Rizzoli sp17 keytitle digitalgalley preview part1 by Rizzoli International Publications

LA COLLE NOIRE CHRISTIAN DIOR IN THE SOUTH OF FRANCE Laurence BenaĂŻm Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com $95.00 Can: $125.00 Hardcover 10.5 x 13.5 in. 248 pages 300 illustrations ISBN: 978-0-8478-4936-9 Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity T. (212) 387-3465, psommers@rizzoliusa.com

La Colle Noire Christian Dior in the South of France

2 DIOR ET LE SUD LE CHATEAU JARDIN De la mode, Christian Dior a fait dès le lancement du New Look en février 1947 une nouvelle promesse d’enchantement. Ses femmes fleurs ont conquis le monde. De la Provence, il fera au cours de la décennie suivante sa terre d’inspiration privilégiée. En contrepoint de la capitale, des dîners, des fêtes, des bals, de ce tourbillon de joie qu’il a contribué à faire renaître, le grand artificier de la mode cherche une autre vérité, plus intime, plus solaire, plus hédoniste encore et ses parfums créés à Grasse en seront la quintessence. «Un parfum, dira t-il est un souvenir qu’on a pas pu émousser. Voilà pourquoi je suis devenu aussi parfumeur; pour qu’il suffise de déboucher un flacon pour voir surgir toutes mes robes et pour que chaque femme que j’habille laisse derrière elle un sillage de désirs» affirmera Christian Dior. Eucalyptus et mimosas, agaves au feuillage bleuté, violettes du premier printemps. Sur les murs, les toits, les arbres, les lianes fleuries s’enlacent, dans le soleil d’avril, anémones, jacinthes et narcisses offrent les premières couleurs; en mai, les champs se couvrent de roses, dans la nuit tiède d’août, les jasmins s’ouvrent. La Colle Noire est l’antre d’une vie nouvelle, là où paysage, senteurs, saveurs, forment des accords parfaits, la symphonie d’un monde ni tout à fait nouveau, ni tout a fait ancien, l’idée que le temps s’offre comme une suite de mouvements, de saisons renouvelant le goût de vivre. Installé à Magagnosc, près de Grasse, puis au Cannet, à Villefranche, à Biot, Antibes, puis Cagnes Sur Mer, Auguste Renoir avait élu son dernier domicile aux Collettes, un grand terrain «planté d’oliviers magnifiques», pour y construire sa maison. «Quand j’ai compris que chaque matin je reverrais cette lumière, je ne pouvais croire à mon bonheur» écrivait Matisse. Pourquoi le Sud? Sans doute parce qu’à l’instar des artistes dont les noms font écho à son passé de galeriste, Christian Dior est happé par la lumière faisant du Midi un atelier à ciel ouvert. Celle qui fait dire à Chagall, invité de la Colle Noire, où il signera dans le Livre d›or un magnifique dessin à l’encre : «Mon cirque se joue Montaroux et Callian, Lorem ipsum dolor sit amet consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt

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TRAVEL GUIDE

Balades en Hotchkiss vers Comps, vendanges dans les vignes de Callian, savoureuses bouillabaisses de l’auberge de la mère Terrats, à Mandelieu-la-Napoule, ou du restaurant Jane & Nico, au Lavandou, brouillades de truffes du restaurant La Tonnelle, où venaient également Jean Marais et Jean Sablon, échappées belles en bateau, à Porquerolles ou vers l’île du Levant… Pour Christian Dior, le Sud rime avec le bonheur d’une nature enchantée, qu’inondent les couleurs de la Méditerranée, les roses de mai et le jasmin royal de Grasse.

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Villa Astor

Paradise Restored on the Amalfi Coast Curt DiCamillo Photography by Eric Sander With an introduction by The Right Honourable the Lord Astor Hever This volume traces the splendid history of a legendary house, garden, and art collection and the extraordinary life of one of the worldâ&#x20AC;&#x2122;s most enigmatic tycoons. ILLUSTRATED TRAVEL / INTERIORS Hardcover w/jacket 240 pages 250 color illustrations 9 1/2 x 12 1/4 in. (24 x 31 cm) ISBN: 978-2-08-137592-5 $65 Publication: April 2017

Villa Astor

Paradise Restored on the Amalfi Coast

KEY POINTS •

•

FAMOUS AND CELEBRATED AMERICAN FAMILY: The Astors have been in the American public eye for centuries, having transformed German immigrant John Jacob Astor’s fur and later property monopolies into a real estate and hotel empire in New York, embodied in William Waldorf Astor’s 1897 creation, the Waldorf-Astoria hotel. WEALTH AND TASTE OF THE GILDED AGE: William Waldorf Astor enjoyed the world’s largest private fortune at the end of the nineteenth century; this lavish volume pays homage to the terrestrial paradise he created on the Amalfi coast. ARTIFACTS, ARCHITECTURE, AND DESIGN: Built upon Roman ruins on Italy’s stunning Amalfi coast, the villa boasts exceptional botanical gardens designed by Astor and British landscape architect Harold Peto, beautiful architecture, exceptional ancient artifacts, and works of art.

Villa Astor

Paradise Restored on the Amalfi Coast ILLUSTRATED TRAVEL/INTERIORS Hardcover w/jacket 240 pages 250 color illustrations 9 ½ x 12 ¼ in. (24 x 31 cm) ISBN: 978-2-08-137592-5 $65 Publication: April 2017 For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Publicity Director T. (212) 387-3465 psommers@rizzoliusa.com

THE DECORATED HOME The Decorated Home Living with Style and Spirit By Meg Braff Foreword by Charlotte Moss Photography by Josh Gibson Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY Â 10010 www.rizzoliusa.com ISBN: 978-0-8478-5872-9 U.S. $45.00 CAN: $60.00 Hardcover, 8.75 x 11 240 pages 200 photos Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

Living with Style and Spirit

Meg Braff Foreword by Charlotte Moss

Foreword 8 Introduction

Gracious Living

In Pursuit of Color

I Have a Thing for Pattern

Cheerful Kitchens and Baths

All About Pretty

Happiness at Home

Outdoor Styling

above: A parquet floor with a kaleidoscope of pattern in an entryway acts as a facelift for a home without erasing its charm. A subtle melange of tan and cream—from a Greek key carpet on the staircase to Meg Braff Designs Sporting D’ete wallpaper—allows the eye to travel. The neutral story extends to the next room with a soft Indian jute carpet. at right: To give European elegance to a New York City library, a richly colored green silk velvet sofa, damask pattern on the walls and pretty wood trimwork create warmth.

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Creating Home Design for Living

Creating Home Design for Living Keith Summerour Photography by Andrew and Gemma Ingalls Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY Â 10010 www.rizzoliusa.com ISBN: 978-0-8478-5873-6 U.S. $50.00 CAN $67.50 Hardcover, 10 x 12 240 pages 150 photos Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

k e i t h s u m m e r ou r 3

In the original living room, the walls featured applied architectural features. I redesigned the panel profiles and configurations—all of which are made of hand-carved wood—to be more proportionate to the newly enlarged space.

The house’s foyer features an opening into the kitchen at left, and steps leading up to a master suite on the right. My architectural narrative conceived of the suite as a cottage that had been constructed at another level on the sloping property and the house itself as a separate building—perhaps a converted barn—with a structure featuring contemporary glass doors and a vaulted ceiling crafted to unite the two. overleaf: The kitchen opens onto the dining area and, beyond it, the living room. The ubiquity of the painted wood planks adds to the narrative of an older structure that was updated without losing its essential character.

above:

The master bedroom. opposite: The master bath with a glass wall that opens onto the courtyard. overleaf: CAPTION TK.

Rather than child-proofing the porch enclosure, I stacked firewood under the rail. It keeps kids from falling off, and the ends of the logs are nicely in sympathy with the texture of the stone walls.

I clad the living room in old cypress logs reclaimed from Southern rivers. The pattern of the ceiling—an overlapping series of hexagons—was originally detailed by a lumber company for use on a beach club, and I loved it so much I used a small portion in my own home. It’s a surprising moment of formality in an otherwise informal house.

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The exterior stone and the interior cypress meet in the stair to the upper floor. opposite: In the kitchen, my well-curated, well-cured cast-iron frying pans. I bagged the turkey above the door to the pantry on a hunting trip.

The home studio I keep sits directly above the master bedroom and is open to it in the middle—when I’m in bed I look up and think I should be working, and when I’m at the drafting table, I look down and wish I was asleep. right: A corner fireplace in the master bedroom between two of the three expansive window walls.

The Seaside House Living on the water NICK VOULGARIS III DOUGLAS FRIEDMAN

PHOTOGRAPHY BY

Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-4851-5 $55.00 Can: $75.00 Hardcover, 9 x 11 inches 240 pages 150 illustrations Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

The Seaside House Nick Voulgaris III

Living on the water Photographs by

Douglas Friedman

left

Watermill New York

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Fire Island Pines New York Fire Island is one of several barrier islands that run along Long Island’s southern shore. It consists of a handful of small communities that locals and tourists have flocked to for generations during the warm summer months. Part of the allure is that these communities are free of automobiles and only accessible by boat or ferry. Instead of streets, there are charming wooden boardwalks inches above the sand and sea grass, reminding us of a simpler time. Fire Island Pines is one of these special communities, where just off the ferry dock is a corral for dozens of red wagons that are used to transport groceries and luggage. Designer Carlos Otero restored this 1965 Horace Gifford home in the Pines over a two-year period. Gifford had designed and built this bungalow as his personal residence, and Carlos wanted to preserve the home’s historical significance. Carlos painstakingly restored the original cedar paneling, removing coats of paint that a previous owner had applied. He also designed and installed an elegant yet simple pool that is the focal point of the front entry courtyard. A roof deck was added to maximize the water view, and functional outdoor furniture was custom built out of mahogany. Upon entry, guests are greeted with the aroma of cedar. The home has a relaxed vibe, decorated with modernist furniture, some of which was designed and built by Horace Gifford himself.

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plywood forms used to set the concrete. This is not the case with the Razor House, as all the wooden forms were coated with a smooth fiberglass resin, creating a finish surface resembling Venetian plaster. Its current owner refers to the property as a sculpture rather than a house. When businessman Don Burns bought the home recently, it was still unfinished by the original owner, creating a unique opportunity to add intimate living spaces without compromising the original form of the house. The home, designed by architect Wallace Cunningham, could be a case study in both engineering and art form. When Cunningham conceived the house, his choice of materials and the view from the building siteâ&#x20AC;&#x2122;s were the driving factors in its design. He wanted to communicate both a permanence and sense of infinity. The sunbeams, shadows, reflections, and varying shades of the ocean make this residence a spectacular statement in seaside living.

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THE ART OF ELEGANCE classic interiors

The Art of Elegance Classic Interiors Marshall Watson Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-5871-2 $55.00 Can: $55.00 Hardcover with jacket, 9 1/2 x 11 1/2 inches 256 pages 175 color photographs Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

M arshall Watson

CONTENTS

introduction

cabo hacienda

gulf coast grandeur

a swedish journey

188

fifth avenue classic

100

palm beach chic

122

a refined revival

138

california modern

the embraceable home

poolside pavilion

160

bahamian paradise

254

credits

la dolce vita

256

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introduction have practiced the art and craft of interior design for nearly thirty years. And having been asked, on multiple occasions, what gives my firm its particular distinction, I’ve developed a succinct explanation: I use my talents, training, and experience—really, everything I’ve learned in the course of a lifetime—to become a conduit for other people’s aspirations. The great playwright Samuel Beckett spoke of learning to

write “without language.” You might say that I have sought to design without a personal signature style: to absent myself to the greatest possible extent and make each project about realizing, and refining, my clients’ most heartfelt fantasies of home. As you will see, no two of my designs are alike. Nonetheless, I hope you will discover a consistency of vision and an approach to practice as distinct and indelible as a set of fingerprints, always underscored by a sense of elegance. While I have consistently been someone with artistic impulses, they went in a variety of directions before I arrived at interior design (to the great chagrin of my mother, who advised me to “Focus on one thing, and do it well!”). Yet throughout my various careers, there has remained a continuity; no matter the field, I was always doing the same work. I studied design at Stanford University, along with engineering and literature, and took each extremely seriously. My first aspiration was to be a fine art painter. I tried; but what I discovered was that I couldn’t live that way. It wasn’t me to be alone in a studio. More to the point, I didn’t want what I did to be specifically about myself and my own vision, but instead more embracing—open to other people’s ideas and aspirations. As an artist, I needed to interpret. Given this recognition, and the fact that I was a well-schooled designer and an experienced painter, it proved a natural segue for me to move into theatrical design. I had the ability, I found, to analyze a text and interpret it into a stage set, and the challenge (and the fun) was that you went in an entirely different direction with each new production—we’d do a Neil Simon comedy one week, Shakespeare the next, and follow it up with an opera. For each, I would plunge into intensive research, a process I thoroughly enjoy, and that became

T HE A RT OF ELEGA NCE

among my most essential creative tools. I was vitalized by the scenographer’s core task: working with the director to crystallize the theme of a given script and develop a setting that supported and encouraged it— without calling excessive attention to itself. This proved to be excellent training for my present profession. In interior design, the “script” is the wishes of the clients, and I use my talents to create a home that supports and encourages a specific domestic narrative. No less important to what I do today was the career that followed theater design: acting. If the former taught me how to transform the big idea of the play into a visual environment, the latter showed me the way to invest that drama with soul. My ambition was to be a character actor, someone who erases himself and is unrecognizable from role to role, a skill I pursued passionately. As with scenic design, I would do copious amounts of research and delve deeply into the mind, soul, society, and behavior of a particular role. Acting taught me so many skills of value to interior design: to ask my imagination a hundred questions; to be specific and honest in interpretation and expression; to remain receptive to the point of vulnerability; not to be stingy with myself; to submit my talents to the dreams and aspirations of my clients’ “script”; to be committed to absolute quality in execution.

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Working with the couple’s architect, we reapportioned the square footage of the oversized original rooms, giving part of the entry hall to a new powder room, and sculpting a stately prelude to the master suite, a zone defined by a column screen in the style of Robert Adam. A third of the double parlor became a library, and we created axial connections between all the new spaces, to preserve intercommunication. Natural light, too, received thoughtful consideration: the parlor, library, and bedroom all overlook Fifth Avenue, while the formal dining room— which is used only at night, and benefits from controlled romantic illumination—is set on the inner court. The plan reshaped, I gave the rooms a “modern neoclassical” treatment. The historic language is recognizable in the column screen and dentil moldings, and the baseboards and casings are slightly larger, simpler, more rectilinear. To differentiate the space from its immediate neighbor, we finished the library in walnut stained a rich plum-pudding mahogany, and gave it numerous coats of lacquer and a hand-buffed French polish. (Additionally, we crafted doors that fold away when opened, to become a continuation of the paneling.) Though above :

A carefully composed vignette in the foyer sparkles with mercury crystal, bronze doré, and richly polished burled chestnut. opposite : The library is paneled in French-polished zebra walnut and anchored by a magnificent silk Tabriz rug. The colorful sofa pillows were added after the Elizabeth Murray painting was installed, to more firmly connect the artwork to its setting, as do the electric blue mohair ottomans.

