A JAMAICAN JEWEL: ROUND HILL

Round Hill Resort-Montego Bay-Jamaica

Fresh from a most non-traditional Thanksgiving vacation in Jamaica I am still dreaming of crystalline azure waters, balmy breezes, the friendly Jamaican people, and the understated traditional luxury informed by decades of British colonization. And the fact that Ralph Lauren has vacationed here for nearly as long as he’s been in business adds another layer of chic to this exclusive jewel of an enclave named Round Hill in Montegeo Bay.

Round Hill-Montego Bay-Jamaica

Round Hill was conceived by Jamaican-born John Pringle, whose mother was a social fixture and owned the former Sunset Lodge Hotel in Montego Bay. The one-hundred-acre peninsula was part of Lord Monson’s huge Round Hill Estate, which was first a sugar plantation and later grew coconuts, pimento, and allspice. Pringle’s entrepreneurial vision for this parcel of land was to create a “colony of luxury cottages” – an early boutique hotel – which would offer those who purchased a cottage a share in hotel profits. In 1953 Round Hill opened its doors to the world of fame, wealth, and creative talent with Noel Coward as its first shareholder.

Noel Coward in his Round Hill cottage, which he named Firefly.

Noel Coward in his Round Hill cottage, which he named Firefly.

Prominent American and European socialites, literati, and artists were invited to build “cottages” and to invest in the hotel. Shareholders then included Adele Astaire, Bill and Babe Paley, Lord and Lady Ednam, Mr. and Mrs. Oscar Hammerstein, Clive Brook, Jack and Natasha Wilson, the Marchioness of Dufferin and Ava, Mr. and Mrs. Henry Tiarks, and Viscount and Viscountess Rothermere. The wood-paneled bar is lined today with black and white photographs of the owners and their stylish guests enjoying Round Hill’s beach and nightlife.

In this famous photo taken by Slim Aarons in 1959, Babe Paley is posing in Cottage 26 while her husband, Bill, takes a photo of the photographer.

In this famous photo taken by Slim Aarons in 1959, Babe Paley is posing in Cottage 26 while her husband, Bill, takes a photo of the photographer.

The original architecture was designed by William Ballard and the signature décor was conceived by Guy Roop. Round Hill was the first resort of its kind in the Caribbean. The hotel operates on the same basis today with 27 villas owned by individual “shareholders” chiefly from the U.S. and Europe.

One such cottage owner is Ralph Lauren who – with his wife, Ricky – has owned High Rock since the early 1980’s. Set on the highest point of the Round Hill resort, the house was built in the early 1950’s by Clarence Dillon, then head of one of Wall Street’s most important investment banks. F. Burrall Hoffman, Jr., who designed Miami’s Italianate Villa Vizcaya, was High Rock’s architect and designer.

The October 1984 cover of House & Garden featuring the entrance to Ralph Lauren's Round Hill cottage, High Rock.

The October 1984 cover of House & Garden featuring the entrance in Ralph Lauren’s Round Hill cottage, High Rock.

“The house has an Englishness I’ve always liked,” remarked Lauren, “an Old World elegance. I call it a jewel.”

The living room, as featured in House & Garden in 1984, was decorated in collaboration with the late Kalef Alaton.

The living room, as featured in House & Garden in 1984, was decorated in collaboration with the late Angelo Donghia.

When the Lauren’s purchased High Rock it was dilapidated and dreary. They brought in interior designer Angelo Donghia, who had helped them design and decorate their New York apartment, to refresh and bring back a sense of understated luxury with a decidedly undecorated look. Borrowing from the island’s rich British Colonial past the battle-ship gray painted shutters and doors were stripped and returned to their gleaming mahogany glory, then framed in more mahogany. Simple white cotton duck and canvas was used to cover upholstered pieces, and a mix of natural woven chairs and slip-covered furniture were scattered throughout the cottage. In a view of the living room, above, Donghia designed the wall brackets holding candles, the bamboo table lamps, and the banquettes – echoing the same easy-breezy aesthetic he deployed in his own tropical cottage in Florida (but I will leave that for another day!).

Ralph Lauren-Living Room-Round Hill-Jamaica

In a photograph featured in Architectural Digest in 2007 the living room remains virtually unchanged thirty years later – the same sectional, chairs, chaise longue, lighting, area rug and 18th-century French mirror retain the same layout. The only marked change is the addition of Chinese blue-and-white porcelain and shots of color via a throw and accent pillows – which goes to show, understated luxury is classic and lasting.

Ralph Lauren-Living Room-Round Hill-Jamaica

A corner of the living room retains the same furniture designed by Donghia featured in the October, 1984, issue of House & Garden. Ricky Lauren has added shots of pink, reminiscent of the abundance of bougainvillaea on the property, with aqua and red.

Ralph Lauren-Living Room-Round Hill-Jamaica

In a recent photo a pair of black painted classical demilunes crowned with chinoiserie mirrors, antique Asian ginger jars, a child’s Queen Anne chair and 1930’s bamboo furniture injects a mélange of the exotic and formidable into the living room.

Ralph Lauren-Veranda-Round Hill-Jamiaca-Angelo Donghia

A corner of the veranda, as photographed in 1984, represents an updated version of British Colonial style that we’ve come to associate with Ralph Lauren, but which at the time was pure Angelo Donghia: an all-white scheme of cotton duck covers bamboo chairs and a banquette surrounding a custom white lacquer Donghia table while white canvas curtains frame arches leading to the garden. The over-scaled furniture is classically arranged and the overall affect is one of understated glamour.

In a photo taken in 1984 of Ralph Lauren's veranda at Round Hill, Jamaica, a white lacquer bamboo dining table is surrounded by McGuire dining chairs. The bar is from the 1930's. Design by Angelo Donghia.

At the opposite end of the veranda a McGuire white lacquer bamboo dining table set with brass-and-glass hurricanes is surrounded by McGuire director-style dining chairs. The bar is from the 1930’s. A feeling of civilized luxury utilizing humble materials at its best.

