design in the year ahead? Find out what our panel of floral designers and suppliers, landscape pros, interior designers, and event planners expects to be in bloom in 2025. We’re announcing the Flower of the Year in February. Sign up for our newsletter at flowermag.com/news and follow us on Instagram @flowermagazine to be the first to know which blossom makes the cut.

Designer CHARLOTTE MOSS

brings the glamour and nostalgia of yesterday’s Bahamas to create a private paradise for clients who are

Island Time LIVING on

BY CATHY STILL MCGOWIN

PHOTOGRAPHY BY BRITTANY AMBRIDGE

In the foyer, blue-and-white tobacco jar lamps sit on a pair of 20th-century chinoiserie-andbamboo commodes from The Antique & Artisan Gallery in Connecticut. Commissioned paintings by artist Anne Harris hang on mirrored walls.

Whether derived from place, color, or simply the client’s own wishes for how they want to live and entertain, a single concept is often enough to formulate a design plan. This Lyford Cay, Bahamas, home started with a family’s love affair with the island itself and the easy, breezy glamour depicted in Slim Aarons’s photographs. “My clients wanted to re-create the nostalgic, gracious allure from the Bahamas of the past,” says designer Charlotte Moss. “This is a family that exudes joy, and the home needed to reflect that.”

Longtime visitors to the island, the clients put down more permanent footings when a 1970s estate built for a member of the Mellon family became available. It’s a quintessential Bahamian house that feels much older than it is. Sited along 200 feet of shoreline with a private beach, pool, and gracious lawn and garden, the home consists of large-scale living spaces, private guest rooms, a guest cottage, and a pool house, all connected via walkways, breezeways, and terraces. Charlotte tapped into the history of the place itself, the architecture, and the chic, casual, jet-set glamour of the mid 20th century combined with an old-world sensibility.

Just like the trade routes that long ago influenced the island’s convergence of styles, the interiors feel both intercontinental and right at home. “It’s important to note that this was my fourth project for these particular clients,” says Charlotte. “Over time, you grow to know someone’s goals, likes, and dislikes. The most important things in decorating are listening to what the client wants and asking questions.”

“One of our first stops was the Mario Buatta auction at Sotheby’s.” Chinoiserie, vintage bamboo, and handcrafted items were also added to the mix. And over the course of a couple of years, the designer sourced pieces in cities from Los Angeles to London.

The home emits an elegant, resort-like feel with a sense of adventure. “In any exotic location like the Bahamas, I think it’s important for the homeowners to feel relaxed and transported,” says Charlotte. That worlds-away perception begins just inside the double mahogany front doors where mirrored walls, original to the house, showcase what is only the starting point of this home’s cabinet of curiosities. Here, a pair of 20th-century chinoiserieand-bamboo commodes ground commissioned panels by artist Anne Harris. The artwork depicts motifs that reference the family’s Texas roots, as well as their island home. Pocket doors slide back to reveal the main living room, open to the ocean on one side and to the pool on the other. “This is the kind of space you drop your shoulders in,” Charlotte says. “It’s a breath of fresh air.”

Together, the designer and homeowners began the hunt. “These clients have an affinity for chintz, antiques mixed with modern things, and objects that have a story,” Charlotte says.

A second living area connects to the pool loggia and is designed for casual entertaining. The client specified a favorite shade of green for the space. “The room has a TV, backgammon table, and comfortable seating for reading, which is an important pastime in this family,” says the designer.

Bedrooms and guest quarters are individually appointed with upholstered or canopied beds that pull in island notions. The primary bedroom is the only space that uses a traditional coastal scheme of blue and white.

“Overall, this home is bright and sunny with spaces that flow, distinguishing themselves through varying textiles, textures, and hues,” Charlotte says. “The acid test for any project is when the clients say they love it. This one passed with flying colors, and that’s all that really matters.”

In the living room, coral, cayenne, and chartreuse fabrics stand out against Benjamin Moore’s Pumpkin Seed. The Moroccan lantern, a piece sourced in Los Angeles, looks as if it could have been left behind during a trade expedition. On the rear wall, watercolors and 18th-century seashell engravings surround a mirror made by Jonathan Sainsbury in the UK. “Bling is not top of my list for decorating in the Bahamas, but this gilt mirror, with its shell and acanthus leaf design, felt just right,” Charlotte says. The dolphin-based side table in the foreground was acquired from the Mario Buatta sale.

“When you think about the words dolce vita, you get a visual of an era with elegantly dressed women in kaftans enjoying old-fashioned, gracious living. There’s no pomposity. We wanted this house to be the Bahamian version of that.”