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The living room includes elements that recall the formality of the past: the framed panels of hand-painted Gracie wallpaper flanking the Italian fireplace, for example, and the Fortuny-style chandelier. But the décor is offbeat as well, a whimsy reflected in the plaster “horseshoe crab” sconces, the Adirondack-style mirror, the mashrabiya marble coffee table, and the “frog” clips on the back of the bergère—a couture detail very much in keeping with the local spirit.

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east hampton elegance

s a kid from Kansas City, I always wanted to live at the beach—“Hey, it’s only twenty-three hours to the ocean,” we used to say—and after establishing myself in New York, I yearned for a place on the water, one where I could have a real garden. In 1999, my husband, Paul, found a long, narrow property on a promontory overlooking Gardiners Bay, on

Long Island’s South Fork. Incredibly, it was virgin land, overgrown with invasive plants and poison ivy—“a mound of dirt,” my good friend Susan called it—but it was just what I’d always wanted. After going over budget on the lot, we couldn’t afford an architect. But having been a designer, at that point, for nearly a decade and a half, I felt confident that I could create the house of our dreams. I envisioned something in the New England vernacular—a foursquare Greek Revival with Federal details, one that resembled the older classical residences I’d studied and admired in the region—and after doing my usual overabundance of research, I began drawing the house on the weekends, gradually transferring the concept in my head onto drafting vellum. I produced a symmetrical design, owing in part to my love of balance and proportion, but also because, as a first-timer, it was going to be easier for me to pull off. Every aspect of the process intrigued me—even familiarizing myself with the labyrinthine building codes and contending with the structural engineering. At times it could be frustrating. But restrictions impose discipline and inspire creativity, and I benefited in both respects. As important to the house itself was the design of the landscape, which I zoned into outdoor rooms that related both to one another and to the interior of the residence. The first “beat” of the arrival experience— the motor court—evolved from two directions: I didn’t want to reveal the entire property immediately, and I envisioned the garage as a stand-alone pavilion, not attached to the residence suburbia-style. Accordingly, when you arrive in the motor court, which serves as a car park, you encounter an elegant carriage house (also for cars) and a hillock on which I placed a belvedere garden folly. Coming around the carriage house, you open the gate to find yourself on a gravel path directly on axis with a long reflecting pool and, beyond it, the initial reveal of the house.

The house I designed for myself on Long Island’s South Fork, on a bluff overlooking Gardiners Bay, combines Federal, Greek Revival, and Shingle style elements. The swimming pool is styled as a reflecting pool, which contributes to the arrival experience. My garden and gardening are essential to my life. right : Rich yellow walls, stenciled in a seventeenth-century French pattern, are scumbled and glazed with seven layers of shellac, enveloping the room in warmth. The classic columns, doors, and casings are painted in gloss to capture the shimmer of the sea. Deeply inviting upholstery, a commodious coffee table, side tables for reading materials, and slipcovered ottomans form a floor plan that invites conviviality. A Swedish wall clock on the mirror hovers over an eighteenth-century English mantel whose facing is lined with Delft tiles picturing sailing vessels. The proportions of the room are based on the golden rectangle—and it feels just right.

In the master bedroom, overlooking Newport’s harbor, my client requested that I retain the Savonnerie carpet, a beloved vestige of an earlier life that might have been at odds with the décor’s newly modernized character. By carefully considering the room’s other components—the color palette and, in particular, the forms and silhouettes—I was able to honor his request without disrupting the spirit of the new design.

a sunlit romance ncredibly enough, my clients purchased this California beach bungalow by mistake. The husband was on the phone with a neighbor, discussing the sale of the latter’s home, and the wife, overhearing one side of the conversation, took a piece of paper and wrote “Buy It Now!”—in the mistaken belief that it was the house directly behind them (which would have afforded the couple more yard space). Somewhat puzzled, but not

wanting to disappoint his beloved, the gentleman did as asked—at which point they found themselves in possession of a tiny Cape Cod cottage that was at once near to collapse and subject to strict preservation rules on the exterior. It was an expensive error, but the gentleman was a man of his word; deciding that with a little love, the place would make a fine guesthouse—and aware of the work I had done on my own Shingle-style home in East Hampton—the pair turned to me. It did not take long for other aspirations to emerge. Though the husband’s family has been an influential California presence for many generations, they came originally from Sweden, and he possessed the best of that nation’s character: he was modest despite his accomplishments, gentlemanly to a fault, and given to a certain formal reserve. His wife, by contrast, had grown up in Warsaw, and possessed exceptionally sophisticated northern European tastes, which included a love of eighteenth-century furnishings. Though the cottage was meant for guests, the couple began to see it as more formal in design and character and an opportunity to combine their aesthetic heritages. First, the place had to be entirely reconstructed, which afforded me the opportunity to change the plan, by enlarging the master suite and public rooms and making them freely intercommunicative. To create the flavor of a Scandinavian summer cottage, I introduced wood paneling and a high wainscot, and installed five-panel doors of the sort one might find in a cabin. Because the house was so diminutive, I chose to limit the color palette: We lacquered the entire interior Swiss Coffee, a warm and creamy white, and all of the white oak floors were bleached and stained a shade of gray. Otherwise, a brilliant egg-yolk-yellow hue predominates—I wouldn’t use it in Sweden, but the color exudes warmth (even in Southern California’s famous “June gloom” season), and serves as a lively background for the furnishings. These are elegant, refined and, in places, extravagant: a small

I added the veranda off this sunny hideaway. Exquisite embroidered curtains, water silk–upholstered walls, a French neoclassical daybed, and a silver thread–stitched panel of rococo flourishes suggest a romantic interlude is in the offing.

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RO B E RT A DA M Country House Design, Decoration & the Art of Elegance

RO B E RT A DA M

Country House Design, Decoration & the Art of Elegance

JEREMY MUSSON

Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-4851-5 $65.00 Can: $85.00 Hardcover, 11 x 11 inches 272 pages 250 illustrations Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

JEREMY MUSSON p h oto g ra p h y by Pau l bar k er

ROBERT ADAM C

i · t h e adam brot h ers

DUMFRIES HOUSE The death of the architect William Adam in 1748 was a crux point for the careers of his sons. They had all been raised in the trade of building but also moved with ease in the social milieu of their father’s patrons and the leading professional families of Edinburgh. The eldest, John Adam, then aged twenty-seven, took over the family’s complex practice and continued with the completion of major projects, such as Hopetoun House, and the construction of Fort George, Ardersier, on the Moray Firth (begun in 1748, it was finished by 1769).1 Robert and James were taken on as partners and worked on Fort George, which was an important training ground for them all in the art of good building and administration. They also worked at Inverarary Castle, where John had retained the superintendence of work for the 3rd Duke of Argyll, executing designs by Roger Morris.2 Robert Adam was also closely involved in Dumfries House in Ayrshire—at the outset at least—which was the first major country house commission to come to the brothers after the death of their father.3 The client at Dumfries House was William Crichton-Dalrymple—5th Earl of Dumfries—who had decided not to remodel his old house at Leifnorris but to build a new one.4 He had, in fact, first approached William Adam, then the leading country-house architect in Scotland, but, in 1748, William had died, and Lord Dumfries then, with the encouragement of the 2nd Earl of Hopetoun, another client and family friend, decided to continue with the young Adam brothers: John, Robert, and James (the designs are signed jointly).5 It was a turning point, and also the project from which Robert departed on his Grand Tour in late 1754, in the company of the Hon. Charles Hope, the younger brother of Lord Hopetoun. The brothers proceeded to produce a handsome, Palladian-inspired design, with a well-ordered plan, the interiors finished in an up-to-date style. One version of their design was sent in 1751 to the godfather of taste himself, Lord Burlington, for his “approbation” (which it received, although which version it is not known).6 While John Adam continued his father’s practice, it appears that Robert played a key role in the final set of designs for Dumfries

A detail of the fruit and vines leaf rococo stucco decoration in the corner of the coved ceiling of the parlour at Dumfries House in Ayrshire. The three brothers Adam—John, Robert, and James—all worked on this house in the early 1750s, their first commission after the death of their father, William.

DUMFRIES HOUSE 33

had studied under Zucchi; other chiaroscuro panels were by Biagio Rebecca. Within the house, Adam maintained Brettingham and Paine’s vision of a grandiose central entrance hall, like a great colonnaded Roman atrium, which lay at the centre of the ancient Roman villa, the ultimate model for such houses. There are twenty Corinthian columns of Derbyshire-quarried alabaster, veined in red and brown, creating a curious sense of warmth in this great interior. The Corinthian capitals give a sense of such richness and grandeur to this interior.21 Adam also designed the floor of local grey Hopton stone inlaid with Italian marble. The niches on the long walls were filled, in the 1780s, with casts of the admired sculptures of classical antiquity, joining the four already placed on the short walls, and under the bas-reliefs above depicting scenes from Homer’s Iliad, arranged by Adam.22 This room was on axis with the saloon, a handsome domed interior, and inspired by the Pantheon. The octagonal compartments of the ceiling are on the pattern of the basilica of Maxentius, while the coffering of the alcoves was drawn from the Temple of Venus and Rome in the forum; thus this room illustrates the way in which Adam drew on a certain repertoire of great Roman survivals united in a novel way. The scagliola pilasters were supplied from the workshop of Domenico Bartoli. Adam had originally filled the niches with casts of antique statues making this in effect a statue gallery, but these were moved elsewhere in 1787–89, and the urns on plinths introduced, two of which were stoves.23 Curzon described these two great rooms in his 1787 guide to the house, as “the Greek Hall and Dome of the Ancients, proportioned chiefly from the

The magnificent drawing room hung in a blue silk damask (rewoven and rehung in 2001), with an ornately carved and gilded sofa by John Linnell and the gilt-framed pictures, contributed to the magnificent

56 life among the great

effect intended in the eighteenth century. The carved mermaid of Linnell’s sofa (detail, above) matched the maritime themes in the plasterwork.

KEDLESTON HALL 57

i I · l ife amon g t h e g reat

S Y O N PA R K Syon House was perhaps the most startling achievement of Adam’s early years after his return from Italy: creating a sequence of five memorably lavish rooms for entertainment, circuit, and display.1 One contemporary, Louis Dutens, wrote of Adam’s client Hugh Smithson, the 1st Duke of Northumberland (from 1766): “He restored the ancient splendor of the Percies by his taste and magnificence … He embellished Sion House, a country seat not far from London; and exhausted the resources of art, at an immense expence.”2 Another visitor in 1769, Alexander Carlyle, wrote of Syon, “the inside of which has been most beautifully adorned by Robert Adam.”3 The Adams chose it as the opening subject of Works in Architecture.4 Indeed, Syon proved to be one of the critical crucibles of Adam’s original neoclassical style, imitated across Europe.5 The rooms at Syon are especially interesting survivals because Adam also worked for the Duke and Duchess of Northumberland (as they became in 1766, having been Earl and Countess from 1750) on the rehabilitation of near ruinous Alnwick Castle—from 1769 onwards—and their London residence, Northumberland House. For the latter, Adam created the famous Glass Drawing Room in 1770–75, a brilliant and glittering innovation, but the death of the intensely sociable Duchess in 1776 shortly after its completion seems to have stalled its chance of starting a new fashion.6 He also designed the Duchess’s magnificent monument in Westminster Abbey, the largest neoclassical monument in the abbey.7 Of all the grand domestic works, only the eloquent interiors of Syon—a grand “villa” usefully close to London, and even closer to the royal residences in Kew and Richmond—survive to any degree. Northumberland House was demolished in 1874, and Adam’s Gothic-style work on Alnwick Castle was swept away and replaced in the nineteenth century, although some park buildings survive.8 The Syon commission was an importantopportunity for Adam. The Duke (born Hugh Smithson, he changed his name to Percy on marriage) had risen from humbler gentry-mercantile stock, married well, and ably climbed the ladder to positions at court to become Viceroy of Ireland and an influential

The hall at Syon House is one of the greatest neoclassical interiors of any English house, created for the 1st Duke and Duchess of Northumberland by Adam as a symbolic reinterpretation of a Roman basilica during the 1760s. The hall was intended to display classical sculpture and ancient pieces; copies were acquired in Rome especially for Syon.

SYON PARK 65

all chefs d’oeuvre of Adam, a gallery 130 feet long, and a drawing room worthy of Eve before the Fall. Mrs. Childs’ dressing room is full of pictures, gold filigree, china and japan. So is all the house; the chairs are taken from antique lyres and make charming harmony; there are Salvators, Gaspar Poussins, and in a beautiful staircase, a ceiling by Rubens. Not to mention a kitchen-garden that costs £1,400 a year, a menagerie full of birds that come from a thousand islands.”4 It is a checklist of studied and glamorous effect. Such a list captures well the sheer range and intensity of the work by Adam in these great houses. At Osterley a Mrs. Agneta Yorke in 1777 observed: “one sees that no expence has been spared anywhere.”5 Adam’s main client at Osterley, Robert Child, was from a rich city dynasty, a director of Child & Co. bank and a director of the East India Company.6 In the 1770s another anonymous visitor recorded, “I was told that the above building cost one hundred and thirty thousand pounds; you will suppose the whole is something very extraordinary, when I tell you that it claims the attention of the King and every great personage in England.”7 But how did it feel when first completed? It was in effect a new house, already grand in scale and reinvented to speak of the classical world. The undeniably stately interiors were freshly contrived to carry the varied references to the classical literature and art which so amused the mid-Georgian elite (and helped to mark them out as people of education and status). The rooms were all laced together with the animating presence of mythological references and echoes of great Roman architecture which Adam had studied in Rome in the 1750s. All of this helped invite those who moved in these spacious rooms to see themselves in a brightly illuminated and elevated social world. But it should be said that the sequence of rooms presents something of a puzzle. For the extraordinary thing about Osterley’s story is the piecemeal approach, as different rooms or groups of rooms were designed and created in different sequence over a decade. Nonetheless, the cumulative effect after nearly ten years of Adam’s improvements, was obviously splendid, as Walpole’s account attests. Samuel Child, father of both Francis and Robert, regularized the shape of the house and moved the principal rooms to the first floor. His sons were both directors of the family bank and directors of the East India Company. Francis, the eldest, at first carried on with the spirit of his father’s improvements. In command of a great fortune, he was elected as a (Tory) MP for Bishop’s Castle, Shropshire.8 He first commissioned Adam in 1761.9 Adam immediately proposed a major rebuilding, suggesting they demolish the entire east range and reduce both the north and south ranges to improve the light and quality of the interior circuit. This proposal was rejected by the client, who was anxious about both cost and time, perhaps given that he was shortly to be married.10 It is not clear what had been done by his death in 1763. His brother, Robert, inherited, married Sarah Jodrell soon after, and continued to work on the house with Adam.

The entrance hall at Osterley Park was designed by Adam in 1767. The capitals of the pilasters are modelled on those from the Palace of Diocletian, an instantly recognisable reference to Adam’s own credentials. The panels of martial trophies in plaster are a typical decorative element in a hall, reflecting a long decorative tradition in the English country house of the display or arms.

