



Bear with me and my book reviews. You know that the Fall is like Christmas to those of us who love design books!
One of the more intriguing books to come out this season is Silhouette: The Art of the Shadowby art historian Emma Rutherford. I've long been drawn to these graphic visages, and I'm not alone. Think of Lulu Guinness whose logo includes a silhouette (in fact, Guinness wrote the forward to the book), or Diamond Baratta who introduced a great silhouette fabric a few years ago.
Rutherford traces the history of the silhouette all the way back to Etruscan vases that are considered to be the precursors to this graphic art form. The book explores the silhouette's popularity in 18th c. France and of course the Victorian age (those Victorians were awfully crazy for silhouettes...), and many 20th c. examples are included as well, most notably the provocative work of artist Kara Walker. Rutherford reminds the reader that silhouettes have long been created in many forms besides paper cutouts- paintings and carved and molded pieces were also favorite mediums for the silhouette.
After reading this book, I find that I now have far more of an appreciation for silhouettes; to me, they're no longer just a Victorian novelty. Is it fine art? Well, no, not really, but to dismiss silhouettes as mere decorative trifles would be quite a shame.
Roger Palmer, Lady Dorothy Bradshaigh (c. 1705–1785), life-size head, hollow-cut on blue paper, 9-3/5 inches high, Private Collection
A Jockey at Newmarket, Pringle (dated 1827), painted and bronzed on card, 3-1/2 inches high. Lidstone Collection.
The Hunt, Master Barber, aged 9 (fl. c. 1851), cut-out paper, 5 inches high, Ian Cross Collection.
(All images ©Silhouette: The Art of the Shadow by Emma Rutherford, Rizzoli New York, 2007)
This 1936 photo of a cocktail room stopped me dead in my tracks. (Yes, we can just stop the post right here. A cocktail room. How utterly fantastic and so very civilized. I'm going to call my living room a cocktail room from now on because it is where the cocktails are drunk in my home.) Everything about this room sums up what I love best: Chinoiserie; a mural; cocktails; a dark floor (perhaps linoleum or some type of composite?) with what appears to be metal inlay.
The mural was painted by Allyn Cox, famous for his murals at the US Capitol. You may also remember my post about the Peacock Mansion here in Atlanta with its Allyn Cox mural in the dining room (see below). How I wish the cocktail room photo were in color, but here is a description of the room:
A corner of a cocktail room in a house in Glencoe, Illinois, with murals by Allyn Cox. The background is pale yellow, the figures are a luminous blue-white, with black touches in hair and shoes. The room itself is done in grey, with splashes of vermilion.
Perfection. Enough said.
The dining room of the Goodrum House (aka the Peacock Mansion) with its Allyn Cox mural.
An Elegant Bride, that is. I'm sure that's news to my family. It's news to me too! Don't know who the lucky groom is either. Even better, the reception is an ode to Dorothy Draper, the Peak of Chic's favorite decorator! Oh, and Antony Todd, another Peak of Chic favorite, designed the event.
Sounds like my ideal wedding. And to think that I didn't even have to do any dating before my walk down the aisle!
(Image from Elegant Bride, Fall 2009, Jonny Valiant photographer.)
One fall book release that I have anxiously been awaiting is David Hicks: A Life of Designby Ashley Hicks. And right about now, many of you may be rolling your eyes and thinking "yet another book on David Hicks?" I realize that the Hicks revival of a few years back has run its course, so why this book?
First, this book has much more biographical information than the previous Ashley Hicks project. That book gave you a glimpse into the life of David Hicks, but this tome really fleshes out the story of how Hicks got his start and created his design empire. Hicks was certainly ambitious (perhaps one could say aggressively so), and when opportunity knocked on his door, he didn't hesitate to make the most of it. Perhaps that's not such a bad thing as we are still talking about Hicks today.
The other point I'd like to make is that Hicks' work went beyond that mod, graphic, zingy look that he is so associated with. Much of Hicks' later work is actually restrained, elegant, and even at times subdued. I think that this phase of his career is often overlooked, and it's one that should be explored by young designers.
Granted, many of the photographs included in this book appeared in Ashley Hicks' earlier book as well as many of David Hicks' own books. However, there are Hicks interiors that I have never seen before, especially those of his early career. If you are a Hicks fan, or if you collect monographs of great designers, I think this book will be a worthy addition to your collection.
The ballroom at Claridges transformed for an event by David Hicks and this then business partner Tom Parr, c. 1957.
A Hicks Parr room from the 1950s.
The Belgravia drawing room of Princess Guirey, designed by Hicks in the 1950s.
One end of the Long Gallery at Baronscourt, the seat of the Duke of Abercorn, c. 1978.
(All images © David Hicks: A Life of Design by Ashely Hicks, Rizzoli, 2009.)
Want to know a secret? I love mirror. I love mirrored walls, mirrored doors, mirrored screens, mirrored furniture, and mirrors on a wall. (I don't, however, do mirrored ceilings.) Am I a narcissist? Do I like to admire my reflection? Well, no. OK, so maybe a little.
What I'm drawn to most is mirror that has something interesting going on. Think smoked or antiqued mirror or better yet verre églomisé. And mirror that has been incorporated into a room's architecture really pushes me over the edge- in a good way. What I find a shame is that so few artisans or designers are doing unique things with mirror today. (An exception is my friend Ray Goins who is a master at verre églomisé, but that's a post for another day.) Back in the 1920s, 30s and 40s, mirror really was the height of sophistication, and the imaginations of furniture craftsmen, architects, and designers knew no bounds when it came to using it. Take, for example, this door:
Now, a door like this could not have been in the apartment of a milquetoast. Instead, it graced the New York apartment of screen legend Gloria Swanson circa 1928. I can't quite figure out where the door actually is or how it opened, but that's not the point. The mirrored panels were outlined in steel molding, and in the middle was an electric fountain backed with a bright gold niche. Yes, the fountain shows questionable taste, but hey, it was Gloria Swanson. And you have to admit it was pretty creative.
Above is an outdoor ballroom designed by Nancy McClelland, a very talented and prominent designer whose name has been somewhat forgotten through time. That rather rotund fountain, the shell above the door, and the stylized tree were all made from mirror mosaic. This is really pretty fantastic. Gaudy? A bit. Do I want it on my balcony? No. But can you just imagine how this outdoor ballroom looked at night with guests attired in dinner jackets and satin bias-cut gowns, champagne coupes in hand, dancing among the mirrored decorations? Now tell me, when have you seen anyone go to this much trouble lately to do something different?
OK, so this example above might be more to your taste. A bedroom in Paris c. 1936 in which the door and window frames, the radiator covers, and tables were covered in mirror. I'm not so crazy about the commodes (or are they the radiator covers?) with the strips of mirror on them, but that door...perfection. That was some glamorous architecture!
And finally, a dining room from 1941. The mirrored fluted pilasters framed panes of mirror. The diamond inset behind the clock was a nice touch.
If mirroring walls, doors, and radiator covers seems a bit complicated, you could always buy a mirrored screen like the one at top, available from David Duncan Antiques. It's obviously not the type of mirror in which to preen, but it looks pretty smashing nonetheless.