—CHARLOTTE MOSS

OPPOSITE: Hand-painted Iksel wallpaper panels from Schumacher offer the look of a custom mural in the breakfast room. The bamboo table and chairs are vintage. ABOVE: Conch-pink hues find their way to the dining room. Curtains in a Brunschwig & Fils fabric feature tropical birds and fruits. The table is set with a mix of Wedgwood and Spode china.

Custom cabinets of ebonized wood with brass inlay are by Jonathan Sainsbury. “These were envisioned as cabinets of curiosities and are filled with antique coral, treen, coconut cups, and scrimshaw,” says Charlotte. “My eyes are always peeled for objects I think will work for a client. ”

ABOVE: A small vestibule accessing the primary bedroom makes a big impact with a pair of still lifes by the late contemporary British artist Deborah Jones. The bamboo double settee is a modern version of an antique. RIGHT: The Michael Smith bamboo tester bed anchors the primary bedroom. A collection of 19th-century engravings of tropical fruits hangs on the painted, pecky cypress wall.

ABOVE: The black painted tester bed with Chinese fretwork is the centerpiece of the room. Light green and blue fabrics serve as counterpoints to the black frame and bedside tables. Armchairs are covered in Schumacher’s Creeping Fern, and the rug was custom-made by The Loom and Company. OPPOSITE, TOP TO BOTTOM: This giraffe-themed bedroom for the grandchildren was based on the book Zarafa by Michael Allin. “Decorating around the the giraffe-print fabric, Ismaelia by Pierre Frey, engages the children and gives them a story to tell about their room,” Charlotte says. The designer took the giraffe photograph while on a safari in Africa. • Coastal notions abound in this guest room. A framed 1994 Hermès silk scarf in the Jardin Creole print portrays an illustration of a woven palm hat, coconuts, and bamboo. The marble-topped dresser from Badia has mother-of-pearl inlay, as does the mirror above. Bedside table lamps offer a bamboo motif. Fabric is Quadrille’s Kalamkari in lavender/green/navy on ivory.

PLANTED PARADISE

A shared love for exotic horticulture results in a breathtaking Costa Rica garden that blends the wonder of nature with handcrafted artistry.

BY TOVAH MARTIN

PHOTOGRAPHY

ROB CARDILLO

Dennis Schrader and Bill Smith were always drawn to tropical landscapes. Something about the vibrant colors, unique growth forms, and edgy silhouettes of the equatorial plants sang to their mutual aesthetics. By 1992, that infatuation had grown from working together on design projects using these unique plants to opening Landcraft Environments Ltd., their wholesale Long Island and Maryland nurseries with a focus on exotics, rare annuals, and tender perennials. Meanwhile, their own Long Island garden featured some of those plants, although the selections were limited due to the fluctuations in seasonal temperatures in the Northeast. So whenever possible, Dennis and Bill slipped away to vacation in tropical climes where they could take in the lush vegetation. Not surprisingly, they eventually began to seek their own piece of paradise and found the perfect tropical escape in Costa Rica.

The property, located near Dominical and overlooking the Pacific Ocean, offered the dreamy trifecta of rainforest, mountainous terrain, and ocean vistas. Hiking to the top of the mountain with the help of machetes, Dennis and Bill chose a site for their house and called it Los Elementos. Alluding to one of the five elements of Ayurvedic holistic medicine, the duo named the main house Villa de Agua (villa of water) because of its ocean view. The goal for the land surrounding the house was to preserve as much of the rainforest as possible while incorporating all the whimsy and superabundance of the tropics. In keeping with the theme, they celebrated water in all its many forms from melodic fountains to ponds, all with Balinese style. Even the home’s front entrance is reached via a bridge crossing a placid water pool.

Having gardened in the Caribbean, Southern California, and Florida, Dennis thought he knew the climate. But Costa Rica surpassed his expectations and his experience with the tropics. “Anything will grow here,” he says. “Even a fence post will grow!” Dennis and Bill were able to include orchids, heliconias, gingers, and other exotics that they struggled to keep alive on Long Island. As a result, their dream garden became a reality with its almost surrealistic series of scenes.

Despite the ideal growing conditions, the two horticulturists did face some challenges. While the rainy season gave them the gift of water, it proved to be too much. Their solution was to harness the water through rice fields, streams, and ponds. As they graded the land, they strove to protect and preserve the natural beauty. “We wanted to keep as much of the jungle intact,” says Dennis. Meanwhile, they shopped at local nurseries, enhancing the site with begonias, anthuriums, caladiums, and calatheas to serve as groundcovers along the pathways while using alocasias and colocasias to create accents. They also added exotic fruits and plants with heady fragrances such as ylang-ylang. And establishing the plants was a snap. For example, when they planted tiny plugs of creeping fig and other tropicals to soften walls, the plants were fully established and making energetic headway just a few months later.