78 life among the great

OSTERLEY PARK 79

below Adam’s design for the drawing room included a ceiling based on the Temple of the Sun from Robert Wood’s Ruins of Palmyra, 1753. John Linnell supplied the chairs and sofa for this room. The walls, hung in a nineteenth-century silk, were originally a “pea-green.”

pedestals and vases. The side table was designed to be piled high with silver. Mrs. Agneta Yorke, visiting in 1772, noted the side table “magnificently furnished with plate” with a “Massy & large silver Cistern” under it.16 The drawing room, on the south side of the house, was where guests would be received and to where the ladies would withdraw after dinner. The pier glasses and commodes were designed by Adam; James Linnell supplied the sofa and chairs. The ornate, compartmented ceiling was modelled on a favourite theme: plate XIXb from Robert Wood’s Ruins of Palmyra, 1753.17 The carpet, designed by Adam and made by Thomas More of Chiswell Street, was designed in a similar spirit.18 The state apartment, leading south from the drawing room, includes the tapestry room, state bedroom, and Etruscan dressing room. This group appears to have been carefully planned in 1772 with three richly decorated rooms

right Adam and a sense of parade: the enfilade, looking from the drawing room, through the tapestry drawing room and state bedroom, toward the Etruscan Dressing Room.

84 life among the great

OSTERLEY PARK 85

Changed likewise. The portico I made projecting, & bold dressings round the windows, the pavilion fronts are quite different & the Collonades [on the links] also & look well. Statues, etc. adorn the whole, an enriched frieze, & being done to a large Scale, it is magnificent … I have thrown in Large semicircular back courts with columns twixt the House and Wings.”8 The latter is revealing of the touches of plan form—partly inspired by Roman bath architecture—which Adam believed would change the character of country house architecture. James wrote enthusiastically, “it affords me the greatest pleasure that you have got Lascelles’s plan improv’d to your mind, & that you have tickled it up so as to dazzle the Eyes of the Squire.”9 Adam’s drawings were sent by Lascelles to the current arbiter of taste, Thomas Coke, the 1st Earl of Leicester, for approval, and to Carr for costing, before Adam got his reply. The project remained strictly in Carr’s hands (he included one of the semicircular courts but for various reasons it was finished as a square). Adam received the commission essentially for the interiors of the house, while Carr retained the role of architect and began the construction from 1759. Some of Adam’s architectural suggestions were included: namely, the projecting south-front portico, which was built (and even captured in a watercolour of the late 1790s by Turner of the south front) but demolished in the 1840s.10 When the engravings of Harewood appeared in Vitruvius Britannicus in 1771 the architecture was attributed to Carr alone, with the additional note that “the worthy owner has spared no expense in decoration of the principal apartments, from designs by Mr. Adam.”11 But, nonetheless, it was still a huge commission, and Adam was asked to decorate no less than seventeen rooms. Adam began energetically, and by the end of 1765 he had made ceiling and laid-out wall designs of all of the major rooms of reception.12 In 1766 and 1767 he designed the remainder of

the chimneypieces, although those for the gallery are dated between 1771 and 1774.13 The cabinetmaker Thomas Chippendale—London-based but a Yorkshire native—worked independently but alongside Adam and furnished most of the main rooms.14 This was one of the most valuable commissions of Chippendale’s career. 15 HistoryIt was a time-consuming business; Samuel James, Chippendale’s assistant took fifty-eight and a half days (working twelve hours a day) to organise the new bedrooms alone. William Reid, Chippendale’s upholsterer, was resident for nearly two years.16 Much original Chippendale furnishing (by father and son) thus survives in the house for which it was made. Lascelles, despite his great wealth, was also determined not to overspend and observed to Adam, “I would not exceed the limits of expense that I have always set myself. Let us do every thing properly & well mais pas trop.”17 Joseph Rose was responsible for most of the plasterwork, and John Devall carved a number of the chimneypieces. The stucco overmantel panels in the library are attributed to William Collins, who also supplied reliefs for the hall.18 Adam’s stately entrance hall, with bold Doric engaged columns, created the framework for a series of niches for sculpture and roundels depicting martial trophies in bas-relief. The approach to the saloon on the south side of the house was modulated by a wall treatment which echoed a triumphal arch in its central opening and paired niches. The niches on the east and west walls were originally square headed (rounded and lengthened in the 1840s) and housed suitable figures, Euterpe and Bacchante, and Night and Minerva, with Iris and Flora on the south wall towards the garden.19 The saloon—the central room on the south side—was given a coved ceiling by Adam. The room would have originally looked south through Adam’s portico; on the north the walls were broken up by two apses on either side of left Harewood House, Yorkshire,

designed by John Carr, as seen from the south. Adam designed the interiors of the house, as well as a portico for this front, which was built but demolished in the 1840s by Sir Charles Barry. right The hall columns were repainted porphyry in modern times, as they had been in the early nineteenth century, but not in Adam’s scheme. The bas-reliefs were by William Collins, and the panel seen here over the chimneypiece depicts the wedding of Neptune. The hall chairs are by Chippendale.

92 life among the great

HAREWOOD HOUSE 93

I I I · A DA M A N D RO O M S C I RC U I T, PA R A D E A N D D I S P L AY

Adam’s proposals for the Great Dining Room, Cumberland House, on Pall Mall, in the Etruscan style. The room was executed in around 1780–81 but later demolished, so it is not certain how much of this scheme was carried out. By courtesy of the trustees of Sir John Soane’s Museum.

102 life among the great

HAREWOOD HOUSE 103

The Little Drawing Room, a jewel of a room, has a sofa alcove set behind a screen of columns. The capitals are a nod to those observed in Diocletian’s Palace; the painted decoration, based on antique sources, is by Biagio Rebecca.

124 adam and rooms

AUDLEY END 125

iii · adam and rooms

N O S T E L L P R I O RY Nostell Priory, Yorkshire, was one of Robert Adam’s longest and most productive commissions, but once again he was completing and updating a sequence of rooms within a house already largely built.1 His patron, Sir Rowland Winn, 5th Baronet, held Adam in especially high esteem as a designer and a friend and took a connoisseur’s relish in the work of Adam, Zucchi, and Chippendale, who all worked here together, beginning around 1736. As with many of Adam’s country house projects, the house they worked on was begun by the patron’s father, in this case Sir Rowland Winn, 4th Bt., who had been on his Grand Tour in the 1720s.2 The first designs for the Palladian-style house may possibly have been by the Scottish architect Colen Campbell (d. 1729).3 This original design was for a central range with four pavilions connected by curved wings, inspired by Palladio’s unbuilt (but published) Villa Mocenigo. A gentleman-architect, Colonel James Moyser, a friend of the great Lord Burlington, was also involved before the young architect James Paine was engaged. Paine went on to work there for the next thirty years. In 1750 Richard Pococke recorded seeing “an old mansion almost destroyed” and “a large new house, which is the most convenient I have seen … about ten rooms on a floor.”4 But Adam’s client was not so convinced. Sir Rowland was a sophisticated figure and had studied on the continent at Lausanne and Geneva, where he had married one Sabine May.5 So when, in 1765, he inherited the half-finished house, he felt it was just not up to date or smart enough. He swiftly approached Adam to take on the completion and to provide for more up-to-date neoclassical interiors. In some cases this was working within Paine’s already executed decorative schemes, but in four of the key rooms of reception Adam effected a major transformation, which, in the case of the entrance hall in particular, changed the architectural character of the house.In 1766 Adam appointed Benjamin Ware as executant architect and prepared his new designs for Sir Rowland.6 The first room to be designed, and to be completed in 1767, was the library. This is a handsome, square room, with the most carefully considered, refined ornament. The symmetrically arranged pedimented bookcases and a pedimented overmantel give it a strongly

Nostell Priory, Yorkshire. A detail of the Adam-designed giltwood pier table and mirror for the saloon shows characteristic swags of husks and cameo-like ovals.

156

NOSTELL PRIORY 157

been on an extensive Grand Tour in the early 1740s, in Rome and Geneva, with his brother and an eccentric tutor, the Rev. John Williamson.4 Baillie decided to complete the building and asked Robert Adam, who offered a design in the castle style, which was a relatively new departure for him (although he had already employed it at Ugbrooke Park in Devon for the 4th Lord Clifford, designed in 1763, not completed until 1771, and Whitehaven Castle in Northumberland in 1766 onwards for Sir James Lowther, 5th Bt).5 The choice of the castle style may reflect a new fashion, and one for which Adam was to develop a considerable reputation. It may also have been a nod to the historic tower house that had been on the site, and to the family’s lineage and anxieties about his great-grandfather’s treason. Adam’s design was notably plain in external detail, save for the crenellation. 6 Familial affection and economy may also have dictated the retention of the two existing William Adam–designed pavilions. Surviving drawings show that Robert Adam had wanted to remodel the pavilions into a matching castle style, or at least re-dress them with suitable crenellations to bring the ensemble together, but this was never carried out.7 The siting and proportions of the pavilion wings nonetheless played a formative role in the design of the new central block: this is a surprisingly long and thin, seventeen-bay, E-shaped building, divided into three three-storey, towerlike elements linked by twostorey ranges in between. The whole is raised over a basement, which gives it a markedly elevated presence in the landscape to the south. The main works were complete by 1770, while interior decoration continued until around 1778. Mellerstain’s interiors were among the most lavish examples executed in Scotland by Adam. One plasterer named Powell is referred to in a letter by Adam of 1778 as having “behaved so ungratefully,” but whether he was responsible for any ceilings we cannot know.8 Thomas Clayton the younger was once suggested, as he is known to have worked at Inverarary and Edinburgh, but he is not referred to in any of the surviving documents (Thomas Clayton the elder had also worked with William Adam).9 A decorative carver, James Adamson of Edinburgh, is listed in the accounts. Adam’s engaging letter to George Baillie of early 1778 is illustrative of the conversations between Adam and his clients on these subjects: “I see no objections to you putting ornaments in these spaces though the ceilings should remain plain, as they belong to the upright walls of the room and have no connection with the ceiling. I shall return you the drawing of the gallery ornament so soon as I have your answer, as I shall immediately make account and send you the parts of the ornaments at large for decorating the execution. . . . I shall do my best to please you in the drawing you desire for your ceilings. . . . They shall be plain and elegant and not expensive.”10 The latter was a particularly well-judged point that might be applied to several of his major Scottish commissions, which had notably restrained interiors (although Mellerstain’s interiors were hardly that). The central entrance hall was designed with Adam’s characteristic apsidal ends with niches for sculpture—indeed, it has something of the character of

Mellerstain as seen from the south. The lower pavilion wings (visible to each side) were designed in the 1720s by William Adam, Robert Adam’s father, but the main central block of his plan was never realised. Adam did propose adding crenellation to his father’s wings, which was not carried out.

174 THE CASTLE STYLE

MELLERSTAIN 175

The realisation of this great staircase was as exciting in its execution as in its original design and differed only in some details. The grisaille decoration, painted panels, and plasterwork provide diversion for visitors as they take the stairs to the first-floor rooms. The graining is early nineteenth century.

222 DREAM PALACES

PRIVATE PALACES: LONDON 223

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Highland Retreats Highland Retreats The Architecture and Interior Decoration of Scotland’s Romantic North

T H E A RC H I T EC T U RE A N D I N T E R I O R D EC O RAT I O N O F S C OT L A N D ’ S RO M A N T I C N O RT H

M A RY M I E R S Photography by Paul Barker and Country Life

Rizzoli International Publications, Inc. 300 Park Avenue South New York, ny 10010 www.rizzoliusa.com isbn: 978-0-8478-4476-0 $65.00 Can: $85 Hardcover, 10 x 11 inches 288 pages 250 color illustrations Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity: t. (212) 387-3465, psommers@rizzoliusa.com

Mary Miers Photography by Paul Barker and Country Life Highland Retreats 3

Highland Retreats

The Architecture and Interior Decoration of Scotland’s Seasonal Houses M A RY M I E R S Photography by Paul Barker and Country Life

4 4

Highland Retreats 7

6 6

Contents

Foreword 7

1 Introduction to the Highlands 11

kinrara oo

2 The Invasion of the Saccenachs 33

wyvis oo

3 The Picturesque Retreat 49

drynachan oo

4 Balmoral and the Royal Infatuation with Gaeldom 73

mar lodge oo

5 The Victorian Shooting Lodge 111

ardtornish oo shewglie oo

6 Artist’ Houses and the Arts and Crafts Movement Houses 135

glenborrodale oo

7 The Belle Epoque and the Edwardian Period 153

torosay oo dunrobin oo

8 The 20th and 21st Centuries 171

skibo castle 0oo Notes 000 Select Bibliography 000 Index 000 Acknowledgements 000

chapter two

The Invasion of the Sassenachs ‘… when I first trod these glorious hills, and breathed this pure air, I almost seemed to be entering upon a new state of existence. I felt an ardour and a sense of freedom that made me look back with something like contempt upon the tame and hedgebound country of the South.’ William Scrope The Art of Deer-Stalking 1838 The literary and artistic appeal of the Highlands was not the only attraction to bring visitors north in the late 18th century. As well as offering Romantic minded tourists sublime scenery charged with stirring cultural and historical associations, the hills and glens teemed with wildlife, the rivers were unpolluted and those entitled were free to roam the landscape in pursuit of fish and game. Improvements to firearms had made shooting winged game possible and widespread timber felling created expanses of moorland better suited to breeding grouse than the industrialised, agriculturally more advanced south, where the gamebirds were in decline. As field sports that had hitherto been considered ungentlemanly gained popularity, lairds and chieftains used their secondary houses seasonally for these pursuits: the Mackenzies’ Seaforth Lodge overlooking Stornoway harbour, for instance, was described as a shooting lodge when James Barret painted it in 1798. In 1817, Sir Francis Mackenzie of Gairloch rented Wyvis – then a large sheep farm – from the laird of Foulis and built up a good grouse moor. For Lord Belgrave, who bathed in the sea most days while staying with his wife’s family at Dunrobin in the 1820s and ’30s, grouse-shooting and fishing were daily occupations. One August 12th, he ‘got up before 5 and was off soon after 6 up the glen. He came home in time for dinner having killed 16 brace of grouse and 2 snipe in 60 shots.’ In his book The Moor and the Loch (1840), John Colquhoun, brother of Sir James Colquhoun of Luss, extols the joys of rough shooting when the birds are ‘wild and wary’, and dedicates a chapter to wildfowling on lochs, as well as shooting fox, wildcat, martin, eagles, osprey, kite, white hare and ptarmigan. Already popular with native landowners and officers stationed in the Highlands, shooting grouse and other ‘muirfowl’ was, by the Highland Retreats 11