Ralph Lauren-Veranda-Round Hill-Jamaica-ADToday, the same arrangements of furniture on the veranda remain – even the white canvas portieres retain their grommets. The only noticeable change is the possible darkening of the bamboo furniture, unless it’s merely a photographic enhancement. “We live on the veranda,” Ralph Lauren says of the loggia/dining terrace. “The goal was to make our family comfortable in a luxurious setting,” explains Ricky Lauren, who wrote a book about Jamaica called My Island. “We go there as often as we can escape.”

Ralph and Ricky Lauren-Round Hill-Jamaica

Ricky and Ralph Lauren, on the steps of their veranda, the picture of American royalty.

High Rock viewed from the pool at night takes in the veranda and living room beyond, as photographed in 1984.

High Rock viewed from the pool at night takes in the veranda and living room beyond, as photographed in 1984.

Ralph Lauren-Master Bedroom-Round Hill-Jamaica-Angelo Donghia-HG

The master bedroom, as it appeared in House & Garden in 1984, continues the theme of all-white and bamboo, with gauzy fabric conjuring mosquito netting in pure British Colonial fashion. A woven hemp carpet from Stark compliments the honeyed tonal quality of the bamboo furniture. The antique rattan dressing table came from Los Angeles.

Ralph Lauren-Master Bedroom-Round Hill-Jamaica-AD

Today the master bedroom contains the same furniture, right down to the white ruffled bedding by Ralph Lauren Home.

Ralph Lauren-Swimming Pool-Round Hill-Jamaica

Lauren and Donghia dug out the existing pool, enlarging it using local white coral stone and adding the rounded feature.

Ralph Lauren-Swimming Pool-Round Hill-Jamaica

White painted bamboo chaises by McGuire surround the swimming pool in a photo taken in 1984.

Ralph Lauren-Swimming Pool-Round Hill-Jamaica-AD

Today the swimming pool is framed by mature tropical landscaping, offering lush privacy.

Ralph Lauren-Garden-Round Hill-Jamaica

In this vintage photo a peaceful corner of the garden displays a suite of white-painted chairs and table from the 1930’s.

Ralph Lauren-Screening Room-Round Hill-Jamaica

An existing structure was torn down to build a screening room with an adjacent sitting room in pure plantation style.

In 1996 the Lauren’s bought a second house: Cottage 26, once owned by Bill and “Babe” Paley (photo by Slim Aarons featured earlier). “It was beautiful before,” says Josef Forstmayr, Round Hill’s managing director, “but Ralph Lauren improved it. He expanded the terraces, and he made it appear more spacious by lifting the doors and windows by two feet and the roofline by three feet. It’s now very dramatic, and it relates better to the ocean and the rocks.” (AD)

Ralph Lauren-White Orchid Guest House-Round Hill-Jamaica

The entrance courtyard to the Lauren’s guest house, White Orchid, is crisp, clean and timeless – three distinctive Ralph Lauren hallmarks.

Ralph Lauren-Guest House Living Room-Round Hill-Jamaica

The living room in White Orchid is a study in white that extends the original vision of Angelo Donghia. Ralph Lauren took what the Paley’s had created and made it better and definitively more relevant.

Ralph Lauren-Guest House Pool-Round Hill-Jamaica

The Lauren’s had the terrace expanded to jut out over the water, so one feels as though they are aboard a yacht.

Ralph Lauren-White Orchid Guest House-Round HIll-Jamaica

In this view of the guest house the original peaked roofline created for the Paley’s is recognizable (Photo courtesy of Pink Pony Auction).

Ralph Lauren-Guest House-Round Hill-Jamaica

An alternate view of the guest house pool and terrace, which was auctioned for a charity and  featured on The Pink Pony Auction site.

Recently style-setter India Hicks paid a visit to Ralph Lauren’s guest house, White Orchid, and recorded her time spent there on her  eponymous blog and Pinterest.

Ralph Lauren-Guest House-Round Hill-India Hicks

Ralph Lauren-Guest House Living Room-Round Hill-India Hicks

Ralph Lauren-Guest House-Round Hill-India Hicks

Ralph Lauren-Guest House-Round Hill-India Hicks

Ralph Lauren Guest House-Round Hill-India Hicks

I discovered additional photos of the guest house taken by Bruce Weber for Vogue, at the equally stylish Mark D. Sikes.

Ralph Lauren-Guest House-Round Hill-Jamaica

Ralph Lauren-Guest House Living-Round Hill-Jamaica

Ralph Lauren-Guest House Bedroom-Round HIll-Jamaica

Ralph Lauren-Guest House-Round Hill-Vogue-Bruce Weber

After many years spent at Round Hill Ralph Lauren took particular interest in the redesign of many of the resort’s properties, enhancing their quintessential British Colonial plantation-style character. Many of the rooms today reflect his unique brand of blue-blooded luxury with a penchant for clean and edited style.

A living room in one of Round Hill resort's cottages with furnishings from Ralph Lauren Home.

A living room in one of Round Hill resort’s cottages with furnishings from Ralph Lauren Home.

I hope you enjoyed this sun-kissed escape to Round Hill before you head off to, likely, colder climes as you celebrate the holiday season with family and friends.

Reading List: Background history on the development of Round Hill taken directly from the Round Hill Resort website; High Style in Jamaica by Steven M. L. Aronson for House & Garden, October 1984, with photography by Edgar de Evia;  Ralph & Ricky Lauren by Gerald Clarke for Architectural Digest, November 2007, with photography by Durston Saylor.

 

 

 

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Hunt Country Style

The Fox Hunt

The time-honored tradition of the hunt is in full swing, beginning as early as September, despite a 2004 law forbidding the actual killing of foxes in the UK, where it originated in the 16th-century. For true hunt masters and their servants (fellow huntsman, not personal attendants or wait staff) it is the thrill of the hunt, bonhomie and long-standing traditions of a bygone era that rank supreme. For most of the rest it is the irresistible allure of English country estates, Saville Row tweeds and smart livery, John Lobb hunting boots, Land Rovers and equestrian accoutrement that incites visions of privilege, power and luxury.