As a final step, the duo began collecting the hardscape and furnishings in conjunction with a fellow garden enthusiast who was one of their partners in the endeavor. In Bali, they

connected with craftspeople and woodcarvers to fabricate statues, gates, columns, and artwork that accent the multi-level pathways. Eventually, the talents of a whole town of craftsmen in Bali fed into Los Elementos.

More recently, Dennis and Bill found that they couldn’t devote sufficient time to Los Elementos due to the responsibilities of their nurseries at home. Fortunately, one of the original partners—also an avid gardener—took the property under her wing, offering it as a luxury rental to welcome guests. Dennis and Bill still come and stay nearby to enjoy the exotic horticulture they love. And their dream of Los Elementos continues to shine through in the joyous colors of the garden, the unleashed fervor of rarities interweaving, and the partnership between plants and craftsmanship as vines and moss mingle with the artwork and ornaments.

PREVIOUS PAGES, LEFT AND OPPOSITE: The furniture for the pagoda was custom-designed to fit the space. • A waterfall spills below the guest house with ixora, heliconia, pandanus, and palms planted nearby. THESE PAGES, ABOVE: A balcony hammock offers a view of the ocean framed by the jungle. OPPOSITE, TOP ROW LEFT TO RIGHT: Variegated pineapple • Medinilla myriantha (Malaysian orchid) MIDDLE ROW, LEFT TO RIGHT: A carved-stone Buddha purchased in Bali • Chrysothemis pulchella • Rhaphidophora hayi (shingle plant) BOTTOM ROW, LEFT TO RIGHT: The spa for the main house • A jacana near the lower pond

“In the evenings, the sunset is reflected in the pool. Macaws and monkeys play in the trees while the ylang-ylang perfumes the air with its amazing fragrance.”

—DENNIS SCHRADER

OPPOSITE: To frame the jungle, Dennis and Bill filled a garden with tropical treasures they had collected over the years, including mussaenda, erythrina, hemigraphis, and galphimia. ABOVE: The four-level main house (each floor has a bedroom suite) is crowned by an open-air lounge. “That’s where we spent our mornings,” says Bill.

A Beautiful Blend

Cotswolds charm meets West Coast chic in a Brentwood, California, house designed by Brooke and Steve Giannetti of Patina Home & Garden.

BY MARGARET ZAINEY ROUX PHOTOGRAPHY BY LISA ROMEREIN

“Cozy” isn’t an adjective often used to describe new construction in Los Angeles. But in the exclusive enclave of Brentwood, widely known for its glitz and glamour, there is one home that defies the notion that bigger is better. Amidst droves of sprawling mid-century ranchers and Mediterranean-style mansions, the charming stone exterior gives off a vibe that is more “Cotswolds” than “California” with its steep slate roof, limestone-and-stucco façade, and white oak trim—not to mention its more intimate scale.

“It might not be the first style that comes to mind when you think of architecture in L.A., but the English country style was once quite prevalent in the area and has deep roots in Hollywood history,” says Steve Giannetti, architect and co-founder of Patina Home & Garden. “Back in the 1920s, it was a popular style for courtyard apartments. I remodeled one that was originally owned by Charlie Chaplin. In many ways,

this new house is a throwback to that bygone era—but tweaked for modern, luxurious living.”

One of seven homes featured in Patina Homes and Gardens, Steve’s fifth book with his wife and business partner, interior designer Brooke Giannetti, this English-style house was created to capture owner Leslie Benziger’s passion for gardens and penchant for heirloom antiques. The U-shaped structure’s floor-to-ceiling windows and French doors offer pictureperfect views and easy access to vegetable gardens, flower gardens, and outdoor “rooms,” including a central courtyard anchored by a limestone fountain. Windows and doors are clad in steel and painted pale gray rather than the expected black or bronze. According to Brooke, the lighter color draws the eye out beyond the frame.

To build on the indoor-outdoor connection, the Giannettis integrated exterior elements into the interior design. Ten-inchthick walls swathed in plaster play off the stucco façade, while white oak floors, doors, built-ins, and beams reference the shutters and trim. In the living room, the floating fireplace wall features the same Kansas limestone used outside and offers a lighter, more contemporary alternative to the classic English red brick. “I was very specific about the finish on the stonework, so I gave Steve and Brooke a photo of the late Bunny Mellon’s farmhouse to work from,” Leslie says. “Her stone had a sun-drenched, washed-out look that I love.”