10 10

Right uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum o nos Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum o nos

gatherings ‘served Gaelic nobles as an excellent and popular preparation and discipline for warfare’ (see p.?). Other forms of the chase involved hunting stags on horseback with bows and arrows or spears, and deer coursing with hounds, as practised as late as c.1912 at Culachy in Invernessshire. Little is known about the early hunting lodges, and there is no evidence that an architecturally sophisticated genre developed, as in England. Castles [with deer parks], such as Blair in Atholl, Darnaway in Moray, Kildrummy in Perthshire and Kincardine in Aberdeenshire, served royal hunting entourages, but so did more temporary structures. The term ‘hunt hall’, which occurs frequently in the Exchequer Rolls and Treasurers Accounts, seems to apply as readily to a semi-permanent feasting hall as to a stone tower house serving both as hunting lodge and a place from which to manage remoter parts of an estate. Examples of the former have recently been excavated in the southern Highlands. On a deer park site at Buzzart Dykes near Blairgowrie, the stone footings survive of a late 13th-/early 14thcentury building 36m long. Its turf superstructure would have contained a large hall with a service area at one end; no enclosure or evidence of ancillary buildings have been unearthed. Similar temporary hunting lodges, or hunt halls, are recorded in the royal hunting forest of Glenfinglas in the Trossachs, which we know Robert II visited in 1382. In 1458/9, James Balfour was paid £5 6s to build a hall and two chambers here (probably of wood), which remained in use throughout James IV’s reign (d.1513). The exact site is not known, although a strategically placed mound on a flattish terrace overlooking the glen seems likely. Another site, on a small isle in Loch Laggan aptly named Eilean Righ (isle of the king), is indicated by the remains of a rough-stoned building where royal retinues would have rested and feasted while hunting the abundant forest of Ardverikie. Kindrochit Castle, now an overgrown ruin in the ‘Castletown’ of Braemar, had as its principal early feature an oblong hall 100 ft long, built between 1057 and 1093 for King Malcolm III (Malcolm Canmore) on an earlier site. Robert II used it for his hunting expeditions in the Braes of Mar in the late 14th century, before Robert III gave it to his brother-in-law, Sir Malcolm Drummond, Earl of Mar. The Earl’s remodelling (he was murdered in 1403 Highland Retreats 13

12 The Invasion of the Sassenachs

Previous pages Ivivivirid renimmo riorum pri publicomnia sus et; nicepos, ses. Ignondum mant, caturat usquid Catem ili, consus tea comnes fuit. Below Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum Opposite uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum o nos

‘The river abounds in fish of different kinds, salmon, trout, pike, &c. Of birds, marr forest has all the species known to the most inland and elevated parts of Scotland: eagles, falcons, kites, ravens, ptarmigans, moor-fowl, or grous, the black cock, or cock of the wood, called by the natives coper calzie, &c. &c.’ Rev James Hall, 1807 writing about the Mar estate

‘The rivers and lakes also in all this country are prodigiously full of salmon; it is hardly credible what the people relate of the quantity of salmon taken in these rivers, especially in the Spey, the Nairn, the Ness, and other rivers thereabout.’ (Daniel Defoe, visiting in 1706). In Caithness, he writes of ‘Salmon in such plenty as is scarce credible, and so cheap, that to those who have any substance to buy with, it is not worth their while to catch it themselves.’ Rev James Hall, 1807 writing about the Mar estate

1820s, attracting an intrepid breed of Englishman to venture north with their guns in search of new sporting opportunities. A principal attraction for these young blades was summarised by Lord Malmesbury in 1833: ‘A stranger could fish and shoot over almost any part of the Highlands without interruption, the letting value of the ferae naturae being unknown to their possessors’. Highland lairds had long enjoyed fishing on their lochs and rivers – Osgood Mackenzie, who was given a new rod aged 10 in 1852, gives a vivid account of salmon fishing on the Ewe in his memoir A Hundred Years in the Highlands – but the impetus had always been more practical than purely for pleasure, and before the Victorian period there are precious few references to angling for sport in Scotland. Salmon were traditionally speared or netted in large quantities for the table; an engraving of the Glenmoriston waterfall published in 1788 shows young lads making ‘an advantageous recreation’ of catching salmon with pikes and poles with large hooks. But by 1850, when Queen Victoria was treated to a demonstration of this skill of ‘leistering’ in the Dee at Balmoral, it was really more of a tourist attraction, and salmon was becoming a cult fish for sport angling (although, interestingly, not at Balmoral, where Prince Albert’s obsession was for shooting and stalking.) ‘Good salmon fishing nowadays is almost as expensive a luxury as deer-stalking, and is quite as eagerly sought after and harder to get’, Robert Hall would write in 1882. Hunting deer had always been the preminent sport of the Highlands, as will be seen later in this chapter. By 1800 however, the native red deer population had suffered a considerable decline and many of the old deer forests were neglected. This depletion of deer numbers was partly due to the rapid population growth in the later 18th century. Then came the introduction of sheep farming, for which the glens were cleared both of humans and ‘…the gallant natives of the hill [which] detest the sordid and encroaching intruders, and will not inhabit the same ground as large flocks…. The deer are very delicate in their food, and exceedingly fastidious in the purity of their pasture.… they cannot endure the oily rancour of … [sheeps’] wool’ (Lays of the Deer Forest, 1847). As the first wave of the Highland Clearances depopulated the glens, the deer, pushed out with the people by flocks of Cheviot and Black Face sheep, perished or headed west to remote sanctuaries. Before turning to the revival of the deer forests that was such a key factor in making the Highlands fashionablein the 19th century, we should consider the hardy nature of those early sporting tourists, who were quite used to putting up in rudimentary inns and bothies, sometimes in tents, or even sleeping rough. One exception was Col Thomas Thornton, a flamboyant Yorkshire squire with an insatiable appetite for shooting, firearms, women and wine. Between 1782 and 1789, this legendary sportsman and bon viveur made several trips to Scotland, where he rented Highland Retreats 15

14 The Invasion of the Sassenachs

Raits (now Balavil) near Kingussie for the season. His book, A Sporting Tour through the Northern Parts of England and Great Part of the Highlands of Scotland (1804), gives a vivid account of his adventures in 1786, the elaborate nature of which make it little wonder that he would eventually be forced to sell his own estates. Provisions and equipment for the trip came by cutter from Hull to Forres, while Thornton and a friend travelled overland with the painter George Garrard, stopping en route in Edinburgh to order more stores. From Forres, 49 carts transported the sea-borne cargo to Raits – groceries of every description; reindeers’ tongues, smoked beef and ‘pigs’ countenances’; camping equipment, hawks, setters, pointers, deer-hound, firearms and portable fishing boats; a housekeeper, falconer, wagoner, groom and gillie. During his stay, Thornton would venture out for days into the hills, setting up tented encampments, from where he would hawk, shoot, fish and entertain the local gentry. Using Pennant’s Tours as a guide, he

Below Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum, Ivivivirid renimmo riorum pri publicomnia sus et; nicepos, ses. Ignondum mant, caturat usquid Catem ili, consus tea comnes fuit. Opposite uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum o nos

sought out the most bountiful moors and lochs, many of which were still virgin territory for sportsmen. Those early sporting adventurers turned a blind eye to the social and economic deprivations of the Highlands, which nature’s munificence could not obscure. Dr Johnson, whose Highland tour of 1773 was prompted by different interests, had noted with disappointment how the old clan system was all but dead, the

Highland Retreats 17

16 The Invasion of the Sassenachs

Below Ivivivirid renimmo riorum pri publicomnia sus et; nicepos, ses. Ignondum mant, caturat usquid Catem ili, consus tea comnes fuit.Dolore sitin nonsequaeri rectusdae. Faccus, am reror aut aut arumquat od quae qui ditatis qui ipist eveleni scipici atatiurecto dolesti aectas unt auda qui sae inci con eos des essimusam sum eatur, inis aborrum labore venisqui odit vellit, in nestioreici re modis quis illaute mporepta dus cupti alici debitatur?

Originally the sole preserve of royalty and the aristocracy, the privilege had been extended by an act of 1621 to those with landed property. But in 1831, a Game Act was passed repealing these laws, and also lifting a longheld ban on buying and selling game. The other stimulus was the revolution in gun technology. Flintlock shotguns (muskets?), which originated in 17th-century Spain, had been progressively refined, but it was improvements, notably by the celebrated London gunsmith Joseph Manton (1766–1835), that placed English guns above their foreign competitors. Then in 1807, the Rev Alexander Forsyth patented a detonating mechanism that replaced the steel spark and flint, a significant invention that eliminated the effects of damp and made shooting birds on the wing easier; the percussion cap was in general use by the 1820s. By the 1850s, dangerous and inefficient muzzle loaders had been replaced with breech-loading double-barrelled shotguns introduced from France, soon to be equipped with [?central fire cartridges/centre fire pins?]. These shotguns made enormous bags possible, leading to the practice of walking up birds and shooting over dogs, and later, with the employment of beaters, to driving birds over lines of butts) In Lady Eliz and the Grosvenors it says that the practice of walking up grouse over dogs was replaced by the 1820s by the foreign ‘battue’ method of driving the game to the guns which had become common practice by 1820s. By the 1870s?, smokeless powder had been introduced. The popularity of stalking was boosted by advances in the development of the rifle and the shape of bullets. By 1900, with the invention of cordite powder, rifles were far more efficient than the Express rifles that had been perfected by Purdey. Deer hounds were no longer necessary to kill off beasts wounded by inefficient rifles. The dramatic escalation in the availability and value of shooting lets was reflected in the business of the Inverness gunmaker and sporting agent Hugh Snowie, who, from 1836, advertised sporting properties for lease at a time when investment in land was mistrusted for fear of high taxation. By the 1870s, Snowie was producing as many as four lists a year at runs of 1,500 copies. In 1872, he reported that ‘the demand for shootings in the north is so great this year that there are no places on the market although higher and higher rents are given year after year’. As the number of professional agents proliferated, so too did publications such as Watson-Lyall’s Sportsman’s and Tourist’s Guide to the Timetables Rivers Lochs Moors and Deer Forests of Scotland (1873) and Robert Hall’s regular editions of The Highland Sportsman; A Compendious Sporting Guide to the Highlands of Scotland, which listed shootings and fishings county by county, with detailed instructions on everything from the value of grouse moors to recipes for curing the ailments of fowl. In a good season, some 500,000 grouse were shot annually in Scotland. It is difficult for many to comprehend quite the extent to which the wholesale slaughter of game could preoccupy those

Opposite above Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum Opposite below uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum

Highland Retreats 19

18 The Invasion of the Sassenachs

Previous pages Perhaps the establishing shot needs no caption other than the text in the label? Left Huosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum

I suggest that the descriptive text for each house story is kept to a single column opposite a three-quarter page illustration (following on from the double page opener). This would be a maximum of about 375 words to set the scene for each of them. But the pictures to have fairly full captions as here . Quis aut doluptatur, solecto blab incia cuptatem repe pro consequ asitassimet eosant, unt quis dustistor rerchiciam quo id evel illo est ut preptaque volupta sandelenda earuptis a iunt, qui dolo volorem et pel magnis ute sim enectio. Nat quia niate audandaectur rem esciae nobisquam, od quibusapit ut rest, sim aborum quodige ndignis et dolenis dit voluptatem voluptas maximoles netur moluptatur, solupta aut voluptatium quaecearum quiam est quam idercim agnihilis volore sitatem. Poressitint dolum, quiande molut aut pa ilitionsed ut experibusam liquam illuptatem hiligen totassu mquiae omni rersper ruptatis aligend enihil il modis eaquos escide nuscill aboreprae cor sitia doluptas aut omnim quat ut ea veligendit, esequid que voluptatis derum secaecernat quiae. Udignihil iuntotate num adipit occulpa volum enestis vel is eost antur solupta cus mint lab id moluptate et andipsunte volentotati con por sunt acest qui ilit pratem quibus, sit, consequam que nim ea dolupta derrum que od maxim expligendam facillu ptatem. Itaspitio. Et que ea quidus eos nissenis esti ditiunto ex et omnitata qui coreriae volupta nulpa vel in niendan daeperorrum cum, tem res natatem de volupta quatia accae voloribus, odi ut imus dolenis miliquia sit faccae porestr umquati sanditiumet quamus as erum fuga. Nam, nus eliquis volupta temque labore nos doluptat. Num sit, que volorero tet quid qui conet eos et et optatis et fugit dit officiendae et qui reseque core laccuptaspis corates sitatia dolores sunt assequam quatur alibus sinis iuritatiam ex ea nus essed ma dita vellisit, con pre, omnihiliquo omnis sam eriam in cumquiassi ideles ea quame que sa vid ut reni nos adigendi bla voluptatium ium quam faciati in parupta ectatem volum que labor simillo rumquiam nonsend icaborepta nectiores vene estrum raerunt faccupta sitem imet omnimet laci sit et aut ra doluptatur, optatem ipiendus aut vollenime quae nobis aboritae cumendi omnienda conseque labo. ExplaOrerio officidem. Nis nim dolorestotam nihicipit quam que quiatquo mincipsus sentene quatum voles estibus apist, ut labore, seculla boration repres aut quis quasped esequi beate volorer umquate cumqui accuste. Highland Retreats 21

20 The Invasion of the Sassenachs

Left Ad aderei publicapec rei sena, sent? Ivivivirid renimmo riorum pri publicomnia sus et; nicepos, ses? Ignondum mant, caturat usquid Catem ili, consus tea comnes fuit. Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum machum non Etrist grat, que nondi, num atorem octemus Below left Catem ili, consus tea comnes fuit. Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum machum non Etrist grat, que nondi, num atorem octemus Opposite Aberox nequo ignondactus, num omnescrit. Valicaet vehena, consum pecerfit ves ortiame nihilibus, te noctus inprit. Quosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca.