Badminton House, the Duke of Beaufort’s home in Gloucestershire, England, as photographed by by J. Fennell for The English Country House by James Peill.

Badminton House, the Duke of Beaufort’s grand country estate in Gloucestershire, England, as photographed  by J. Fennell for The English Country House Style by James Peill.

The Great Hall at Badminton House, the Duke of Beaufort’s home in Gloucestershire, England, as photographed by Derry Moore.

The Great Hall at Badminton as photographed by Derry Moore.

A more current photograph by J. Fennell of the library at Badminton House for The English Country House Style by James Peill.

The library at Badminton House, photographed by J. Fennell for The English Country House Style by James Peill.

Contrary to popular thought, the English hunt is not a private affair. Of England’s country-house sports – hunting, shooting and fishing – the hunt has traditionally remained open to all members of the community, as long as one could afford the trappings and membership fees that go along with it. “A meet of the hounds is as much a social event embracing all levels of society as it is a tough, sporting activity” remarked Simon Blow (grandson of architect Detmar Blow) in an article he wrote for House & Garden magazine in November, 1986.

Behind Badminton House huntsman Brian Gupwell stands among the hounds bred for their special pale coats. Photo by Horst.

Behind Badminton House huntsman Brian Gupwell stands among the hounds bred for their special pale coats. House & Garden; February, 1983. Photo by Horst.

The front hall in The Cottage at Badminton with an array of sporting gear strewn about: walking sticks, hunting caps, raincoats, cloaks, and chaps. Photo by Horst.

The front hall in The Cottage at Badminton with an array of sporting gear strewn about: walking sticks, hunting caps, raincoats, cloaks, and chaps. House & Garden; February, 1983. Photo by Horst.

The dining room in The Cottage at Badminton decorated by Tom Parr for the Somersets before David Somerset became Duke of Beaufort, at which time the family moved into the grander Badminton House. From Colefax & Fowler: The Best in English Interior Decoration.

The crimson dining room in The Cottage at Badminton was decorated by Tom Parr for the Somersets before David Somerset became Duke of Beaufort and the family decamped to Badminton House. From Colefax & Fowler: The Best in English Interior Decoration.

The hunt is sponsored by a landed gentleman – the master –  who can provide the land for hunting, and a circle of friends and neighbors with land of their own to extend the borders of the hunt. “Traditionally drawn from the landowning class, [the master] is looked upon to exercise a patriarchal influence, dispensing dependability and goodwill” explained Simon Blow, a gentrified member of the English country set. Citizens of the immediate area and townships could participate, given they possessed the skills and genuine passion for hunting, not to mention the pocketbook. Certainly there were – and are – many who viewed the hunt as an opportunity to hob-nob with influential land owners and their ilk.

Huntsman Ralph Mankee, in left foreground, with his hounds at the traditional opening meet of the Warwickshire foxhounds at Upton House. HG; March 1989. Photo by Oberto Gili.

Huntsman Ralph Mankee, in left foreground, with his hounds at the traditional opening meet of the Warwickshire foxhounds at Upton House. HG; March 1989. Photo by Oberto Gili.

Robin Smith-Ryland, then secretary of the Warwickshire  Hunt, dressed in a swallow-tailed coat of hunting pink with Warwickshire Hunt buttons, buckskin breeches, and a black silk hat outside his 16th-century farmhouse in Sherbourne. HG; March 1989. Photo by Oberto Gili.

Robin Smith-Ryland, then secretary of the Warwickshire Hunt, dressed in a scarlet swallow-tailed coat made by Frank Hall of Market Harborough with Warwickshire Hunt buttons, his famous buckskin breeches once worn by Lord Fortescue in Lionel Edwards famous painting of the Quorn, and one of the last black silk hats of its kind made in England, outside his 16th-century country house,  Sherbourne Park, in Warwickshire. HG; March 1989. Photo by Oberto Gili.

A vast collection of top hats, waistcoats, riding  boots, gloves, and sporting regalia in the valeting room at Robin Smith-Rylands Sherbourne country house. Racks of whips and spurs share wall space with hunting prints. March 1989. Photo by Oberto Gili.

A vast collection of top hats, waistcoats, riding boots, gloves, and sporting regalia in the valeting room at Robin Smith-Ryland’s country house, Sherbourne Park. Racks of whips and spurs share wall space with hunting prints. HG; March 1989. Photo by Oberto Gili.

Members of the hunt at Upton House, Warwickshire. March 1989. Photo by Oberto Gili.

Members of the hunt at Upton House, Warwickshire. HG; March 1989. Photo by Oberto Gili.

Valentino curtains and red painted deck chairs surround a table set for an after hunt lunch with 18th-century French candelabra gifted to Robin Smith-Ryland and his wife, Baroness Hélène de Ludinghausen, by Yves Saint Laurent, in the dining room at Sherbourne Park. HG; March 1989. Photo by Oberto Gili.

The dining room at Sherbourne Park is set for an after hunt lunch:  red painted deck chairs surround a table set with 18th-century French candelabra gifted to Robin Smith-Ryland and his wife, Baroness Hélène de Ludinghausen, by Yves Saint Laurent on their wedding. HG; March 1989. Photo by Oberto Gili.

The Neoclassical Lawers House in Pertshire, Scotland, designed by William Adam in 1744. Photo by James Mortimer.

The Neoclassical Lawers House in Pertshire, Scotland, designed by William Adam in 1744, epitomizes the privileged landed country set. Photo by James Mortimer.

The great room at Lawers House, Scotland. Photo by James Mortimer.

The great room at Lawers House, Scotland. Photo by James Mortimer.

The main stair in Lawers House features works by Scottish artists. Photo by James Mortimer.

The main stair in Lawers House features works by Scottish artists. Photo by James Mortimer.