PREVIOUS PAGES: Steep slate rooflines, simple exterior massing, small-paned windows, and octagonal-shaped chimneys give the newly constructed California house a distinct British accent. THESE PAGES, ABOVE AND OPPOSITE: In the entry, gray and white marble tiles in an antiqued finish are a rustic alternative to the more refined black and white polished tiles often seen in Old Hollywood homes. The groin vaulted ceiling and a reclaimed French pine coat-closet door convey character and authenticity. • The living room’s palette is inspired by the hues in an heirloom oil portrait of the homeowner’s mother that reigns above the custom limestone mantel. Silvery blue Fortuny pillows mirror her dress while lampshades and cushions in warmer shades of amber are reminiscent of her auburn hair.

The furnishings and decorative finishes are also intended to bring the outdoors in while infusing the rooms in sentimentality. Throughout the light-filled spaces, whimsical textiles in botanical and floral motifs mingle among cherished antique case pieces, tables, and chairs featuring handsome silhouettes and layers of patina. In the dining room, a large 18th-century tapestry of a forest garners a place of prominence inside a niche formed by the custom white oak bookcase and door surround. A handpainted wallcovering of an Indian port with its waving palm trees, still waters, blossoming bougainvillea, and bejeweled camels trampling over sandy dunes brings a well-traveled sensibility into the den. In a bedroom, another wallcovering, this one with flowering vines, reads both poised and powerful with an ethereal colorway and exaggerated scale.

Except for the saturated hues in the dining room’s tapestry and the living room’s heirloom oil portrait of Leslie’s mother, the home’s palette remains soothing and subtle. Muted blues extracted from the sky, along with grays, peaches, and pinks pulled from the stonework, glimmer among the gold leaf, unlacquered brass, and solid bronze details on the antique-inspired lighting and hardware. An abundance of green also sprouts up in a range of tones that stem from the landscape. “To me, green is every bit as neutral as beige, tan, or taupe,” say Brooke. “Here we have olive, apple, sage, and moss. They are meant to be mixed, not matched, and they go together because they grow together. Just look at a garden and you’ll notice how every variation exists harmoniously. As I see it, if God can do it outside then we can do it inside!”

OPPOSITE: “I’ve always admired antique tapestries but thought they were too dark and heavy for my own home,” says owner Leslie Benziger. “But the colors in this one are bright and the trees have a whimsical ‘Dr. Seuss-like’ quality that I find charming.” Interior designer Brooke Giannetti extracted a vibrant teal color from the 18th-century Aubusson and repeated it on a pair of antique French fauteuils placed at each end of the 19th-century Gustavian dining table. ABOVE, CLOCKWISE FROM TOP LEFT: The cozy den is wrapped in a scenic wallcovering depicting an Indian port bursting with flora and fauna. • Antique books and beads create a striking backdrop for an arrangement of blue delphinium. • The homeowner’s collection of antique silver desk accessories started with inherited pieces from her mother and grandmother. Over the years, her friends took notice and began gifting her cardholders, compacts, cases, and pens for special occasions.

“To me, green is every bit as neutral as beige, tan, or taupe. Just look at a garden and you’ll see how every variation exists harmoniously.”

–DESIGNER BROOKE GIANNETTI

OPPOSITE: In this guest space, an assemblage of botanical etchings, engravings, and prints of various provenances hangs above a 19th-century French daybed upholstered in wool mohair.

THIS PAGE: The bold scale of the floral-print wallcovering in this bedroom is balanced by the softness of its blue, white, and green palette. The tall headboard and architectural-fragment lamps carry the eye up in tandem with the climbing vine.

even

ABOVE: The seat height of the built-in bench in the mudroom was meticulously measured and designed so that Leslie, an avid equestrian, can stash her riding boots beneath it. OPPOSITE: The sun-drenched laundry room is equipped with wide countertops and a deep farm sink ideal for potting plants and arranging flowers. “Steve has a way of making

the most utilitarian spaces look and feel luxurious,” says Leslie.

Artist IN RESIDENCE

BY PATTY B. DRISCOLL AS TOLD TO FRANCES MACDOUGALL

PORTRAIT BY DAVID HILLEGAS

I’d heard of Bunny Mellon the same way many of us who appreciate design and gardening have—she was a great friend to Jackie Kennedy Onassis (she collaborated with her on The White House Rose Garden), and she had exquisite style reflected in her houses around the world. And while she mostly stayed out of the limelight, she was a familiar name among New York’s social elite in the 20th century. After Mrs. Mellon died at age 103 in May 2014, Sotheby’s auction house conducted a sale of the art, furniture, and collections from her estates. When I looked at those pieces in the online catalog, I felt a connection to her aesthetic, and I wanted to know her story more thoroughly.