Highland Retreats 23

22 The Invasion of the Sassenachs

gentlemen – and some women – of means. Many did little else throughout the year as they moved from estate to estate enjoying the hospitality of an elite, interconnected upper class circle. And when the shooting was over, they would set off for sunnier climes to hunt big game. In his book Autumns in Argyleshire with Rod and Gun (1900), A E Gathorne Hardy recalled that?Gaick in?, with a ‘most commodious lodge and a nice stretch of fishing’, cost four guns, killing over 1,500 brace of grouse, £600 for ten days in August 1872 (the equivalent of £? today). By comparison, the cost of renting Glen Ogil Lodge and grouse moor in Angus for one day – the Glorious Twelfth – in 2013 was £55,000 (update to 2015 price). The obsession prevails today. The most significant factor in fuelling Victorian enthusiasm for the Highlands was the native red deer. But the 19th century obsession with deer hunting needs to be considered within its rich historical context, which dates back to ancient times. The nobility of the stag, the thrill of the chase and the feasting and merriment that accompanied the great deer hunts are celebrated in the visual and literary culture of the Gael, from carvings on Celtic and Pictish stones, hunting songs and tales of the Fiana, to ballads and laments, Duncan Ban Macintyre’s lyrical poems expressing the hunter’s affinity with Nature, and vivid passages in the novels and verse of Sir Walter Scott. Since the early Middle Ages, the aristocrats of Highland society were honoured in the panegyric poetry of the clan bards as Sealgair Sithne – ‘the hunter of deer’. Deer hunting had been a royal sport since ancient times, the king granting privileged rights of forestry. The hunts traditionally took the form of a chase or a drive, the latter more ancient practice being a deer hunt on a vast scale, involving multitudes of men and dogs. These tinchels, as they were known (from the Gaelic tainchell), were occasions of regal magnificence, requiring weeks of preparation. Days before the slaughter, a huge cordon of men operating as beaters (also called tinchels) would round-up the beasts from the surrounding hills. On the alloted day, the deer were corralled down a narrow defile towards an enclosure known as an elrick (eileirg), where concealed huntsmen awaited them ‘with gunnes, arrows, durks and daggers’. Tinchels were regarded with suspicion by the government, as such large Highland Retreats 25

24 The Invasion of the Sassenachs

Opposite above Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum Opposite below left uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum opposite below right uosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca; esit, nortiam lius nonsulocre non pertelutum

Highland Retreats 27

26 The Invasion of the Sassenachs

Left Ad aderei publicapec rei sena, sent? Ivivivirid renimmo riorum pri publicomnia sus et; nicepos, ses? Ignondum mant, caturat usquid Catem ili, consus tea comnes fuit. Castriu vidiora ticaetisul culturo bsentra, aritumussi pesigna, quide cae cae fachum machum non Etrist grat, que nondi, num atorem octemus Opposite aberox nequo ignondactus, num omnescrit. Valicaet vehena, consum pecerfit ves ortiame nihilibus, te noctus inprit. Quosticam inves inatursulium hum aussimporum nonsici traetius. Horesidieme ta, quem forum ela Satust qua publin Itam nos paturid iendero morum ca.

Highland Retreats 29

28 The Invasion of the Sassenachs

How They Decorated Inspiration from Great Women of the Twentieth Century

Inspiration from Great Women of the Twentieth Centuryâ&#x20AC;&#x2039;

P. Gaye Tapp Foreword by Charlotte Moss Rizzoli Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-4741-9 $55.00 Can: $75.00 Hardcover, 8 x 10 inches 224 pages 200 illustrations Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity (212) 387-3465 psommers@rizzoliusa.com 917 903 0767 (t)

P. Gaye Tapp Foreword by

charlot te moss

The Fashionably

CHIC

The Fashionably Chic woman thrives on personal self-expression. Her rooms are filled with oddities and objets d’art from her travels, her fashionable wardrobe, and in some cases her own design work. Her worlds spill gracefully, and quixotically, into the rooms she decorates. Stagecraft is key. The use of vivid color, the exotic, and the unexpected are maximized. Collectors all, never dismissing their decorating ability to “make it work,” the Fashionably Chic don’t shy away from the wiles of their eyes and imaginations. “Mixing it up” is the mantra. In the words of Françoise de la Renta, “fantasy, gusto, and enthusiasm” are esse ntial to these interiors.

Isabella Blow Fleur Cowles Françoise de la Renta Babe Paley Elsa Schiaparelli Pauline Trigère

of the room under a banquette. This room O P P O S T I E : Panels of fantasy flowers and trees in decorative urns were painted by Prince Federico captures all Fleur’s flight of fancy. Pallavicini’s Pallavicini and commissioned by Fleur in 1954, and exotic gold leaf painted panels with flower once installed at Fleur’s 16th century Surrey estate. filled urns were striking, and functional, In usual Fleur fashion, six panels acted as shutters serving as shutters for the windows. A massive in her Second Drawing Room. stone fireplace and hearth was surrounded by O P P O S T I E : The Surrey barn was filled with all things modern day banquettes, anchoring the room. Fleur. She had a pair of quirky tiered free form Her creative eye roamed every corner of the tables in cinnabar built around the barn’s timbers. room, and it was filled. When Spain beckoned, Fleur decorated an ancient castle in Trujillo called Las Torres de los Bejaranos. New and ancient, the castle was the magical fusion of Fleur Cowles aesthetic genius. Two 15th century towers on the edge of Trujillo were the starting point, and Prado architect Jaime de la Fuente, with Fleur, designed the main living spaces. (14) Roman arches and stone unearthed from an old house provided most of the bones of the new house and the two towers became bedroom wings. Inside, 6

Dominique de Menil An Elegant Simplicity

At a 1930 Versailles ball, in what Dominique de Menil (nee Schlumberger) called a “chance encounter,” she met her husband, Baron Jean de Menil. As a young married couple another “chance encounter” with Dominican priest Father Marie-Alain Couturier, would set them on a path that led to the creation of The Menil Collection in Houston Texas, housing the 15,000-some objects the de Menil’s collected together. Couturier had been tasked with the curation of the Catholic Church’s burgeoning modern art collection and soon the de Menils began acquiring the world’s largest collection of Surrealist painters Max Ernst and Rene Magritte, along with Braque, Picasso, Matisse. These great paintings were a part of the de Menil’s daily life, albeit, in the intimate setting of home, not a museum. They lived with their art, at houses in France and their Philip Johnson designed home, de Menil House in Houston designed. Johnson thought them “unpretentious, yet arrogant enough... an extraordinary couple.... There are some who think they’re crazy. I think they’re inspired.” Crazy was the unanimous in the tony River Oaks section of Houston, c 1950. Built in the International Style, flat- roofed pink brick sat in unpretentious silence, while the city could talk of nothing else. (1) The house was built around an interior courtyard where light poured into the rooms and through Johnson’s signature “glass walls.” Today the house still resonates with the de Menil spirit. de Menil Collection director Josef Helfenstein said “The de Menils were very independent in the way they saw and combined and lived with art,” To them it was very spiritual and intuitive,

Charles James’ Butterfly sofa was designed for the house. Dominique said it “drove upholsterers wild.” Three years in the making, James gave Dominique the “voluptuousness” she was looking for. The subtle play of the curving lines

and that is still palpable in the house today.” Raising five children in the now iconic house, and decorating it in a most unlikely style for a modernist house to say the least, reflected Dominique’s own complex personality and her appearance. Called “the iron butterfly” in Houston, Dominique had translucent skin, was tall, but almost fragile in appearance. Her architect thought her “a mysterious woman.” Hand in hand with that, she was devout, committed to social reform, and highly intelligent. All of these mercurial attributes converged into the decoration of the house under the direction of Charles James. In another “chance encounter” an introduction to couturier Charles James, orchestrated by the de Menil’s friend the Duchess of Gramont, Maria Ruspoli, resulted in the alchemy of a potent mix-the mercurial James as interior decorator for the Philip Johnson designed house. Having rejected Johnson’s own interior design suggestions, John de Menil (Jacques had been anglicized) suggested Dominque contact James-who was her favorite designer. Charles James’ only decorating project is de Menil house. He provided Dominique with the “voluptuousness” she sought, and the results were staggering, but not without woes. In an interview she revealed, “Charlie was impossible. But all that mattered was that he was a genius.” James’s sculptural gowns had become a part of her wardrobe and he approached the house

“Works of art are like people. They either talk or they’re mute. It depends on what surrounds them. They never tell you something if they are in the cold.”

Mixing his own paint colors, James created Menil Gray for a wall in the living room. Max Ernst Return of la Belle Jardinière hangs on the Menil gray wall, and an octagonal ottoman planned by Dominique de Menil, floats on polished black floors, a certain Jamesian couture touch. A James designed chaise longue followed James approach to couture, with color punctuating the details of a line.

LEFT:

O P P O S T I E : Charles James’ Butterfly sofa was designed for the house. Dominique said it “drove upholsterers wild.” Three years in the making, James gave Dominique the “voluptuousness” she was looking for. The subtle play of the curving lines was present in all of James blatantly sexual 1950’s evening gowns. Upholsterers came and went, with the last one finally getting the sofa upholstered properly.

FLOWER ARRANGING THE ART OF FLOWER ARRANGING Paula Pryke Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-4895-9 $45.00 Can: $45.00, UK: Â£50.00 8.25 x 9.75 inches 288 pages 350 color photographs Rights: US, Can, Latin America For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity (212) 387-3465 psommers@rizzoliusa.com

bright and The inspiration for a bright arrangement can come )520 75<,1* 72 (92.( $ 7+(0( 25 )520 7+( B2:(56 25 $&&(6625,(6 7+(06(/9(6 /29( (;3(5,0(17,1* :,7+ &2/285 $1' %5,*+7 &20%,1$7,216 2)7(1 *(7 ,163,5$7,21 )520 1$785( 25 :+(1 $0 $7 $ B2:(5 0$5.(7 7+(5 7,0(6 ,7 0,*+7 &20( )520 $57 7(;7,/(6 25 (9(1 )520 7+( )$6+,21 6+2:6 20( 9$5,(7,(6 2) B2:(56 $5( ,163,5$7,21$/ $6 7+(< &20( ,1 62 0$1< &2/2856 25 6+$3(6 +(6( 2)7(1 /22. *5($7 0,;(' 83 ,1 6,1*/( 9$5,(7,(6 /29( (50,1, gerberas, tulips, dahlias, carnations, poppies, ranunculus $1' 526(6 )25 7+(6( '(6,*16 7+(56 /22. %(77(5 :,7+ 620( A//(56 $1' +$9( 72 6$< /,.( 72 0,; %5,*+7 &2/2856 with acid greens like Alchemilla mollis or green dill, Anetheum graveolens ) <28 +$9( $ /,0,7(' %8'*(7 7+(1 you can get a lot of mileage out of chrysanthemums, which come in a kaleidoscope of colours and sizes, and $/62 526(6 +( -(//< %($1 $55$1*(0(17 6+2:1 23326,7( ,6 ($6< 72 &5($7( )520 B2:(56 7+$7 $5( $9$,/$%/( $// <($5 5281' (50,1, *(5%(5$6 $5( 68&+ $ B2:(5 $1' +$9( $ +8*( &2/285 5$1*( 7+(5:,6( *2 )25 $ 6($621$/ B2:(5 68&+ $6 78/,36 ,1 635,1* 25 $+/,$6 ,1 $87801 Right ? (5758'( (.<//@ 526(6 +$9( %((1 0,;(' :,7+ Thlaspi ? 5((1 (//@ $1' ?#(//2:'$<@ :,7+ ? 35,&27@ 526(6 $1' *(5%(5$6 0$// */$66 780%/(56 +$9( %((1 :5$33(' :,7+ ? /$&. ($@ /($9(6 $1' '(&25$7(' :,7+ 5,%%216 $1' :,5(' 3($5/6 +( '$5. /($9(6 &2175$67 :,7+ 7+( %5,*+7/< &2/285(' B2:(56 Opposite above Icelandic poppies grown in Italy are $5281' ,1 7+( 9(5< ($5/< 635,1* +(,5 -2<)8/ &2/2856 $5( *5($7 72 86 21 0$66 (5( $ &</,1'(5 2) 7+(0 +$6 been placed inside a bowl to create an area to mass dried pulses and beans, which tone with the brightly &2/285(' 3233,(6 233,(6 1((' 72 %( 6($5(' :,7+ $ 1$.(' B$0( :+(1 7+(< $5( 5( &87 Opposite below (:(/ &2/285(' -(//< %($16 :(5( 7+( ,'($ %(+,1' 7+,6 $//2:((1 B2:(5 $55$1*(0(17 Roses and brightly toned chrysanthemums are handtied into a dome and placed into a cylinder inside the bowl where a void has been created for the sweets so they will not get wet and can later %( &21680('

254

natural greens

2/,$*( ,6 68&+ $1 (66(17,$/ ,1*5(',(17 72 0< &2/285)8/ B2:(5 $55$1*(0(176 86( *5((1 72 721( '2:1 &2/2856 72 0$.( 7+(0 %5,*+7(5 25 -867 *(1(5$//< 72 0$.( $1 $55$1*(0(17 +$5021,286 ) 620(21( 35(6(17(' 0( :,7+ $ 5($//< ',)A&8/7 &2/285 &20%,1$7,21 21( 7+$7 ',' not really work that well together, it would be by the &/(9(5 86( 2) )2/,$*( 7+$7 &28/' %/(1' 7+( &2/2856 also like to use more than one type of foliage in most $55$1*(0(176 72 0$.( 7+( 29(5$// ())(&7 025( 1$785$/ However, of course there are occasions when I donâ&#x20AC;&#x2122;t 86( $1< )2/,$*( $7 $// $5. *5((1 */266< )2/,$*( 721(6 '2:1 &2/285 $6 '2(6 '$5. 5(' 25 %85*81'< +( /,0( greens add zing and make the combination brighter $1' )5(6+(5 5(< $''6 '(37+ $1' &$1 %( 9(5< 86()8/ ,1 $'',1* 7(;785( 722 !$5,(*$7(' )2/,$*( :+,&+ ,6 2)7(1 creamy or yellow I am wary of, as it interferes with the ,03$&7 2) 7+( &2/285 868$//< 67((5 &/($5 2) 9$5,(*$7(' unless I am making an all-foliage arrangement, or when )2/,$*( ,6 6&$5&(5 ,1 7+( :,17(5 0217+6

Above ,;(' +(5%6 $5( *5($7 )2/,$*(6 for the summer months, adding scent $1' )5$*5$1&( $6 :(// $6 /22.,1* *22' Right â&#x20AC;&#x2DC;Hidcoteâ&#x20AC;&#x2122; lavender is one of my )$9285,7(6 $6 ,7 +$6 '$5. %/8( B2:(56 $1' $ &/($5 67521* 6&(17

This page Spiky eryngium is a *5($7 6,/9(5 B2:(5 7+$7 5($//< $''6 7(;785( $1' 0$.(6 $1 impact when arranged with 27+(5 B2:(56

using

yellow ranunculus

This page This natural-looking spring wreath ,6 $55$1*(' ,1 $ */$66 '28*+187 %2:/ +( corkscrew hazel has been wound into the %2:/ 72 &5($7( $ )5$0( 72 &$55< 7+( B2:(56 Parrot tulips and ranunculus have been 7+5($'(' 7+528*+ 7+( 7:,* )5$0(:25.