The oak-paneled boot room in a country manor house in southern England decorated by Robert Kime. Photo by Fritz von der Schulenburg.

The oak-paneled boot room in a country manor house in southern England decorated by Robert Kime. Photo by Fritz von der Schulenburg.

Chatsworth, the seat of the dukes of Devonshire, has been in the Cavensdish family since 1549. The house overlooks a vast park, designed in part by Capability Brown and Joseph Paxton. Architectural Digest; photo by Derry Moore.

Chatsworth, the seat of the dukes of Devonshire, has been in the Cavensdish family since 1549. The house overlooks a vast park, designed in part by Capability Brown and Joseph Paxton. Architectural Digest; photo by Derry Moore.

The Duke and Duchess of Devonshire sitting beneath "Flying Childers" painted by James Seymours in the West Hall at Chatsworth. Photo by Simon Upton.

The Duke and Duchess of Devonshire sitting beneath “Flying Childers” painted by James Seymours in the West Hall at Chatsworth. Photo by Simon Upton.

Hilles House, the country house Detmar Blow designed for his family in Harescombe, Gloucestershire, in 1914.

Hilles House, the country house Detmar Blow designed for his family in Harescombe, Gloucestershire, in 1914.

Simon Blow is grandson to Edwardian England’s Detmar Blow, the leading country house architect of his time. With the help of his friend William Morris, founder of the Arts & Crafts movement, Detmar built his family’s country house, Hilles, of stone in the romantic style in the Gloucestershire region of England. Simon’s brother, Detmar Jr., inherited Hilles and shared it with his late wife, fashion icon Isabella, from the 1980’s until her death in 2007.

The drive at Hilles House, the home of Detmar Blow Jr. and his late fashion icon wife, Isabella. The World of Interiors; photo by Tim Beddow.

The approach to Hilles. The World of Interiors; photo by Tim Beddow.

The coat of arms above the fireplace in the Big Hall at Hilles contains the motto "Blessed are the Peacemakers". It is a replica of the original at Dorfold Hall in Cheshire. The World of Interiors; photo by Tim Beddow.

The coat of arms above the fireplace in the Big Hall at Hilles contains the motto “Blessed are the Peacemakers”. It is a replica of the original at Dorfold Hall in Cheshire. The World of Interiors; photo by Tim Beddow.

The Long Room at Hilles House retains its Elizabethan period paneling and portraiture. The house and its rooms were designed to be used and comfortable and hospitable to all walks of life, eschewing the upstairs-downstairs hierarchical English country house. The World of Interiors; photo by Tim Beddow.

The Long Room at Hilles House retains its Elizabethan period paneling and portraiture. The house and its rooms were designed to be used, comfortable and hospitable to all walks of life, eschewing the upstairs-downstairs hierarchical English country house. The World of Interiors; photo by Tim Beddow.

The dining table in the Big Hall was designed by Detmar Sr. The red curtains lend a regal statement. The World of Interiors; photo by Tim Beddow.

The dining table in the Big Hall was designed by Detmar Sr. The red curtains lend a regal statement. The World of Interiors; photo by Tim Beddow.

The drawing room in Ward Denton and Christopher Gardner's country estate, Glen Fishie Lodge, embraces Scottish tartan, crests and men's suiting for a decidedly clubby feel. Photo by Thibault Jeanson.

The drawing room in Ward Denton and Christopher Gardner’s country estate, Glen Fishie Lodge, embraces Scottish tartan, crests and men’s suiting for a decidedly clubby feel. House & Garden; photo by Thibault Jeanson.

The dining room features a mural depicting scenes at Glen Fishie Lodge. Photo by Thibault Jeanson.

The dining room features a mural depicting scenes at Glen Fishie Lodge. House & Garden; photo by Thibault Jeanson.

According to the Masters of Foxhounds Association of America, Englishman Robert Brooke was the first man to import hunting hounds to America, bringing his pack of foxhounds to Maryland in 1650 along with his horses.  The first organized hunt for the benefit of a group was started by Thomas, sixth Lord Fairfax, in 1747. In the United States, George Washington and Thomas Jefferson both kept packs of fox hounds before and after the American Revolutionary War.

A portrait of George Washington fox hunting in Virginia.

A portrait of George Washington fox hunting in Virginia.

Certainly there is a comforting, lasting and dependable allure to Hunt Country Style, which is really only a variation on the English Country House style. In America, especially in the South and in Virginia, Hunt Country Style and Equestrian Style are synonymous. Whether British or American it was never the fox, and certainly not the pheasant, who adorned the walls of our center halls, living rooms, dining rooms, or libraries. No, it has always been the horse. So, for all intents and purposes, it is safe to say that Hunt Country Style is, at most, really Equestrian Style; that is, if you actually own horses. Otherwise, the equestrian themed rooms in your twenty-fifth floor Upper East Side apartment are really only a pastiche of a lifestyle you may or may not authentically live out.

Kenilwood, in Far HIlls, New Jersey, was built by George B. Post Jr., founder of the Wall Street brokerage firm of Post and Flagg, as a wedding gift for his daughter Harriet to Thornton Wilson in1896-1897. Photo by Jaime Ardiles-Arce.

Kenilwood, in Far HIlls, New Jersey, was built by George B. Post Jr., founder of the Wall Street brokerage firm of Post and Flagg, as a wedding gift for his daughter Harriet to Thornton Wilson in1896-1897. Architectural Digest; photo by Jaime Ardiles-Arce.

The Trophy Room at Kenilwood, refreshed by Parish-Hadley in the 1980's, displays a collection of prints, trophies and ribbons. Architectural Digest; photo by Jaime Ardiles-Arce.

The Trophy Room at Kenilwood, refreshed by Parish-Hadley in the 1980’s, displays a collection of prints, trophies and ribbons. Architectural Digest; photo by Jaime Ardiles-Arce.

In the main hall at Templeton C.Z. Guest's custom-made bootjack is surrounded by the essentials of her outdoor life: hunting cap, tennis racket, and footware. HG; October 1988. Photo by Michael Mundy.