As a multi-disciplinary artist with a passion for gardens, symbolism, history, and beauty, I was attracted to Mrs. Mellon’s ideas about design and travel, her appreciation for the mysteries and majesty of the natural world, and her interest in collecting the work of female artists such as Madeline Hewes. Over the next few years, I eagerly read anything I could get my hands on about her. And then, in the summer of 2023, as I was driving from Alabama through Virginia, I realized I was close to Oak Spring, her farm in Upperville, Virginia, and I wondered if it was available for touring. A quick scan of the Oak Spring Garden Foundation website revealed it was only open two days each year during the Virginia Historic Garden Week, but I also discovered information about a competitive residency program that intrigued me. It’s dedicated to the study of plant life that includes the landscape and gardens at Oak Spring, the estate, and Mrs. Mellon’s astounding library with more than 19,000 botanical-related books. The application was due in four days. I worked fast.

A few months later, I was thrilled to receive an invitation for a residency that provided two weeks at the working garden, library, and estate. I decided not to bring my oil paints and instead put my focus on watercolors and gouache, intending to sketch and record elements of Mrs. Mellon’s garden and interiors. And I’m glad I did. Inspiration was everywhere, from the houses and gardens to the library and even my fellow residents. I shared deliciously prepared meals with my cohorts (who happened to all be female), including a curator, a botanist, and an artist. I also met a group of internationally renowned botanical artists who taught me the importance of scientific accuracy when depicting flowers, plants, and insects.

Almost every day, I spent my early hours sketching the grounds, seeking that moment when light, landscape, and air work together to create moments of beauty and peace. I admired that Mrs. Mellon respected weeds and left them to grow among her flowers and grass. I drew and photographed chicory, thistle, and the pretty weeds that grew freely outside of my studio, as well as pea shoots and herbs from the Biocultural Conservation Farm next door.

In the afternoons, I sometimes spent hours in the library, working with Oak Spring’s generous librarians to research plants and flowers, as well as botanical illustrators, like 17th-century illustrator and naturalist Maria Sibylla Merian whose rigid methodology has long inspired my work. With every book search and discovery, I learned more about Mrs. Mellon’s thorough process of acquisitions while also gaining insight from the staff who lovingly shared stories about her design of and dedication to her gardens.

Other days, I helped in the cutting garden, clipping blooms for a flower-arranging class or picking fruit to sketch for future still life paintings. I visited the house and rooms that reveal Mrs. Mellon’s creative hand through their architecture and design—down to the most easily overlooked detail. Her trompe l’oeil room in the greenhouse exists unchanged, and it was as difficult in person as it is in photos to tell the painting from real objects. One of my favorite spaces is the toile-enveloped guest cottage named for her good friend and fashion designer Hubert de Givenchy. I also loved the basket house, where an abundance of baskets hung from the ceiling. One Friday, I joined Nancy Collins, librarian and loyal nurse to Mrs. Mellon, to lay Oak Spring flowers at Mrs. Mellon’s grave, a gesture of remembrance for Oak Spring’s creator.

Each time I went to the estate or any of the outbuildings, I studied the subtle, elegant design schemes. Many of the floors in the Mellons’ homes were checkered in pale shades, while the walls in some spaces were striéed or dragged. Detailed architectural innovations like jib doors, inset spaces, and storage nooks were hidden features in almost all the rooms. There were pocket windows with three-pocket layers—screen, windowpane, and then shutter. Painted furniture and loose, washed slipcovers in custom woven fabrics, often by Nantucket Looms, humbled the fineness of each piece in the rooms. The interiors reflected one of Mrs. Mellon’s well-known sayings—“nothing should be noticed”—in reference to the desire for harmony in a space rather than an assemblage of “ta-dah” statement pieces.

I was also fascinated by her art collection. I knew it would be impressive since her father-in-law, Andrew Mellon, founded The National Gallery of Art, and her husband, Paul, had been its president and trustee. In addition to Mrs. Mellon’s early recognition and collecting of works by modern painters, such as Mark Rothko and Richard Diebenkorn, I was struck by her affinity for early American art. In her collection was a box decorated by New Hampshirite muralist Rufus Porter, a theorem box, and a lovely embroidered New England sampler. Mrs. Mellon’s dedication to the best did not necessarily mean that she only wanted the most expensive or refined. Her honed taste and educated eye for quality and originality led her true connoisseurship.