This page This fresh grouped %2848(7 ,6 )8// :,7+ 3/803 %8'6 :$,7,1* 72 %8567 23(1 (5( yellow ranunculus have been used with double peony tulips, scented Mahonia aquifolium <(//2: ? ,&. ",/'(1@ Narcissus, and the cream and orange centred Narcissus ? (5$1,80@

@ "

129

10 best blue 0,'6800(5 B2:(56 1 Eryngium â&#x20AC;&#x2DC;Supernova Questarâ&#x20AC;&#x2122; Spiky eryngium makes a lovely 7(;785$/ A//(5 )25 $55$1*(0(176 %87 it is also very effective when it is 86(' 21 0$66 $/21( ? 83(5129$@ +$6 7+( /$5*(67 +($'6 ? 5,21 8(67$5@ :+,&+ ,6 9(5< '(/,&$7( $1' 7+( 0,' 6,=( +($' 2) ?!(*$5 8(67$5@ $5( )$9285,7(6

Muscari armeniacum â&#x20AC;&#x2DC;Blue Spikeâ&#x20AC;&#x2122; (/,&$7( %87 '(/(&7$%/( (9(5<21( delights at the sight of grape +<$&,17+6 ? /8( 5($0@ ? /8( <(6@ ? /8( 7$5@

7 Lavandula angustifolia â&#x20AC;&#x2DC;Hidcoteâ&#x20AC;&#x2122; Lovely dark blue variety of Lavender 7+$7 60(//6 ',9,1( ? 8167($'@ ,6 $127+(5 &20021 9$5,(7< ? /%$@ ,6 7+( :+,7( 9$5,(7<

3 Nigella damascena "+2 &$1 5(6,67 7+( '(/,&$7( $1' romantic love-in-a-mist? It works well with sweet peas, astrantia and Alchemilla mollis

8 Veronica â&#x20AC;&#x2DC;Dark Martjeâ&#x20AC;&#x2122; 3,.< '$1&,1* B2:(5 7+$7 /22.6 good in arrangements and hand ties $6 $''6 029(0(17 ? 11$@ ,6 3,1. $1' ? $<$@ ,6 :+,7(

4 Myosotis sylvatica ,*1,A&$17 '(/,&$7( B2:(5 :+26( common name forget-me-not makes ,7 $1 (027,21$/ )$9285,7( Myosotis sylvatica ?!,&725,$ /8(@ Myosotis

9 Scilla sibirica ",/' B2:(5 7+$7 /,.(6 $ 6+$'< 6327 %87 &8/7,9$7(' $6 $ &87 B2:(5 ,1 7+( (7+(5/$1'6

10 Aconitum â&#x20AC;&#x2DC;Sparkâ&#x20AC;&#x2122;s Varietyâ&#x20AC;&#x2122; Monkshood has spires of deepest 3853/( B2:(56 ,6 $9$,/$%/( $6 $ &87 5 Hydrangea macrophylla B2:(5 7+528*+287 7+( <($5 %87 ,6 $5*( 023 +($'6 0$.( 7+,6 B2:(5 $ $1 $87801$/ B2:(5 ,1 7+( *$5'(1 (:$5( ,7 ,6 (;75(0(/< 32,621286 great bloom for large arrangements Aconitum 25 0$66(' 21 ,76 2:1 carmichaelli, Aconitum napellus ? /8( 211(7@ $1' ? /8( ,7@ 6 Echinops bannaticus â&#x20AC;&#x2DC;Blue Globeâ&#x20AC;&#x2122; 5(<,6+ %/8( 63,.< */2%( 7+$7 0$.(6 $1' ,17(5(67,1* B2:(5 ,1 $ supporting role or on its own in an $5&+,7(&785$/ '(6,*1 ? $3/2: /8(@ ?!(,7&+@6 /8(@

summer mauves +(5( $5( $ /27 025( 0$89( $1' /,/$& B2:(56 $9$,/$%/( ,1 7+( 6800(5 %87 0$1< 2) 7+(6( B2:(56 $5( 48,7( '(/,&$7( $1' $5( 127 3$57,&8/$5/< /21* /$67,1* 62 7+(< 7(1' 72 %( 86(' 025( )25 :('',1*6 $1' (9(17 :25. 7+$1 (1',1* 83 )25 6$/( $6 &87 B2:(56 $1< 0$89( B2:(56 $5( 48,17(66(17,$//< 1*/,6+ $1' $5( 7+( 7<3( 2) B2:(56 <28 A1' ,1 7+( %25'(5 2) 7+( *5$1' *$5'(1 25 /,1,1* 7+( 3$7+6 2) $ &28175< &277$*( 83,16 )2;*/29(6 )5,77,/$5,$6 $//,806 $1' 75(( /,/$& $5( 620( 2) 0< )$9285,7(6 25 60$// $55$1*(0(176 6:((7 3($6 $1' 0(0%(56 2) 7+( 6&$%,286 )$0,/< $5( 3(5)(&7 /29( 0,;,1* 6$/9,$ $1' 9(521,&$ :,7+ B2:(5,1* 0,17 $1' ',// 25 Ammi majus Best mauve colour combinations

Mauve works with any colour and supports any colour &20%,1$7,21 /29( 86,1* ,7 :,7+ /,0( *5((1 '$5. 3,1. $1' 3853/( :+,&+ 1(9(5 )$,/6 72 3/($6( 0( 48$//< ,7 &$1 :25. well with yellow, but this is a more dramatic combination 2) &2/2856

+( %(67 /,/$& B2:(56 72 *52: $7 +20( )25 &877,1* $5( 6:((7 3($6 9(521,&$ 6$/9,$ B2:(5,1* 0,17 526(6 $1' 2) &2856( '$+/,$6 )25 /$7( 6800(5 $1' ,172 $87801 (/3+,1,806 echinops, eryngiums /83,16 &251B2:(56 larkspur and scabious are all easy to grow and make good &877,1* B2:(56 7+528*+ 7+( 6800(5 6($621 $'25( B$* iris too but I rarely pick them as they last so much better ,1 7+( *$5'(1 $9(1'(5 ,6 $ 0867 )25 0( %27+ )25 7+( 6&(17 $1' $/62 $6 7+( %((6 /29( ,7 :2 526(6 $'25( $5( ? 22'< /8(@ $1' ? +$362'< ,1 /8(@ Left Scabiosa caucasica ,6 $ 67811,1* 6800(5 B2:(5 Opposite A %($87,)8/ 6&(17(' %$6.(7 2) 0$89(6 6:((7 3($6 :,7+ -$60,1( veronica, thlaspi, spray roses and green Viburnum opulus 25 *8(/'(5 526(6

102

You will need $ B87(' 67(00(' */$66 9$6( a straight-sided glass vase 400g of sherbet discs sweets 7 Rosa ? :((7 9$/$1&+(@ 7 Rosa ? 5,0$ 211$@ 7 Rosa ?!(56,//$@ 20 Scabiosa caucasica ? 7$)$@ 5 stems of Hydrangea macrophylla ? &+1((%$//@ 7 stems of ? $5,$&+, /8(@ 7 stems of ? &+2 +$03$*1(@ 7 stems of green dill (Anethum graveolens) 10 stems of Alchemilla mollis $ 3$,5 2) B25,675< 6&,66256 $ 52// 2) B25,676 %,1' :,5(

pretty pastel posy /$66:$5( ,6 62 9(56$7,/( $1' )25 %,57+'$<6 $1' %$5 0,7=9$+6 $'',1* 6:((76 72 7+( 9$6( ,6 $ )$,5/< ,1(;3(16,9( :$< 2) 0$.,1* $ %(632.( &217$,1(5 7+$7 &$1 %( (1-2<(' $)7(5 7+( (9(17 +( 3$67(/ &2/2856 2) 7+( 6+(5%(76 3529,'( 7+( ,163,5$7,21 )25 $1 81868$/ &2/285 &20%,1$7,21 25 025( '5$0$7,& &2/285 &20%,1$7,216 /,.( 72 86( -(//< %($16 25 6

2 1 Place a few sherbet discs into the bottom of the vase and then place the straight sided */$66 9$6( ,172 7+( B$5(' 9$6( $1' A// 7+( *$3 %(7:((1 7+( 7:2 9$6(6 :,7+ 6:((76

246

3 2 Strip away any leaves of the /2:(5 67(06 2) 7+( B2:(56 $1' )2/,$*(6 3,5$/ 7+( 67(06 ,172 $ +$1'7,(' %2848(7 +,6 0($16 arranging your stems at an angle in the same direction around one &(175$/ 67(0 :,67 7+( %81&+ ,1 your hands turning so that you work on all sides and the bunch ,6 :(// %$/$1&('

3 87 $ /(1*7+ 2) B25,676@6 %,1' wire to secure the stems and trim all the stems to the same /(1*7+ $5()8//< A// 7+( ,11(5 vase with water, taking care not to let any drip onto the delicate sherbet sweets, then place the hand-tied arrangement in the ,11(5 9$6( 72 A1,6+

This page Lily-of-the-valley arranged ,1 $ 7(67 78%( 5,1* +,6 '(/,&$7( B2:(5 looks best arranged on its own so you can appreciate the green leaves and bell 6+$3(' B2:(5 +($'6

This page Two layers of hellebores arranged as if growing, in a holistic style 2) B2:(5 '(6,*1

classic

green and white

the calming

power of green

"( $// .12: +2: :21'(5)8/ ,7 )((/6 :+(1 635,1* 81)2/'6 $1' 7+( /($9(6 $1' *5$66(6 67$57 72 %8567 )25:$5' $1' B285,6+ 5((1 ,6 68&+ $ 6227+,1* &2/285 $1' 62 9,7$/ 72 285 /$1'6&$3( $1' :(// %(,1* 1 0< 2:1 :25. )2/,$*( ,6 68&+ $1 ,03257$17 &20321(17 20(7,0(6 ,7 ,6 7+( %$&.*5281' &2/285 > 7+( 6833257,1* 52/( 72 7+( B2:(56

soothing

25 620( '(6,*16 86( *5((1(5< 72 /,7(5$//< 6833257 7+( B2:(56 $6 7+( 0(&+$1,&6 )25 $1 $55$1*(0(17 25( 2)7(1 86( 7+( &2/285 :,7+,1 7+( )2/,$*( 72 &5($7( $1 ())(&7 $5. *5((1 */266< 25 %85*81'< leaves tone down colours, whereas acid green makes everything /22. )5(6+(5 $1' %5,*+7(5 6 $ 58/( /,.( 72 86( 7+5(( 7<3(6 2) )2/,$*( ,1 0,;(' $55$1*(0(176 $6 7+$7 868$//< 0$.(6 7+( $55$1*(0(17 /22. 025( 1$785$/ 7 2)7(1 ,1&/8'(6 $ %(55< 25 620( )58,7,1* )2/,$*( 25 0$<%( %/26620 ,1 7+( 635,1* /22. )25 620(7+,1* 7(;785$/ $1' 620(7+,1* 6($621$/ 72 :25. :,7+ 7+( B2:(56 $1' 6+2: 7+(0 2)) 72 7+(,5 %(67 $'9$17$*( !$5,(*$7(' )2/,$*( ,6 *(1(5$//< 21/< 86(' ,1 :,17(57,0( :+(1 B2:(56 $5( 6&$5&( !$5,(*$7(' )2/,$*( 7(1'6 72 ',/87( &2/285 25 &203(7( :,7+ ,7 62 ,7 1(('6 72 %( 86(' :,7+ &$87,21

6 *5((1 ,6 68&+ $ 6227+,1* &2/285 $1' 62 3238/$5 7+(5( +$6 %((1 $1 ,1&5($6( ,1 7+( 180%(5 2) 1(: *5((1 B2:(56 +<%5,',=(' $1' &8/7,9$7(' 1 ($5/< 635,1* 0< )$9285,7(6 $5( +(//(%25(6 25 ? 83(5*5((1@ 3$5527 78/,36 $7(5 ,1 7+( <($5 :( +$9( ? 20 20@ *5((1 5$181&8/86 and also a Dianthus ? 5((1 5,&.@ :+,&+ ,6 $ 6:((7 :,//,$0 7+$7 +$6 12 B2:(56 $1' 62 ,7 $33($56 $6 0266 21 $ 67(0 Molucella, or bells of 5(/$1' +$6 /21* %((1 $ )$9285,7( 2) B2:(5 $55$1*(56 $1' Alchemilla mollis :,7+ ,76 B8))< /,0( *5((1 )2/,$*( ,6 $ *5($7 A//(5 +(5( $5( /276 2) :21'(5)8/ *5((1 526(6 ? 0(5$/'@ ? $'(@ $1'?",0%/('21@ $5( -867 $ )(: 25 025( $5&+,7(&785$/ ',63/$<6 *5((1 */$',2/, /,0( *5((1 $1*(522 $:@ 25 ? 5((1 2''(66@ &$//$ /,/,(6 $5( )$%8/286 1 7+( *$5'(1 ,1 /$7( 6800(5 /,.( 7+( *5((1 =,11,$ ? 19<@ 25 *5((1 251$0(17$/ &$%%$*(6 $1' 6('80 &87 %()25( ,7 78516 3,1. :,7+ 7+( '$+/,$ ? $50$ (5(1$ @ Opposite (//(%25(6 ? $59,1*721 ,0(@ Right +( /$7(5 B2:(5,1* ? $85((1@ 78/,36 :,7+ *5((1 +$=(/ &$7.,16 $1' 7+( grey-green spiky Tillandsia xerographica

> 6 2 2 7 + , 1 * * 5 ( ( 1 6

235

colours of

the yellow palette #(//2: ,6 7+( +$33,(67 &2/285 $1' 21( :( 7851 72 :+(1 :( 5($//< 1((' 72 &+((5 2856(/9(6 83 +( -2< 2) $ 9$6( 2) 7+( A567 '$))2',/6 ,1 7+( :,17(5 $)7(5 (1'/(66 6+257 $1' *5(< '$<6 ,6 ,00(16( 25 0( 635,1* ,6 21( 2) 7+( .(< 7,0(6 72 (1-2< <(//2: $1' /,.( 0,;,1* ,7 :,7+ 3853/( $1' %/8( 25 0,;,1* ,7 :,7+ 27+(5 35,0$5< &2/2856 68&+ $6 5(' #(//2: &$1 %( $ &+$//(1*,1* &2/285 72 86( $7 ,76 %5,*+7(67 $1' 0267 ,17(16( 7 &$1 +2/' ,76 2:1 :,7+ :+,7( :+,&+ 2)7(1 $92,' $6 ,7 &$1 %( 722 $77(17,21 6((.,1* 2:(9(5 7+,1. :( $// /29( <(//2:@6 62)7(67 3$/(77( 2) &5($0 +$03,21(' %< 2&2 +$1(/ 62)7 &5($0 B2:(56 68&+ $6 *$5'(1,$ 25 0$*12/,$ B2:(56 $5( 758/< 7+( crĂ¨me de la crĂ¨me Opposite /8( $1' <(//2: ,6 $ /29(/< &+((5)8/ 635,1* &20%,1$7,21 5$1&+(6 2) <281* weeping willow have been used with grey Brachyglottis ? 816+,1(@ %/8( +<$&,17+6 muscari and veronica with purple lilac and yellow narcissus ? 2/(,/ @ 5@ Below and right 81&+(6 2) 60$// 635,1* B2:(56 +$9( %((1 +$1'7,(' 72 &5($7( 7+,6 5,1* ())(&7 ,1 $ */$66 '28*+187 %2:/ +( :+,7( B2:(56 $5( 612:B$.(6 Leucojum aestivum, 0$66(' :,7+ ? (5$1,80@ $1' ? $5/721@ narcissus with purple violas and blue muscari

This page Salvia nemorosa ? $5$'211$@ <(//2: Achillea ? 2216+,1(@ /,0( *5((1 Viburnum opulus, red Achillea ? $35,.$@ $1' 52:6 2) ? $5$+ (51+$5'7@ 3,1. 3(21,(6 0$.( 7+,6 /,9(/< 7$%/( &(175(

'',1* lime green to any colour scheme makes the other colours more ,17(16( $1' )5(6+ This is a bold colour scheme and the addition of the acid yellow evokes a happy 2&&$6,21

Subtle pastel pinks, creams and yellows work well together and create a very feminine &2//(&7,21

This page Pale pink tulips, white sweet peas, honeysuckle, dill and $67,/%( 0$.( 7+,6 B8))< 635,1* %81&+ whose colours were inspired by the &21)(&7,21(5< 86(' ,1 7+( 9$6(

the pink palette

Top row from left Pale pink sweet peas, Prunus cerasifera ? ,*5$@ (5%(5$ ? ,1. ,66@ 63,.< &+5<6$17+(080 ? /%586 ,1.@ Bottom row from left Camellia japonica ? (33(50,17@ ? 21$7(@ $17+85,80 ? $5$+ (51+$5'7@ 3(21< &+5<6$17+(080 ? +(66,1*721 ,/$&@

My love affair with the colour pink started in childhood and has endured $1' ,17(16,A(' $6 +$9( 0$785(' 7 ,6 67,// 0< )$9285,7( &2/285 $1' +$6 $ 9(5< :,'( &2/285 63(&7580 )520 7+( 3$/(67 6+(// 3,1. 72 7+( /28'(67 )8&+6,$

Top row from left: Zinnia '$+/,$ ? 1(67$@ Rosa@ (5758'( (.<//@ &/(0$7,6 ?!,//( '( ,21@ Bottom row from left: Ornamental kale Brassica oleracea ? 26( 5$1(@ 5$181&8/86 ? /221(<@ Gloriosa rothschildiana, *(5%(5$ ? (5(1$@

lavender basket, two colourways 1

520 81( 72 /$7( 8*867 7+(5( ,6 868$//< $ *22' 6833/< 2) &87 /$9(1'(5 and until it starts to drop it makes a wonderful decoration for bunching and tying onto a metal frame or using double-sided tape for a glass or 3/$67,& &217$,1(5 ((3 ,7 /22.,1* 1$785$/ 25 $'' $ 6(/(&7,21 2) %5,*+7/< &2/285(' B2:(56 )25 $ &203/(7(/< ',))(5(17 /22.

