7 minute read
Joie de Vivre
Dottie Cherry applies a European point of view to decorate her classic Greek Revival Estate
Written by Bridget Williams / Photography by Andrew Kung
In describing the end result of his decades-long collaboration with homeowner Dottie Cherry, interior designer Rick Jenkins has the ability to string together superlatives so eloquently that his colorful descriptions are matched only by the vividness of the rooms we are collectively admiring. His words of praise for Cherry’s “impeccable taste,” her “wonderful sense of scale” and her discerning collector’s eye underscore their mutual admiration society.
Constructed in 1904, the Greek Revival home, shielded from the street view by a long drive, sits high on a bluff above Cherokee Park among four-acres of carefully manicured grounds; leafy vistas lend the impression that the estate is much larger. The front façade is distinguished by dramatic portieres and matching porticos on either side. Many years ago, prior to the Cherry’s ownership, the driveway to the original front entrance was removed to create a verdant lawn; one now approaches the home via the rear, which is no less grand.
A low-ceilinged foyer with a powder room on the right and the entrance to the kitchen on the left gives way to the tall-ceilinged entrance hall. One is quick to note the world-class assemblage of fine art and European antiques. Jenkins joked that the furniture is better traveled than most people. A terracotta model of the companion of Diana after Ren Fremin, 1772, at the base of the stairs is often “dressed” for parties with a colorful sari.
A terracotta model of the companion of Diana after Ren Fremin, 1772 at the base of the stairs in the stair hall is often “dressed” for parties with a colorful sari. The window treatment was inspired by the London flat of Pauline de Rothschild. The mirror above the console is by Tomas Johnson, a protégé of Chippendale. Under the frescoed ceiling is a circular rug that once belonged to Sister Parish.
Adorning the windows and door of the home’s original front entrance are drapery inspired by the London flat of Pauline de Rothschild. The unique edge treatment on the fabric was painstakingly accomplished with pinking shears. A mirror above a console on the wall that separates the entrance to the parlor and living room is by Tomas Johnson, a protégé of Chippendale. Under the frescoed ceiling is a circular rug that once belonged to Sister Parish and was purchased at auction after her death. The celebrated American interior designer remains a source of inspiration to both Jenkins and Cherry.
Each room was designed to evoke special memories. In the living room, for instance, a trip to India inspired the color of the walls. According to Jenkins, the extraordinary painted finish “feels as though you’re looking through spring foliage.” Antique pieces of note include a red Japanned gilt decorated George II bureau bookcase from the second quarter of the 18th century and a French drop-front Louis XV secretary of tulipwood with purple heart marquetry.
A trip to India inspired the lively green color of the walls in the living room.
Grand salons of Europe are brought to mind in the artful juxtaposition of colors and textures in the parlor. While one is quick to admire the end result, undoubtedly few among us would have the courage to delve into such kaleidoscopic depths. Te French Napoleon II sofa with custom fringe “looks like a petit four” by Jenkins assessment. A doorway leads to a light-filled sunroom with lovely views of the side lawn and pool area.
Grand salons of Europe are brought to mind in the artful juxtaposition of colors and textures in the parlor.
Georgian chairs, circa 1735, surround a Louie XVI table in the dining room. While I was quick to note the Fortuny fabric used for the valances on the windows on either side of the front entrance, it was not until Jenkins pointed out the utilization of Fortuny in the dining room that I realized the upholstered walls and drapery were comprised of the much-heralded fabric, first printed by Mariano Fortuny in 1921. “Certainly not something you see every day, especially in Louisville,” he added. In either corner of the room are Venetian torchieres. Once mounted on gondolas, their gilded skull details lend insight into their ceremonial funerary past. The Venetian sideboard was purchased in Florence.
The Old World-inspired kitchen is distinguished by 18th century tumbled limestone floors, rough-hewn beams and a rustic farm table. In one corner is an antique spiral staircase that leads to the second floor; Dottie spied it in Paris and had it shipped to Louisville in one piece. Though rustic in appearance, the kitchen has all of the conveniences inherent in a home of its stature, including a 10-burner Viking range. Doors lead to a sunroom, where a high-backed sofa is upholstered with Sunbrella fabric to accommodate the estate’s fourlegged inhabitants who can often be spotted here in repose.
The high-backed sofa in the sunroom adjacent to the kitchen is upholstered with Sunbrella fabric to accommodate the estate’s four-legged inhabitants.
A whimsical painting by Gaela Erwin of Mariah, Cherry’s dearly departed and favored canine companion, is located at the top of the stairs leading to the lower level, where approximately 10 years ago, a kennel was added to accommodate Cherry’s prized English Springer Spaniels. The required excavation created an opportunity to create a sunken garden with Italian flair. Floors throughout the lower level are the same limestone as that used in the kitchen. Two walls of the anteroom of the kennel as well as the grooming room are adorned with late 17th-century scenic panels from Tuscany. Hugh Hamrick, a talented artist and set designer, created complementary panels - nearly indiscernible from the originals - on the remaining walls. Casement doors in this room lead to a courtyard marked by a wisteria-covered pergola. The decomposed granite flooring is also found at the Luxembourg Gardens in Paris. Dismayed by the newness of the addition, Jenkins suggested planting Boston ivy at the foundation.
Torchieres similar in style to those in the dining room are located on the landing leading to the second floor. Through the leaded glass window, one can look out to the gardens and a monumental cast-iron statue of Diana and Endymion, circa 1850, and made by the Val d’Osne Foundry in France.
The pièce de résistance in the master bedroom is a Biedermeier cabinet that was a favored piece of Cherry’s late husband Wendell. Cream-colored striped walls and silk bedding serve as a restful counterpart to the livelier colors of the first floor. Black and white architectural drawings adorn the walls and a corona hangs over the bed. A door leads to a terrace, shaded by the branches of a mature tree.
Separating the master suite from the guest room is a cozy television room. Three of the walls (the fourth is largely windows overlooking Cherokee Park) are covered with shirred fabric that serves to buffer outside noise. Dominating the room is a curious painting by George Richard of a large group of men in top hats facing away from a row of naked women seated on a ledge above them. After learning that an acquaintance was putting the painting up for sale, Jenkins brought it to Cherry for her approval, and she was instantly enamored with it.
What would seem to most as apropos for this Greek Revival home is a cheery guest room, featuring strié yellow walls and vibrant floral needlepoint carpet with a black ground. The Louis XVI style canopy bed purportedly belonged to a Prince of Wales.
The adjacent bathroom is decidedly masculine in its appeal with green malachite-colored walls, tan marble floors and a set of four colored lithographs of soldiers by Armand Dumaresq, circa 1857.
Wallpaper depicting classic Greek motifs is found in the hall leading to the third floor. Largely the domain of the children when they still resided at home, the space is not without its treasures, as a painting by George Braque in one of the bedrooms attests.
Separated from the house by a side lawn, the pool – with its striped cabana imported from France and purchased in Palm Beach – would be a fitting backdrop for a classic Slim Aarons photograph. The all-weather wicker and iron chairs have cushions in coordinating spring green gingham check and stripes. The painted finish of the pool has been allowed to artfully weather, again lending a feeling of antiquity.
The striped cabana centered with the pool was imported from France and purchased in Palm Beach.
“What I love most about the home is that there is so much surprise,” said Jenkins. “Based on the classic Greek Revival style of the exterior, most people would expect that the interior would adhere to a traditional format. Dottie implemented her unique vision by taking a European approach to decorating.” And, one would be quick to add, she did so with plenty of verve."