In the main hall at Templeton C.Z. Guest’s custom-made bootjack is surrounded by the essentials of her outdoor life: hunting cap, tennis racket, and footware. HG; October 1988. Photo by Michael Mundy.

C.Z.'s son, Alexander, and his wife Liza, posing in their riding suits in the entrance hall at Templeton. The small sporting painting is by James Seymour. HG; October 1988. Photo by Michael Mundy.

C.Z.’s son, Alexander, and his wife Liza, posing in their riding suits in the entrance hall at Templeton. The small sporting painting is by James Seymour. HG; October 1988. Photo by Michael Mundy.

At the top of the stairs at Templeton is a portrait of Winston Guest, dressed for polo. HG; October 1988. Photo by Michael Mundy.

At the top of the stairs at Templeton is a portrait of Winston Guest, dressed for polo. HG; October 1988. Photo by Michael Mundy.

A c. 1757 country house in New England constructed of local stone by Italian craftsman. House & Garden; photo by Karen Radkai.

A c. 1757 country house in New England constructed of local stone by Italian craftsman. House & Garden; photo by Karen Radkai.

On the fireplace wall in the dining room decorated by Vincent Fourcade hang portraits of hunters by the 19th-century British painter A. S. Boult. House & Garden; photo by Karen Radkai.

On the fireplace wall in the dining room decorated by Vincent Fourcade hang portraits of hunters by the 19th-century British painter A. S. Boult. House & Garden; photo by Karen Radkai.

A Neoclassically-detailed  center hall in a Georgian-style estate decorated by Anthony P. Browne in Maryland's hunt country. Architectural Digest; photo by Paul Warchol.

A Neoclassically-detailed center hall in a Georgian-style estate decorated by Anthony P. Browne in Maryland’s hunt country. Architectural Digest; photo by Paul Warchol.

The late decorator Antony Childs' c.1880 stone country house in Virginia. House & Garden; July 1992. Photo by William Waldron.

The late decorator Antony Childs’ c.1880 stone country house in Virginia. House & Garden; July 1992. Photo by William Waldron.

Stair Hall-Antony Childs-Virginia-William Waldron

A simply elegant entry decorated by Antony Childs in the early 1990’s with riding boots at the ready. House & Garden; July 1992. Photo by William Waldron.

The spare and elegant dining room in Antony Child's Virgina country house. House and Garden; July 1993. Photo by William Waldron.

The spare and elegant dining room in Antony Child’s Virgina country house. House and Garden; July 1993. Photo by William Waldron.

A library designed by Suzanne Rheinstein in Virginia features an equestrian painting over the fireplace. House Beautiful.

A library designed by Suzanne Rheinstein in Virginia features an equestrian painting over the fireplace. House Beautiful.

Paintings of horses hang in the kitchen dining room decorated by Suzanne Rheinstein. House Beautiful.

Paintings of horses hang in the kitchen dining room decorated by Suzanne Rheinstein. House Beautiful.

Anglophiles have adapted the style associated with the English hunt to their equestrian estates, country houses and, ironically, even their Manhattan pied-a-terres, creating facsimiles of the privileged English country lifestyle and their perfected rural ideal. In America it is quite amusing to observe what has come to be called the Hunt Country Style adapted to urban living and sojourns to the nearby farmer’s market. What, after all, is reality but an outward expression of our thoughts, how we would like to be perceived, and our aspirations? Ralph Lauren has created an empire marketing Lifestyles to Americans, beginning in the early nineteen-eighties with his iconic polo shirt and eventual Home Collection, that now spans numerous styles, periods and locales worldwide.

Ricky and Ralph Lauren's Norman-style stone manor house in Bedford, New York, built in 1919. Architectural Digest; photo by Durston Saylor.

Ricky and Ralph Lauren’s Norman-style stone manor house in Bedford, New York, built in 1919. Architectural Digest; photo by Durston Saylor.

The entry hall in the Lauren's Bedford home evokes the ambiance of a fabled equestrian estate. Photo by Björn Wallander.

The entry hall in the Lauren’s Bedford home evokes the ambiance of a fabled equestrian estate. Photo by Björn Wallander.

Ralph Lauren posing in the entry hall of his Bedford home dressed for riding.

Ralph Lauren posing in the entry hall of his Bedford home dressed for riding.

The Lauren's living room is grand by unpretentious, exhibiting a cultivated mix of English, French, American and Asian furniture and objet d'art inspired by the privilege of travel. Photo by Björn Wallander.

The Lauren’s living room is grand but unpretentious, exhibiting a cultivated mix of English, French, American and Asian furniture and objet d’art inspired by the privilege of travel. AD. Photo by Björn Wallander.

The Lauren's clubby dining room in their home in Bedford. Architectural Digest; photo by Durston Saylor.

The Lauren’s clubby dining room in their home in Bedford. Architectural Digest; AD. Photo by Durston Saylor.

The library in Ralph and Ricky Lauren's Bedford residence. Photo by Durston Saylor.

The library in Ralph and Ricky Lauren’s Bedford residence. Architectural Digest; photo by Durston Saylor.

Longfield, an equestrian estate designed by architect Gil Schafer in Dutchess County.. Photo by John M. Hall.

Longfield, an equestrian estate designed by architect Gil Schafer in Dutchess County. Photo by John M. Hall.

The mudroom at Longfield, designed by architect Gil Schafer. Photo by John M. Hall.

The mudroom at Longfield, designed by architect Gil Schafer. From The Great American House by Gil Schafer III. Photo by John M. Hall.

The entry hall in architect Gil Schafer's Hudson Valley home, Middlefield. Photo by John M. Hall.

The entry hall in architect Gil Schafer’s Hudson Valley home, Middlefield. From The Great American House by Gil Schafer III. Photo by John M. Hall.

Willow Grace Farm, designed by architect Gil Schafer in Millbrook, Dutchess County. Photo by Henry Bourne.