5 2

*5((1(5< /$9(1'(5 %$6.(7 You will need a sturdy wire basket $ %/2&. 2) B25$/ )2$0 5 bunches of lavender 20 stems of Alchemilla mollis 67(06 2) B2:(5,1* 0,17 5 stems of Eryngium ? ,5,86 8(67$5@ $ 52// 2) 5,%%21 25 5$)A$ scissors

1 $7+(5 <285 0$7(5,$/6 86(' $ wirework basket, but you can also use a wicker one, provided it has an open weave so you can tie in 7+( /$9(1'(5 67(06 ,9,'( <285 /$9(1'(5 ,172 1($7 %81&+(6 5,0 620( 2) 7+( %81&+(6 62 7+( B2:(56 5,6( $%29( 7+( 723 2) 7+( %$6.(7 ,( ,1 3/$&( :,7+ 5,%%21 25 5$)A$ 87 other bunches and place them onto 7+( %$6.(7 $7 ',))(5(17 +(,*+76

2 Continue until the whole basket ,6 &203/(7( 2//2: 7+( 6+$3( 2) 7+( chosen container â&#x20AC;&#x201C; this one curves up to the handles â&#x20AC;&#x201C; so that it looks :(// &29(5(' $1' +$6 $ /86+ ())(&7

multi-coloured basket

1-5 2//2: 67(36 72 $6 )25 7+( 5((1(5< $9(1'(5 $6.(7 $%29(

6 $1 $/7(51$7,9( 72 7+( 087(' greens and purples you can choose bright pinks and whites to lift it to $127+(5 /(9(/ You will also need 15 stems of Leucanthemum ; 683(5%80 ?",55$/ 835(0(@ 20 stems of garden roses 20 stems of Scabiosa caucasia ? 7$)$@ a few stems of clematis a few sweet peas

3 Line the basket with some heavy plastic and then place a block of )2$0 ,1 7+( &(175( #28 0$< 1((' more than one, depending on the size of your basket, as you must make sure your block is as high as the top of the lavender to create 7+( ())(&7 2) 7+( )8// %$6.(7

4 '' 7+( 635,*6 2) Alchemilla mollis $1' 7+(1 7+( B2:(5,1* 0,17 Place every stem as if it is coming from the same central point of the $55$1*(0(17 +,6 *,9(6 $ 1$785$/ )((/ 72 7+( B2:(56 5 ,1$//< $'' 7+( eryngium â&#x20AC;&#x201C; at this point you should not be able to see $1< 2) 7+( *5((1 B2:(5 )2$0

6 '' 7+( B2:(56 (9(1/< 29(5 7+( %$6.(7 '277,1* 7+( ',))(5(17 &2/2856 Leave those with weaker stems, such as the clematis and sweet peas, 72 7+( (1' #28 :,// 1((' 72 3/$&( your hand close to the foam and 386+ ,1 7+( 67(06 9(5< &$5()8//< 6

IN FULL FLOWER Inspired Designs by Floral’s New Creatives Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com

IN FULL FLOWER Inspired Designs by Floral’s New Creatives

ISBN: 978-0-8478-5869-9 $45.00 Can: $60.00 8½ x 11 inches 224 pages 300 color photographs Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity T. (212) 387-3465, psommers@rizzoliusa.com

Gemma + Andrew Ingalls

Cium eat aut pedictibus volum ut eos nulpa in raectem quidelibea dolecta quaeprem faceped que consed unt et que cuptus inullent remOtrum nos facierox sultus nessedeesi se di publis horbis. Sentem senatru defacibus cone iacerfec

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141

169

179

201

Gardens Of Beauty Italian Gardens Of The Borromeo Islands Photographs by Dario Fusaro Mondadori Electa Via Battistotti Sassi 11/A Milano, MI 20134 www.electaweb.it

GARDENS OF BEAUTY ITALIAN GARDENS OF THE BORROMEO ISLANDS PHOTOGRAPHS BY DARIO FUSARO

ISBN: 978-8-89-180268-2 $40.00 Can $55.00 Paperback with flaps 6,7 x 9,4 inches 272 pages 340 color illustrations Rights: worldwide For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, (212) 387-3465 psommers@rizzoliusa.com

Electa

Dior by Mats Gustafson Mats Gustafson Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-5953-5 US: $95.00, Can: $130.00 Hardcover, 11.5 x 14.5 in., 204 pages, 130 illustrations Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity T. (212) 387-3465, psommers@rizzoliusa.com

129

133

FASHION FORWARD 300 Years of Fashion Text by Pierre Berge, Olivier Gabet, Pamela Golbin, and Denis Bruna Rizzoli Publications 300 Park Avenue South New York, NY 10010 www.rizzoliusa.com ISBN: 978-0-8478-5977-1 $65.00 Can: $85.00 HC, 9 1/4 x 11 3/4 inches 280 pages 300 color and b/w images Rights: World English For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

Robe de jour 1830–1835

Datée des années 1 830-1835, ce e robe d’été en linon blanc est remarquable car représentative d’une silhoue e d’une grâce et d’un esprit particulier : taille « guêpée », manches gigots à l’ampleur démesurée et volumineuse jupe cloche. Si le s le romantique s’est progressivement cristallisé dans la mode de la fin des années 1820, ce e toile e est aussi héritière des robes de mousseline, linon et batiste blanc brodés de la fin du XVIIIe s iècle et de l’Empire. En effet, la broderie florale au plumetis exécutée à l’aiguille, traditionnellement réalisée à Paris ou à Nancy, orne alors de nombreuses pièces de costume et de lingerie : berthes, fichus, cols… Paraître évanescente mais élégante : la gracieuse femme romantique incarne un idéal féminin personnifié en 1832 par la danseuse Marie Taglioni, qui triomphe dans le ballet La Sylphide pour la première fois vêtue d’un costume blanc fortement juponné, ancêtre du tutu moderne. Le musée des Arts décoratifs conserve un tableau la représentant dans ce rôle-titre, peint en 1834 par François Gabriel Guillaume Lepaulle. M.-P. R.

MARIE AMÉLIE COGNIET, Portrait de Eugénie-Adélaïde-Louise d’Orléans, vers 1838, huile sur toile. Chantilly, musée Condé.

Madeleine Vionnet robe du soir, hiver 1935

Travaillant comme un sculpteur sur le vêtement, en volume, Madeleine Vionnet réinvente l’Antiquité grecque tout en répondant aux besoins de la femme moderne et active. Dans les années 1 930, elle épure son s le et bannit toute citation li érale du répertoire antique, comme elle a pu le faire durant la décennie précédente. Plutôt qu’une évolution caractéristique d’une saison à l’autre, elle propose un néoclassicisme défini par la variation maîtrisée d’un répertoire des drapés et des panneaux d’étoffe modelant le corps. Dans le cas de ce e robe du soir de l’hiver 1935, le crêpe ivoire est drapé, froncé, et le corsage asymétrique présente une emmanchure torsadée. C’est une fois qu’il est posé sur le corps que le drapé prend sa forme et trouve son équilibre. Une photographie de Horst P. Horst, publiée dans Vogue France d’octobre 1935, l’a parfaitement illustré. M.-S. C.C.

MADELEINE VIONNET, photographie de dépôt de modèle, n o 4 062, 1935, épreuve au gélatino-bromure d’argent sur papier baryté. Paris, musée des Arts décoratifs, collections photographiques.

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Gabrielle Chanel robe du soir hiver 1938–1939

Présentée dans l’exposition rétrospective « Chanel » organisée en 2005 par Harold Koda et Andrew Bolton au Metropolitan Museum of Art à New York, ce e robe du soir a son pendant similaire dans les collections du musée américain. Le magazine Vogue (février 1939, p. 21) publie le dessin de la robe, aujourd’hui conservée dans ce même musée, portée par la comtesse Madeleine de Montgomery à l’occasion de l’anniversaire de lady Mendl, avec des gants courts rehaussés de pierres de couleur. Ce e série de trois robes au motif brodé ruisselant et lumineux a été conçue par la couturière Gabrielle Chanel pour sa collection de l’hiver 1 938-1939, quelques mois avant le début de la guerre. Ce e collection coïncide avec la fin du beau monde des années 1930 que sont les soirées mondaines et brillantes d’une haute société élégante et sophistiquée. Ayant imposé son s le au cours des années 1920 et défendant un art de vivre élitiste, Gabrielle Chanel ferme sa maison de couture en 1939. Ce e pièce figure dans un ensemble de robes longues de soirée griffées Chanel données par Joëlle Despas, portées par sa mère Isabelle, née Schlumberger. Le s le ultra-féminin de ce e robe se caractérise par un corsage ajusté à bretelles, une taille de guêpe et une jupe volumineuse. La transparence et la légèreté du tulle animées par la brillance des paille es réfléchissant la lumière évoquent la citation fameuse de Chanel : « Soyez chenille le jour et papillon le soir. Il n’y a rien de plus confortable qu’une chenille et il n’y a rien de plus fait pour l’amour qu’un papillon. Il faut des robes qui rampent et des robes qui volent » (citée par Edmonde Charles-Roux, Le Temps Chanel, 1980). M.-S. C.C.

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HORST P. HORST, Coco Chanel allongée sur une méridienne, 1937, épreuve gélatino-argentique, tirage moderne. Paris, musée des Arts décoratifs, collections photographiques.

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Christian Dior ensemble de grand soir Adelaïde printemps-été 1948 Adélaïde révèle la conception de l’apparat de Christian Dior, selon laquelle les tenues s’évasent au cours de la journée pour a eindre, le soir, le comble de leur encombrement. La robe, dont la jupe s’épanouit à partir de la taille en d’innombrables replis de tulle, évoque par sa ligne les crinolines projetées du Second Empire. Le manteau est taillé dans un satin duchesse brillant ; ses manches trois-quarts de forme pagode et le très fort entoilage qui maintient ses amples basques en godets l’apparentent à un manteau de robe à la française du XVIIIe s iècle. Le nom de cet ensemble rappelle d’ailleurs la personnalité de Marie Adélaïde de France, dite Mme Adélaïde, quatrième fille de Louis XV. L’inspiration historique, la quantité phénoménale d’étoffe mise en jeu et le poids de ce e création construite comme un empilement de couches – à l’image du tutu de danse – en font une synthèse parfaite du travail de Christian Dior. « Chaussées de hauts talons, les femmes retrouvèrent un pas dansant, une démarche ondulante qu’accentuait l’ampleur des robes », commente le couturier dans son autobiographie Christian Dior et moi (1956). E. P.-P.

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RICHARD AVEDON, photographie publiée dans Harper’s Bazaar, juin 1948, p. 9 8. Paris, musée des Arts décoratifs, centre de documentation.

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Charles James robe du soir Cygne automne-hiver 1955–1956 Charles James est un couturier anglo-américain qui a fait sa carrière principalement à New York. Son œuvre s’inscrit dans l’histoire de la haute couture française en tant que précurseur et amplificateur de tendance. Il donne cependant l’image d’un créateur isolé lu ant toute sa vie contre les difficultés économiques : « La couture telle qu’on la conçoit encore à Paris n’existe pratiquement plus en Amérique où les talents de Mainbocher, de Valentine, de Charles James et de quelques autres réussissent seulement à survivre » (Christian Dior, Christian Dior et moi, 1956). L’architecture complexe de ce e création représente l’apothéose de la robe de bal. Différentes étoffes rigidifiées par des entoilages, des surpiqûres et des baleines sont tout d’abord utilisées pour constituer une carcasse intégrale, allant du bustier jusqu’au bas de la jupe. Ce e structure est ensuite recouverte de couches de tulle et de mousseline plissée, qui se répandent en cascade de drapés serrés, ou se déploient en festons et en évasements. James emploie, pour édifier ce e robe du soir, une méthode cumulant celles de Christian Dior et de Balenciaga, requérant respectivement des empilements et des volumes construits. Sa dimension factice l’apparente aux robes de la Belle Époque qui me ent en valeur la gorge, le bassin et les cuisses. E. P.-P.

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CECIL BEATON, Charles James et son modèle, photographie, 1955. The Cecil Beaton Studio Archive at Sotheby’s.

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Karl Lagerfeld pour Chloé robe du soir longue, 1971

Chloé est une maison de prêt-à-porter de luxe qui, dans les années 1960 et 1970, fait appel à plusieurs s listes, Christiane Bailly, Michèle Rosier, puis Karl Lagerfeld notamment. Pour l’inauguration de sa boîte de nuit parisienne Regineskaia, la chanteuse Régine demande à Karl Lagerfeld de lui créer une robe. Il dessine ce modèle, réalisé par les ateliers Chloé, dans un s le en rupture avec le turisme, la raideur et la monochromie des années 1 960. Ce e création est au contraire rétro, soyeuse, fluide et entièrement ornée. Lagerfeld s’inspire de l’œuvre de Gustav Klimt pour composer un décor polychrome peint à la main par la dessinatrice textile Nicole Lefort. La ligne de ce e pièce unique reprend celle des robes portées au début du XXe siècle par Émilie Flöge, la compagne du peintre sécessionniste. Cet hommage aux fastes slaves de la Mi eleuropa situe l’inspiration de la mode du début des années 1970 aux portes de l’Orient. E. P.-P.