My most significant takeaway from the house and farm at Oak Spring is a moment I had at the end of my residency. Mrs. Mellon was attracted to microcosms in her collecting, which informed the organization of her garden and interior rooms. To plan and communicate her designs, she created maquettes of spaces to understand how to get the most out of any room she was creating. It’s a practical approach that also allows for the best design decisions. I do the same before my art shows, mapping out how and where to hang paintings and place installations for maximum ease and the best viewing experience.

My residency experience was profound, and since I’ve returned home, I’ve been doing further research on medicinal herbs and herbariums, all in preparation for an exhibition of my paintings in Maine this summer. But before then, I’ll be returning for a second residency later this spring. As Mrs. Mellon once said, “There is nothing that has not already been done in design. It is the joy of discovery that creates the excitement and interest of putting together old ideas with the originality of the individual person.” Immersing myself in Mrs. Mellon’s world at Oak Spring made her, as well as my own art, truly come alive for me.

PREVIOUS PAGES, LEFT TO RIGHT: Artist Patty B. Driscoll has been collecting antique frames for several years. She pairs them with her paintings and French matting. • The view through a window at Oak Spring reveals the spectacular landscape tended by gardeners who adhere to Mrs. Mellon’s plan. Apple trees are pruned topiary-like to cast thoughtful shadows. The three-layered pocket window reveals a screen, windowpane, and shutter that can be pulled closed depending on the season. THIS PAGE: Malus 'Mary Potter' crabapple trees, a hybrid variety developed at Harvard's Arnold Arboretum, line the arbor to the formal greenhouse. Here too, Mrs. Mellon designed the arbor to cast elegant shadows.

OPPOSITE, CLOCKWISE FROM TOP LEFT: The enchanting trompe l’oeil room, painted by French artist Fernand Renard, fools the eye with a wire chair and baskets before the actual painted wall. • The lower terrace potager in the formal garden includes vegetables and flowers, such as kale and nasturtiums. The cloches were Mrs. Mellon’s and are set in the garden revealing, once again, her hand in every element of the space. • A local farm hays the property's fields, which support native and migratory birds, at strategic times of the year. The farm uses the hay for its agricultural purposes. • ‘Arizona Sun’ gaillardia, a native wildflower, is an example of the diversity of blooms at Oak Spring.

• The exterior of the basket house includes blue shutters that connect earth to sky. ABOVE: The basket house is so-called because of the collection that hangs from the ceiling. Many are from the Peterboro Basket Company in New Hampshire, where a young Mrs. Mellon’s interest in gardening was piqued by her grandfather.

ABOVE, CLOCKWISE FROM TOP LEFT: The sun sets over a small silver maple. • Patty B.’s quick sketch of the Oak Spring insignia. • Back in her Birmingham studio, Patty B. begins a composition using oil on board to re-create a vignette from Oak Spring. • The artist prepares her paint palette before she begins mixing and refining shades and tones for the painting.

PHOTOS

“Almost every day, I spent my early hours sketching the grounds, seeking that moment when light, landscape, and air work together to create moments of beauty and peace.”

– PATTY B. DRISCOLL

Sources, page 76.

ABOVE, LEFT TO RIGHT: A few ‘Platinum Blue’ globe thistles mingle on a vintage blue-and-white plate with pink gomphrena. • Patty B.’s captivating Herbarium Collage combines a gouache painted tea cup and butterfly with Oak Spring dried and pressed flowers.

Any items not listed are unknown.

FROM

THE FIELD

PAGES 11-16: Websites or phone numbers for products: weitznerlimited.com; coleyhome.com; kravet.com; schumacher.com; matouk.com; casabranca.com; adamsantiquesandthepotager. com; kassobrien.com; theboutiquecharleston. com; juliska.com; williamyeoward.com; herendusa.com; mirrorlakeantiques.com; McKenna Designs: 205.454.5858; shopjubin. com; francesvalentine.com; scandiahome.com; alkemispaint.com; hickorychair.com; leeindustries.com; Books information: Love How You Live by Rodman Primack, Monacelli, phaidon.com; English Country House Style by Milo and Katy Campbell, Abrams Books, abramsbooks.com; Henry Hobson Richardson by Jay Wickersham, Chris Milford, and Hope Mayo, Monacelli, phaidon.com; Classic by Design by Michael S. Smith with Andrew Ferren, Rizzoli, rizzoliusa.com; The World of Atelier Vime by Benoit Rauzy, Anthony Watson, and Marie Godfrain, Flammarion, rizzoliusa.com; Modern Artisan by Isabelle Dupuy Chavanat, Flammarion, rizzoliusa.com; The Book of Colour Concepts by Taschen, taschen.com.