Willow Grace Farm, designed by architect Gil Schafer in Millbrook, Dutchess County. Elle Decor. Photo by Henry Bourne.

Horses running at Willow Grace Farm, designed by architect Gil Schafer. Photo by

Horses running at Willow Grace Farm. Elle Decor. Photo by Henry Bourne.

The center hall at Willow Grace Farm designed by architect Gil Schafer and decorated by Michael S. Smith. Photo by Carter Berg.

The center hall at Willow Grace Farm designed by architect Gil Schafer and decorated by Michael S. Smith. Elle Decor. Photo by Carter Berg.

The dining room at Willow Grace Farm designed by architect Gil Schafer and decorated by Michael S. Smith. Photo by Henry Bourne.

The dining room at Willow Grace Farm designed by architect Gil Schafer and decorated by Michael S. Smith. Elle Decor. Photo by Henry Bourne.

Designer Kerry Joyce created a clubby British setting for Ben Soleimani, an avid polo player, in the family room of his 1920's house in Beverly Hills. Elle Decor; photo by Roger Davies.

Designer Kerry Joyce created a clubby British setting for Ben Soleimani, an avid polo player, in the family room of his 1920’s house in Beverly Hills. Elle Decor. Photo by Roger Davies.

For the dining room in Soleimani's home Joyce placed English Chippendale dining chairs around an 18th-century Irish table. Elle Decor; photo by Roger Davies.

For the dining room in Soleimani’s home Joyce placed English Chippendale dining chairs around an 18th-century Irish table. Elle Decor. Photo by Roger Davies.

Reading List: Of Horns and Hounds: The Unspeakable in Full Pursuit of the Uneatable by Simon Blow; House and Garden, November 1986.

 

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The Allure of Orange

Orange as a color for decorating, or sartorial considerations for that matter, doesn’t often enter my design vocabulary for whatever reason. However, autumn is my favorite of the seasons and I practically become giddy with excitement at the first sign of autumn’s golden yellows, glowing oranges, and fiery reds. The color orange radiates warmth  and happiness – a color we often associate with hearth and home. Scientific studies have shown orange to boost our emotional states during difficult times, and helps us bounce back after setbacks and disappointments, even assisting in recovery from grief. The color psychology of orange is optimistic, uplifting and rejuvenating in spirit. It is extroverted and uninhibited, and could lead one to flights of exhibitionism. And, much like red – one of its components – it stimulates conversation and appetite. Ultimately, orange symbolizes for me the essence of the autumn season. I think I will begin to look more favorably upon this oft forgotten hue having culled some of the best examples of rooms in shades of orange by interior decorators, designers and architects the world over. Bring the exuberant warmth of the color orange into your life today. Happy autumn!

A library designed by Steven Gambrel in New York. Elle Decor; photo by William Waldron.

A library designed by Steven Gambrel in New York. Elle Decor; photo by William Waldron.

The dining room in antique dealer Jean-Phillipe Demeyer's Belgian home. Veranda; photo by Miguel Flores-Vianna.

The dining room in antique dealer Jean-Phillipe Demeyer’s Belgian home. Veranda; photo by Miguel Flores-Vianna.

The salon in May and Axel Vervoordt's palazzo apartment in Venice. Architectural Digest; photo by Mario Ciampi.

The salon in May and Axel Vervoordt’s palazzo apartment in Venice. Architectural Digest; photo by Mario Ciampi.

The dining room in a Tuscan-style residence in Las Vegas designed by Atelier AM. Architectural Digest; photo by Pieter Estersohn.

The dining room in a Tuscan-style residence in Las Vegas designed by Atelier AM. Architectural Digest; photo by Pieter Estersohn.

The classically modern salon in Henri Samuel's Paris pied-a-terre. Town & Country; photo by Oberto Gili.

The classical-moderne salon in Henri Samuel’s Paris pied-a-terre. Town & Country; photo by Oberto Gili.

A lounge decorated by Steven Gambrel. Elle Decor; photo by Eric Piasecki.

A lounge decorated by Steven Gambrel. Elle Decor; photo by Eric Piasecki.

An orange metal cabinet cum bar sink in a sitting room's alcove designed by Steven Gambrel. Elle Decor; photo by Eric Piasecki.

An orange metal cabinet cum bar sink in a sitting room’s alcove designed by Steven Gambrel. Elle Decor; photo by Eric Piasecki.

A classical-moderne salon decorated by Robert Couturier in New York. Architectural Digest; photo by William Abranowicz.

A classical-moderne salon decorated by Robert Couturier in New York. Architectural Digest; photo by William Abranowicz.

A neoclassical-style tented pleasure pavilion designed by Thomas Britt in an New York apartment. Architectural Digest; photo by Jaime Ardiles-Arce.

A neoclassical-style tented pleasure pavilion designed by Thomas Britt in a New York apartment. Architectural Digest; photo by Jaime Ardiles-Arce.

David Hicks' bedroom in his vacation house in Roquebrun, France. From David Hicks Decorates.

David Hicks’ bedroom in his vacation house in Roquebrun, France. From David Hicks Decorates.

The Pop Glam dining room in Lisa Perry's New York apartment designed by Tony Ingrao. Vogue Living: Houses Gardens People. Photo by François Halard.

The pop-glam dining room in Lisa Perry’s New York apartment designed by Tony Ingrao. Vogue Living: Houses Gardens People. Photo by François Halard.

The family room in a New York apartment recently completed by Stephen Sills. Architectural Digest; photo by Bjorn Wallander.

The family room in a New York apartment recently completed by Stephen Sills. Architectural Digest; photo by Bjorn Wallander.

An orange abstract painting sets the tone in a monochromatic living room decorated by Billy Baldwin. From Billy Baldwin Decorates.

An orange abstract painting sets the tone in a monochromatic living room decorated by Billy Baldwin. From Billy Baldwin Decorates.

The library in Erin Lauder's East Hampton home. Elle Decor; photo by Simon Upton.