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Kenzo ensemble de jour automne-hiver 1970–1971 Arrivé en France en 1965, Kenzo Takada dessine tout d’abord à Paris pour des journaux et des bureaux de style. Il ouvre en 1970 sa première boutique passage Vivienne, Jungle Jap, qu’il décore d’une fresque dans le goût du Douanier Rousseau. Il est le premier Japonais à présenter ses collections à Paris, notamment dans le cadre de la plateforme Créateurs et Industriels, créée par Didier Grumbach, qui tente le pari de concilier jeunes talents et fabricants. Les défilés de Kenzo sont joyeux, festifs et décontractés, à son image, toujours souriant derrière ses lunettes. Ses créations se caractérisent par l’emploi d’étoffes de provenances variées : tissus traditionnels de son pays ou imprimés fleuris qu’il associe dans un esprit folk, croisant de multiples références aux arts et traditions populaires. L’imprimé de fleurettes sur fond rouge de cet ensemble est par exemple visible en couverture de Elle (mars 1971) sur une tenue en jean mêlant un autre imprimé fleuri, décrite comme un « patchwork » et « un nouveau mélange de matière et de couleurs ». E. P.-P.

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CI-DESSUS — ANDY WARHOL, portrait de Kenzo, Polaroid, 1975. The Andy Warhol Foundation. P. 196-197 — ANTONIO LOPEZ, Café Society 1 et 2, 1975, marqueur sur papier, collages.

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Grès robe longue, printemps-été 1976

« L orsque je drape un mannequin d’une soierie, celle-ci réagit entre mes mains et j’essaye de comprendre et de juger ses réactions. Ainsi je donne à la robe que je crée une ligne et une forme que le tissu voudrait lui-même avoir », expliquait Mme Grès (Vogue UK, mars 1984). Le matériau employé, souple et fluide, est ici un jersey de soie. Finement froncé, il chute librement à l’aplomb du corps, à moins d’être retenu en forme par des points en drapé serré. Le métrage d’étoffe constitue une masse importante. Aussi, lorsqu’elle est statique, la robe évoque-t-elle le drapé mouillé antique dont s’inspirent les peintres et les sculpteurs académiques. En mouvement, elle se déploie en véritable voile. La robe souligne le dessin du corps tout en amplifiant son évolution dans l’espace. Ce e vision figurative et dynamique du volume est en complète opposition avec celle de Balenciaga – abstraite – et celle de Dior – chorégraphique –, respectivement basées sur la construction et sur la superposition. Au tombé naturel du drapé authentique, la couturière amalgame des artifices (ici, le montage de la tresse du corsage en trompe l’œil). Le travail de Grès fait donc la synthèse du classicisme de la couture d’avant guerre (de Madeleine Vionnet notamment), dont la créatrice transmet la dimension sensuelle, et des procédés de l’après-guerre, dont elle intègre les ressources de l’illusion. E. P.-P.

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P. 202-203 — GUY BOURDIN, Les robes drapées de Madame Grès, photographies publiées dans Vogue France, mars 1976. P. 200-201 — HELMUT NEWTON, Dans les salons des couturiers. Chez Yves Saint Laurent, photographie publiée dans Vogue France, mars 1977.

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Issey Miyake ensemble automne-hiver 1980–1981 « En beauté, une chose est certaine, le corps prendra de plus en plus d’importance, mais c’est son magnétisme qui comptera ! Les vêtements, les matières, les couleurs ne serviront qu’à le sublimer. Hasard ou prémonition, trois grands créateurs (Issey Miyake, Thierry Mugler, Kansai Yamamoto) ont imaginé, pour l’hiver 81, des sirènes moulées dans des “coquesbustiers”, sorte de seconde peau, vêtement qui se libère du vêtement, hymne au corps de la femme » (L’Officiel, août 1980). L’inspiration, qui cette saison porte plusieurs créateurs à revisiter l’armure, n’est sûrement pas étrangère à l’influence d’Yves Saint Laurent qui, dès l’automne-hiver 1969, avait présenté des bustiers en métal doré créés par Claude Lalanne. Cet ensemble bustier et sarouel d’Issey Miyake renouvelle cependant la vision sculpturale de la femme en soulignant l’analogie de son corps moulé avec les cuirasses guerrières. On peut en effet voir dans la coque du bustier en résine colorée le résultat d’une hybridation entre une armure occidentale aux formes anatomiques et un panneau de cuir laqué d’une tenue de samouraï. Dans l’esprit d’un échange culturel est/ouest, le créateur japonais associe en outre à ce bustier dos nu – é galement évocateur des robes du soir des années 1950 – un pantalon sarouel aux rayures multicolores. L’ensemble est donc simultanément habillé et déshabillé. Une tenue similaire, portée par le mannequin Lisa Lyon, pionnière du bodybuilding, a été photographiée par Robert Mapplethorpe en 1982. E. P.-P.

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JEAN-PAUL GOUDE, Libertango, New York, 1981, photographie peinte.

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Yves Saint Laurent smoking, printemps-été 1982

Yves Saint Laurent présente au sein de la collection automne-hiver 1966 le premier ensemble du soir inspiré du smoking – tenue masculine la plus formelle depuis que l’on ne porte plus l’habit. Le grand couturier en donne par la suite de nombreuses variations sous la forme de tailleurs-pantalons ou de tailleurs-jupes à parements en satin, crêpe ou moire de soie, noirs ou colorés, à col châle ou à col tailleur, à boutonnage simple ou croisé. Le smoking peut être porté avec ou sans blouse, mais la précision de l’épaulement et son encolure en V dessinent toujours sa carrure rectiligne. Il est proposé au sein des collections comme une alternative à la robe de cocktail ou du soir, et son caractère androgyne n’est convoqué que pour me re en valeur, par contraste, les lignes féminines. Le smoking d’Yves Saint Laurent su ère cependant une nouvelle vision du couple, homme et femme pouvant quasiment assortir leur tenue, à l’exemple d’Yves Saint Laurent et de son égérie Catherine Deneuve portraiturés par Helmut Newton en 1981. E. P.-P.

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Martin Margiela ensemble automne-hiver 1997–1998 Formé à l’Académie royale des beaux-arts d’Anvers, Martin Margiela s’est distingué des « Six d’Anvers » en choisissant Paris pour installer sa maison. Il garde de son expérience d’assistant chez Jean Paul Gaultier une prédilection pour le détournement de formes vestimentaires arché pales. Mais l’approche de Margiela, nullement narrative, tend à me re l’accent sur le concept du réemploi comme une valeur décorative. La veste et ses manches amovibles sont ici taillées dans le revêtement d’un mannequin Stockmann, du pe de ceux que l’on utilise habituellement dans les ateliers. L’apparence finale du vêtement rappelle l’étape de sa conception à partir d’un objet préexistant. La coiffure, constituée de plusieurs cols fourrés, procède du même esprit. Martin Margiela retaille en effet les vêtements d’occasion, soulignant leur beauté en les aplatissant, découpant, associant, peignant, etc., afin de questionner leur valeur patrimoniale. Le créateur donne ainsi une vision simultanée de ce que le vêtement a été, est et sera. E. P.-P.

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RONALD STOOPS, photographies publiées dans Maison Martin Margiela, Street, special edition, volumes 1 & 2, novembre 1999.

Christian Dior par Raf Simons Automne-hiver 2014–2015

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Rick Owens Printemps-été 2016

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Parisian Chic Style Secrets Ines de la Fressange With Sophie Gachet A brand new book of fashion secrets by New York Times best-selling author, and Parisienne extraordinaire, Ines de la Fressange. FASHION Textured paperback with rounded corners 160 pages 200 color illustrations 5 Â˝ x 10 in. (14 x 25 cm) ISBN: 978-2-08-020227-7 $29.95 Publication: April 2017

cover forthcoming

Parisian Chic Style Secrets KEY POINTS • BEST-SELLER POTENTIAL: This new book—penned by the New York Times best-selling author, muse, and style icon Ines de la Fressange and Elle journalist Sophie Gachet—is the perfect sequel to their 2011 smash hit Parisian Chic. • NEW MATERIAL: Ines de la Fressange shares her signature looks and style tips to show readers how to recreate her quintessential Parisian style. • PRESS DARLING: Ines de la Fressange will actively promote the book in press interviews: TV, print, online.

Parisian Chic Style Secrets Ines de la Fressange Sophie Gachet FASHION Textured paperback with rounded corners 160 pages 200 color illustrations 5 ½ x 10 in. (14 x 25 cm) ISBN: 978-2-08-020227-7 $29.95 Publication: April 2017

cover forthcoming

For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Publicity Director T. (212) 387-3465 psommers@rizzoliusa.com

The Art of Dressing Ageless, Timeless, Original Style Tziporah Salamon Rizzoli International Publications, Inc. 300 Park Avenue South New York, NY Â 10010 www.rizzoliusa.com ISBN: 978-0-8478-5852-1 $45.00 Can: $60.00 HC, 8 x 10 inches 240 pages 150 color photographs Rights: World For serial rights, images to accompany your coverage, or any other publicity information about this title please contact: Pam Sommers, Executive Director of Publicity, T. (212) 387-3465, psommers@rizzoliusa.com

THE ART OF DRESSING Ageless, Timeless, Original Style Tziporah Salamon

THE ART OF DRESSING

BEATRIX OST

Michele Oka Doner

“We live in a wonderful world that is full of beauty, charm and adventure. There is no end to the adventures that we can have if only we seek them with our eyes open.” — Beatrix Ost

We visit Beatrix in her duplex apartment in one of NYC’s landmark buildings. She greets us with a warm smile and a pot of tea. “Come in,” she beckons, as we enter the spacious living room with its huge windows and art all around, mostly done by Beatrix herself. An artist, sculptor, writer, actress and producer, Beatrix was born in Stuttgart in 1940 and in her youth studied at the Academy of Fine Arts in Munich and with the Expressionist artist Oskar Kokoschka in Salzburg, Austria. She tells us that with International Women’s Day coming up next week, someone asked her if she would be their “fierce woman”, a title that sits well with Beatrix. “I am fierce because I am truthful”, she says. “I tell it like it is. You get what you see.” Whereas her sister was ‘the beauty”, Beatrix was “the brain.” She was the one who made her father, a pessimist, laugh, the one who was praised by him for being the smart one who managed to get paid for modeling at the tender young age of 14. It was her wit that delighted this stern and aloof man who invited little Beatrix into his inner chamber where he retreated daily for an hour or two to take refuge from the hardships of a war he detested and a world gone mad. “My Father’s House”, Beatrix’s book about growing up in wartime Bavaria on a large estate peopled by family, relatives, and forced laborers came about as a result of Beatrix’s finding a stack of love letters written by her father to her mother during World War II. Her father, an officer in the army, was sent away to Africa to be City and Harbor Commander of Tuburq, Libya where he befriended the local merchants, drank coffee with them and purchased their fabulous wares which he promptly sent back home to Germany. While there, he also became friends with Field Marshal Erwin Rommel, one day telling him that this war was lost, a treasonable offense. Rommel could have easily had him executed but instead sent him home to “feed Germany”, citing a likely nervous breakdown. Hence, Beatrix, since age 3, grew up with both parents around and with being on a farm with food and shelter “all that really mattered” was available to them. This, too, is when she experienced her first shock of style. Already knowing that she preferred “figure” over “hanging” at the age of 5, she took her father’s tie and tied it around her tiny waist to make the dress her mother put 17

on her conform to her body and her taste. And when her two aunts came to visit, dressed in an American officer’s army jacket, flower in their lapels, platform heels and a rakish hat, little Beatrix knew “this is who I am going to be.” While she easily could have become a designer, she chose to become a painter instead because she knew the commercial side of fashion would totally bore her. The whole notion of what’s in and what’s out and fashion’s quick turnover does not interest her. And yet, she is considered a great style icon, being well known for her great dramatic personal style. The designers the Olsen twins named her as their inspiration for their Fall 2016 collection and she continues to inspire a new generation of designers and stylists. She is currently involved in a project called Article 22, for which she is designing jewelry and tea pots to be handmade in Laos out of war bombs. When I ask her about her sense of style, and what it takes to achieve that, she asserts that first and foremost is a sense of self. She insists that she is not a shopper, rather a collector and she keeps her clothes for years, augmenting them with the occasional newly-acquired piece. Many of her garments, including shoes and thigh-high boots are bespoke and she often wears her own designs. In fact, while we were there, her tailor came in, holding a garment bag in his hand. Beatrix favors a late Edwardian style, peplum jackets over narrow skirts, hats and turbans and ankle boots made totally her own with pieces from such avant-garde designers as Comme de Garcons, Junya Watanabe, Yohji Yamamoto and Azzedine Alaia. This morning she is wearing a lime green skirt by Ronald Shamask with hand-painted animals by the artist John Owen who also painted the floors to the entrance of the apartment. She pairs it with a black undershirt from La Perla , an Ann de Meulemeester crocodile belt and custom-made boots. On her fingers are her signature rings; two are her own designs of twigs that wrap around her fingers up to her first knuckles, tributes to the landscape where she lives on a farm in Charlottesville, Virginia. The other two were purchased for her by her husband in Venice; one features a large pearl entwined by a snake; the other a memento mori skull. On her pinky is a ring of her own design made of bomb material. In her ears are lovely hanging onyx from the 30’s and in her signature blue hair she wears a turban of Fortuny-like silk. The overall 18

Michele Oka Doner

affect is one of utter femininity, sensuality and timeless glamour. I tell her that she reminds me of a modern-day Anais Nin. Like Anais, delicate and fine-boned with an old-world charm and arresting beauty, Beatrix owns her sexuality and is not afraid of her femininity. Her whole being - from her laughter, her writings, her outfits, her artwork, her surroundings, her homes and the food she serves —exude a sensuality, a knowing, an unabashed sense of self. Beatrix Ost is one fierce woman indeed!

(previous page) We live in a wonderful world that is full of beauty, charm and adventure. There is no end to the adventures that we can have if only we seek them with our eyes open. (Below) There is no end to the adventures that we can have if only we seek them with our eyes open.

(opposite) There is no end to the adventures that we can have if only we seek them with our eyes open.

We live in a wonderful world that is full of beauty, charm and adventure. There is no end to the adventures that we can have if only we seek them with our eyes open.

Beatrix Ost

We live in a wonderful world that is full of beauty, charm and adventure. There is no end to the adventures that we can have if only we seek them with our eyes open.

Beatrix Ost

MICHELE OKA ODONER

Michele Oka Doner

(opposite) There is no end to the adventures that we can have if only we seek them with our eyes open.

Michele Oka Doner

ENRICA CARRETTI

(directional) There is no end to the adventures that we can have if only we seek them with our eyes open.

Enrica Carretti

(directional) There is no end to the adventures that we can have if only we seek them with our eyes open.

Enrica Carretti

TERRI WONG

RUTH SHUMAN