JOHN’S ALMANAC: PAGES 18-25: Blackberry Farm, blackberryfarm.com

ARTISAN: PAGES 27-29: Artwork available through KRB, krbnyc.com

LIVING ON ISLAND TIME

PAGES 38-49: Interior design: Charlotte Moss, charlottemoss.com; Foyer: Tobacco jar lamps: Mario Buatta Auction, Sotheby’s, sothebys.com; Ceiling fixture: Mario Buatta Auction, Sotheby’s, sothebys.com; Restoration and rewiring: Anthony Bazza Restorations, artisansguildofamerica.org and Osmundo Studio, osmundostudio.com; Consoles: Mario Buatta Auction, Sotheby’s, sothebys.com; Artwork: Anne Harris, anneharrisstudio.com.

Living Room: Mirror: Jonathan Sainsbury Ltd., jonathan-sainsbury.com; Paint Color: Pumpkin Seeds 113, Benjamin Moore, benjaminmoore.com; William IV shell-form slipper chairs: from the Caroline Faison Antiques Collection, Leland Little, lelandlittle.com; Fabric for slipper chairs: Tapa by Fortuny in Apricot, fortuny.com; Upholstery work: J Quintana Upholstery Corporation, 718.361.0946. Breakfast Room: Wallpaper: Iksel Mural from Schumacher, schumacher.com; Ceiling fixture: Belmont Hang Lantern with Pineapple Leaf Top from Urban Electric, urbanelectric.com; Bamboo chairs and dining table: The Antique and Artisan Gallery, theantiqueandartisangallery.com; Fabric for bamboo chairs: Quadrille Palm Garden in Celadon/Hazelnut from Quadrille, quadrillefabrics.com; Upholstery work for

SOURCES

Who Did It & Where To Get It

bamboo chairs: J Quintana Upholstery Corporation, 718.361.0946 Dining Room: Curtains: Greenleaf Designs, LTD., greenleafdesignsltd.com; Curtain fabric: Toucans in Berry/Slate from Brunschwig and Fils, kravet.com/brunschwig-fils; Drapery hardware: Anthony Bazza Restorations, artisansguildofamerica.org; Dining chairs: Greenleaf Designs, LTD., greenleafdesignsltd.com Ceiling fixture: Badia Design, badiadesign.com; Pair of gilt bronze potted palms: Mario Buatta, Sotheby’s sales, sothebys.com; Game Room: Paint color: Clearspring Green HC-128, Benjamin Moore. benjaminmoore.com; Cabinets: Jonathan Sainsbury Ltd.; Sofa: John Rosselli, johnrosselli. com; Sofa fabric: Malabar Grass from Peter Dunham Textiles, peterdunhamtextiles.com; Armchair fabric: Inca Vertical Stripe from Penny Morrison, pennymorrison.com; Cane armchairs: John Rosselli, johnrosselli.com; Fabric: Devonshire Green from Jasper Fabrics, michaelsmithinc.com/jasper-showroom; Rug: Moroccan Tuareg from John Derian, johnderian. com; Bird prints: Leland Little, lelandlittle.com; Jasper William mirror: John Rosselli, johnrosselli. com; Ottoman: Greenleaf Designs Ltd, greenleafdesignsltd.com. Vestibule and Primary Bedroom: Wallpaper: Chinese Paper II in Mono Blue from Bennison Fabrics, bennisonfabrics. com; Pair of still life paintings: by Deborah Jones through Ramsay, ramsayonline.com; Settee: Red Egg Furniture, redegg.com; Settee fabric: Dahlia in Blue from Penny Morrison, pennymorrison. com; Bed: Michael S. Smith, Inc., michaelsmithinc. com; Fabric for headboard: Kashmir in Delft from Raoul Textiles, raoultextiles.com; Upholstery work for bench: Greenleaf Designs Ltd., greenleafdesignsltd.com; Fabric for bench: Lee Jofa Lucknow in Blue, kravet.com; Lamps: Decalcomania from Circa Lighting, visualcomfort. com; Dalfern petite reading floor lamp: Visual Comfort, visualcomfort.com; Fabric for curtains: Kashmir from Raoul Textiles, raoultextiles.com Green and Blue Bedroom: Pair of Chinese brass lamps: Amaradio Auctions in New Jersey, liveauctioneers.com; Card shades: Illumé, illumenyc.com; Fabric panel behind bed: Fabricated by Greenleaf Designs, Ltd., greenleafdesignsltd.com; Fabric on panel behind bed: Cowtan & Tout, cowtan.com; Armchairs: Millea Brothers Auction House, milleabros.com; Fabric on armchairs: Creeping Fern in Moss from Schumacher, schumacher.com; Oushak rug: The Loom and Company, theloomandcompany. com; Bedding: Peacock Alley, peacockalley.com; Duvet cover: Sage Paisley from Ralph Lauren Home, ralphlauren,com; Throw pillow: Schumacher, schumacher.com; Shams: Seacliffe in Sky from Lee Jofa, kravet.com. Giraffe Bedroom: Fabric for pillows: Mary Jane McCarty,