The library in Erin Lauder’s East Hampton home. Elle Decor; photo by Simon Upton.

A living room decorated by Nick Olsen. Photo via Anik Pearson, architect.

A living room decorated by Nick Olsen. Photo via Anik Pearson, architect.

The guest room/sitting room in Jeffrey Bilhuber's New York apartment. Elle Decor; photo by William Waldron.

The guest room/sitting room in Jeffrey Bilhuber’s New York apartment. Elle Decor; photo by William Waldron.

The entry in Bunny Williams' Connecticut country house. From An Affair With A House by Bunny Williams.

The entry in Bunny Williams’ Connecticut country house. From An Affair With A House by Bunny Williams.

An corner of the living room set for dining in architect Gil Schafer's New York Townhouse decorated by Miles Redd. From The Great American House by Gil Schafer. Photo by Rene Barbara and Stoeltie.

A corner of the living room set for dining in architect Gil Schafer’s New York townhouse decorated by Miles Redd. From The Great American House by Gil Schafer. Photo by Rene and Barbara Stoeltie.

Charlotte Moss's library in her New York City townhouse.

Charlotte Moss’s library in her New York City townhouse. House & Garden; photo by Simon Upton.

Nancy Lancaster's Gothic bedroom at Haseley Court. From Nancy Lancaster: English Country House Style.

Nancy Lancaster’s Gothic bedroom at Haseley Court. From Nancy Lancaster: English Country House Style.

A Georgian-style dining room designed by Richard Keith Langham. House & Garden, January 2005.

A Georgian-style dining room designed by Richard Keith Langham. House & Garden, January 2005.

The eclectic living room of the late Scott Lamb's Pacific Heights apartment. Architectural Digest; photo by John Vaughan.

The eclectic living room of the late Scott Lamb’s Pacific Heights apartment. Architectural Digest; photo by John Vaughan.

An orange painted library decorated by Mario Buatta. Architectural Digest; photo by Scott Frances.

An orange painted library decorated by Mario Buatta. Architectural Digest; photo by Scott Frances.

An early incarnation of Suzanne Rheinstein's Hancock Park living room. House and Garden.

An early incarnation of Suzanne Rheinstein’s Hancock Park living room. House and Garden.

The entry of Bell Gate Farms decorated by Jeffrey Bilbuber. House Beautiful. Photo by Antoine Bootz.

The entry of Bell Gate Farms decorated by Jeffrey Bilbuber. House Beautiful. Photo by Antoine Bootz.

The living room in Miles Redd's family retreat in North Carolina. Elle Decor; photo by Fernando Bengoechea.

The living room in Miles Redd’s family retreat in North Carolina. Elle Decor; photo by Fernando Bengoechea.

A sitting room in Cosima Von Bulow Pavoncelli's Hamptons home decorated by Markham Roberts. Town & Country.

A sitting room in Cosima Von Bulow Pavoncelli’s Hamptons home decorated by Markham Roberts. Town & Country.

 

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A Taste for Tuscany

Posted November 4, 2013. Filed in Mark Hampton, Tuscan Style
California Tuscan-Watercolor-Mark Hampton

Watercolor by Mark Hampton

If I were to show you an illustration of a villa (above) and a photo of that villa (below), with no previous knowledge of its location or who designed and built it, would you be able to suggest where it is, who designed it, and from what era it originates?

Though the taste for Tuscany in American residential architecture and interior decoration has waned in the past few years in favor of French country (again) there are certain locales and climes where this style feels right at home, no matter the trends. In the 1990’s, when the Tuscan-style was gaining popularity, Becky and Lee Hudson decided they wanted a Tuscan-style villa of their own for their property in California’s Napa Valley – a natural instinct given that Italian immigrants introduced grapes into the Napa valley in the 1850’s and Italian-style dwellings soon followed. It began with a month-long trip to Tuscany with their friend and architect Ned Forrest, visiting as many villas as they could fit in, making note of room, door and window heights, color combinations, and sketching ideal floor plans. They came to realize that they were attracted most to villas with classical proportions inspired by the Palladian villas from the 15th-century in the Veneto, with rooms branching off one centered great room. Their journey from conceptualization to realization would take ten years, studying and working out every detail to their satisfaction. The end result would be as close as one can get to an Italian country house in California. Combining the classical architectural canon of Palladio with the rustic material and finish of a Tuscan farmhouse, Forrest created an Italianate villa with Old World ambiance set amidst the Western grasslands of Napa Valley.

Tuscan Villa-California-Mark Hampton

Photo by Dominique Vorillon

Burnt sienna, umber and ocher are predominantly featured inside and out the villa. The symmetrically balanced facade washed in burnt sienna blends into the Napa Valley landscape as naturally as any Tuscan farmhouse in Italy. The intense color interacts with the sunlight favorably, absorbing and diffusing the harsh light, as in Tuscany, and blends with the earthen colors of the landscape during the hottest months. Characteristic of the classically-inspired Palladian villa are small windows and few openings, to ensure that the villa’s rooms remain cool during the summer. In the Veneto, much further north of Tuscany, Palladio built villas for the wealthy to escape the unbearable heat of Venice in the summer (and the resultant stank produced by the warmed canal waters). When Palladio’s vernacular began to filter into Tuscany these design characteristics carried over.

Living Room-California Tuscan-Mark Hampton

Photo by Michael Mundy

In their quest for authenticity the Hudson’s allowed for no modern amenities, such as skylights, to brighter their interiors. Instead, they called on an old friend who happened to also be one of America’s preeminent interior decorators, the late Mark Hampton, to introduce life into their rooms – which during the gray winter months could become quite chilly in the subjective sense. A trio of French doors punctuated by clerestory windows allows light to flood into the large living room, above. A classic but casual mix of Italian and French furniture gathered during their sojourn to Europe includes an Italian cabinet on the back wall, a chest as table in the Italian tradition, and a pair of leather covered Louis XIV fauteuils, barely visible, far right. In the winter the sofa’s slip cover is removed to reveal its rich brown velvet upholstery. There is nothing slightly American about this room, save for our love of sisal floor covering. It is perfectly Tuscan – simple, evolved and unselfconscious. If anything it resembles a British expat’s Tuscan villa: the pair of comfortable upholstered armchairs look more English than Italian.

