A quote from Robert Sackville-West (from British House & Gardens, June 2010) regarding the style of Knole, his family’s ancestral home:
“During two years of total immersion in the place, I have come to realise that whatever you do, you have to respect-and not fight against-that feel Knole has of fading magnificence, that magic which smolders rather than sparkles.”
Now, the majority of us will not be able to learn that lesson from inhabiting our own homes, where , perhaps, there is more fading than magnificence, but it is rather a nice thing to ponder, and maybe even experience, by letting things be.
Interesting fact!!!! Knole is one of England’s “calendar” homes, with 365 rooms, 52 staircases, and 7 courtyards.
In 1982 the Brooklyn Museum mounted an exquisite exhibit from their holdings of the couture apparel of Charles James. A solitary genius who lived and died in the Chelsea Hotel, James employed breathtaking construction to create the most glamorous and startling of silhouettes. What was also self-evident from the exhibit was his astonishingly unusual, slightly off, yet perfectly pitched sense of color. To my mind no clothing designer has ever come close to him, perhaps his palette could only be compared to some Renaissance palettes. The colors are never obvious and never used to simply flatter. Instead he mixed color for a subtle effect to intimate an arcane sophistication and also to suggest something just a tiny bit evil, a whiff of Les Fleurs du Mal. The colors are a teensy bit bitter and the combinations work a sense of tension and dark power. Even when using black and white he just had to add a certain dirty quality; The iconic gown below mixes pure black velvet with a slightly grayed beige silk faille, a particular color that creates a certain imperfect foil to the black.
Creating a room is a lot like creating a painting. Each dab of color creates a need or a hint or suggestion for another. One can play with the eye by pressuring it to accept that an orange is more coral when set next to a blue red. Mixtures of warm and cold, especially in the blues can be startling. Think mixing Yves blue with wedgwood, and then throwing in an icy blue. I don’t think you can go wrong if you study-really study-how great painters slide those colors around. Matisse, Caravaggio, the Fauves, Vermeer-there’s so much to learn from the relationships of color in their palates.
Dorothy Draper table base
Now this is something else. Pretty exotic, huh? The base is made of aluminum, for heaven’s sake! I’ve declined to take the glass top. It will be interesting to see what will work instead. Perhaps an oval top, covered in aged copper, possibly in zinc.
I think this table base paired with the mauve Mauny wallpaper* cum olive parrots could delectable. And quite hysterical. A mix in metaphors! Could be so wrong it could be right.
Somehow, I can see the 50’s Thonet style chairs** working with it as well. Painted something or other, don’t know yet, but with olive wool upholstery. It remains to be seen what alchemy will work when the wallpaper is up and the furniture assembled. Would I want to spray paint the chairs a metallic? Or am I going metallic c—-razy!
By the way, you can read all about the Divine Draper at www.dorothydraper.com.
As if the German silver sink were not lovely enough, Walter, the genius of antique plumbing has come up with the most beautiful all-in-one sink faucet, and he’s as chuffed about it as I.
These are Walter’s photos showing the faucet’s top and bottom. The faucet is from the 1890’s, as smart as the brass buttons on a Victorian fireman’s uniform. And entirely ingenious.
The handles on the two sides at the bottom are for hot and cold. And I’m not sure what each of the other two single valves are up to but clearly one is for the spray and the other for the goose neck.
Four holes on the sink deck in front of the back splash are in mysterious pattern that doesn’t conform to where I’d like to put this faucet or any other I might use. My guru Walter suggested that I find an old brass door kick to cover up the flat expanse. I’ve found quite a nice appealing one that’s new and shiny.
I do love the fuddy-duddy black utility hose for the spray!
I learned today from Walter, his plumbing highness, that because these silver sinks are flat on bottom they need to be canted ever so slightly for the water to flow perfectly towards the drains. Who knew that plumbing fixtures and the execution of plumbing could be such an art form?
I’m taking a bit of a risk since I don’t know anyone who has used this stuff but I’m planning to stain every floor in my house using it. I’m attracted to the fact that it is extremely environmentally friendly (not VOC’s) and that it’s applied in one coat. No polyurethane is needed to coat. The stain is pretty impervious to water and should the floor be scratched, the stain is simply applied over it. No need to sand the floors again. I’ve been admiring the dry-look floor recently, heaven knows why, but I’m finding it rather elegant and understated. Monocoat by itself produces no sheen, but was can be applied if that’s what you’re after. I’ve chosen a color we’ll produce by mixing the mahogany and walnut stains, a wee bit heavier on the browner walnut side.
Wish me luck!