maryjanemccarty.com; Pillow fabrication: Arabel Fabrics, arabelfabrics.com, Rousseau tape on pillows: Schumacher, schumacher.com; Cord on pillows: Cambridge in Copper from Samuel &Sons, samuelandsons.com; Bedding: Matouk Luxury Linens, matouk.com; Yellow gourd lamp: Avebury in Mustard with Atticus Tribal Pembroke Shade from Vaughan Designs, vaughandesigns. com; Bed hangings and bedskirt: Ismaelia from Pierre Frey, pierrefrey.com; fabricated by Greenleaf Designs, Ltd., greenleafdesignsltd.com. Lavender and Green Bedroom: Panels and canopy: Kalamkari in lavender/green/navy on ivory from Quadrille, quadrillefabrics.com; Fabricated by Greenleaf Designs, Ltd., greenleafdesignsltd.com; Bedding: Layla Lavender Quilt from John Robshaw Textiles, johnrobshaw.com; Wallcovering: Bankun Raffia in Butter from Thibaut Design, thibaultdesign. com Bedside lamp: The Antique and Artisan Gallery, theantiqueandartisangallery.com Chair: Kingston Wing Chair from Palecek, palecek.com; Chest: Badia Design, badiadesign.com

PARADISE PLANTED

PAGES 50-57: Rental website: loselementoscostarica.com

A BEAUTIFUL BLEND

PAGES 58-67: Architecture / Landscape Design: Steve Giannetti, Patina Home & Garden, patinahomeandgarden.com; Interior Design: Brooke Giannetti, Patina Home & Garden, patinahomeandgarden.com. Den: Wallcovering: Iksel, iksel.com. Dining Room: Millwork: HCT Fine Carpentry, hctfinecarpentry.com; Tapestry: 18th-century Aubusson from Julia Boston, juliaboston.com; Chairs: Antique French dining chairs with custom upholstery from Patina Home and Garden, patinahomeandgarden.com; Table: 19th-century Gustavian table from 1st Dibs, 1stdibs.com. Entry: Marble flooring: Exquisite Surfaces, xsurfaces.com; Windows: Riviera Bronze, rivierabronze.com; Lantern: Jamb, jamb.co.uk. Bedroom: Wallcovering: Lewis and Wood, lewisandwood.co.uk; Bed: Bungalow Classic, bungalowclassic.com; Chest: Chelsea Textiles, chelseatextiles.com; Pendant: Hector Finch, hectorfinch.com. Living Room: Sofas: Custom by Kerry Joyce, kerryjoyce.com; Chairs: Custom in Stonewashed Linen by Kirkby Design, kirkbydesign.com; Lantern: Jamb, jamb. co.uk Mudroom: Bench Cushion Fabric: Guy Goodfellow, guygoodfellowcollection.com; Sitting Area Vignette in Guest Room Sofa: 19th-century French daybed from 1st Dibs, 1stdibs.com; Fabric on sofa: Comin Wool Mohair from Claremont, claremontfurnishing.com

ARTIST IN RESIDENCE

PAGES 68-75: Patty B. Driscoll, pattybdriscoll.com

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“I began as a wedding florist in London, relying heavily on imported flowers I could easily obtain year-round. Now that I’ve moved to the countryside, I grow my own flowers, and I’ve become much more aware of the seasons. I must adapt to whatever the garden offers, and this photograph, taken last February, captures my current way of working. Hellebores mingle with magnolia branches I forced into bloom after a week or so in the warmth of the kitchen. The other blossom, planted by a previous owner of our old farmyard, remains a mystery to me, but it’s a highlight each year to see its shock of pink erupt into life.”

— GRAEME CORBETT OF BLOOM AND BURN IN KENT, ENGLAND

Furniture: HOLLY HUNT Dune Lounge Chair and Lens Table

Wallcovering: Sisal with embroidery and beads. Ashanti in Pebble