The living room in the Hudson's Italian-style country house in Napa Valley decorated by Mark Hampton. Photo by Michael Mundy.

Photo by Michael Mundy

For the double-height living room Mark Hampton selected a rich ocher deep enough to envelop the space with character. As in Tuscan country houses, dark wood furniture plays to great affect against the luminous, glowing color-integrated ocher of plaster walls layered on with a trowel. Simple Florentine tile floors were finished only with wax and linseed oil to allow them to age. Loose damask slip covers, with ruffled skirts so popular in Italian interiors, dress the sofa and fauteuils in the summer.

Photo by Michael Mundy

Photo by Michael Mundy

The picture of Tuscan style: an earthen palate, rustic materials, and classic but casual furnishings and decorative art. The painting above the English mantel came from Madrid; the leather chairs are Louis XIV.

Photo by Michael Mundy

Photo by Michael Mundy

Despite the painted and slip-covered Louis XVI-style chairs the terra-cotta painted dining room feels “ripe” for a Tuscan meal overlooking vast vineyards. In fact, this room is so perfectly classic and unaffected that, in addition to Tuscany, it could be a country house in France, Portugal or Spain. “These are not rooms for black ties” said Hampton. “They are rooms for living. It’s a house where people do a lot out doors, and when they come inside, they want to get away from the outside.” Interesting point of view for a home in California where views, and an indoor-outdoor quality of life, always intercede.

The dining room in a Napa Valley Tuscan-style villa decorated by Mark Hampton. Photo by Michael Mundy.

Photo by Michael Mundy

The painting and chandelier are Italian.

Dining Room-California Tuscan-Mark Hampton

Photo by Dominique Vorillon

Elements of a perfect dining room: a (nearly) round table for easy conversation; a fireplace for ambiance and warmth; a candlelit chandelier and wall sconces for romance; and expressive terra-cotta glazed walls to incite conversation and appetite.

Photo by Michael Mundy

Photo by Dominique Vorillon

A portico viewed from the dining room glows afire in the sunlight.

Breakfast Room-California Tuscan-Mark Hampton

Photo by Dominique Vorillon

The pretty breakfast room glows from a rose-and-white color scheme and comforts with traditional European country house furnishings and decor.

Hallway-California Tuscan-Mark Hampton

Photo by Dominique Vorillon

A side entrance off the living room is washed in a variation of the same ocher color to provide continuity. Another trunk, favored by Italians, plaster walls – with imperfections – lined with map drawings, Italian jugs, rustic hurricanes, a worn kilim and a hall chair appear to have been collected over generations.

Master Bedroom-California Tuscan-Mark Hampton

Photo by Michael Mundy

As often is found in Italian country houses the master bedroom is furnished with more elegant, prettily painted Italian furniture. A simply dressed bed with pineapple finials allows the view to take center stage.

Bath-California Tuscan-Mark Hampton

Photo by Michael Mundy

The stout presence of a 19th-century American bathtub contrasts the elegant lines of an Italian parcel gilt console and French slipper chair.

Childs Room-California Tuscan-Mark Hampton

Photo by Michael Mundy

A child’s room is anchored by an antique needlepoint rug which informed the choice of Brunschwig & Fils textiles for the daybed and screen.

Garden- California Tuscan-Mark Hampton

Photo by Dominique Vorillon

A garden room with a pond is lush with Mediterranean foliage.

This concludes my series, Under the Tuscan Sun. I hope you enjoyed this rather extensive, if not long, journey into the Tuscan countryside, its villas, and influence on American Tuscan-style residential design.

Reading list: Local Color, written by Christine Pittel for House Beautiful, with photographs by Dominique Vorillon; California Tuscan, written by Jacqueline Gonnet for House and Garden, with photographs by Michael Mundy; and Mark Hampton: An American Decorator by Duane Hampton, with photographs by Dominique Vorillon and Michael Mundy.

 

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California Tuscan

Posted November 1, 2013. Filed in Mediterranean Style, Michael S. Smith, Tuscan Style

Villa Westerly-Afromsky-Michael S. Smith

Michael S. Smith is a designer who captures the essence of a particular place and time with insouciant, albeit studied, ease. For the interiors of a Tuscan-style vineyard estate in the Santa Ynez mountains in California Smith conceived the look and feel of an old Italian country house.  Its owners, Francine and Neil Afromsky, owners of Westerly Vineyard, hired architect Mark Rios and Smith to transform what had been a shell of a 1970’s house into an Italianate villa with a sense of Old World timelessness The Afromsky’s and Smith made buying trips to Europe accruing antiques and decorative pieces dating back to the 16th-century. In the meantime walls were gutted, rooms expanded and architectural details installed to materialize their vision of a worldly Italian-style country estate. For the decoration of the villa’s interiors Smith looked to the maestro of atmosphere, Renzo Mongiardino, for inspiration. “I was intrigued by the way Mongiardino could steep a place with atmosphere and give it an invented history. He used to say what he did was akin to set decoration. That’s what I wanted to do here. There’s a lot of trickery” explained Smith.

Afromsky-Tuscan Villa-Michael Smith

Photo by François Halard

For the look and feel of a centuries old Italian country house Smith had all of the walls laid with Venetian plaster to give them depth and sheen. The entrance’s center hall orientation runs front to back, with the living room, dining room, kitchen, morning room and library/billiard room radiating off of it in the classical manner. Doors were widened, a grand staircase installed and the ceiling expanded upward to forty feet. The axial layout from front to back affords a view towards a lake and the vast vineyards beyond. A Biedermeier center hall table set with amphora vases and astrolabes sits on a simple abaca rug; a pair of Italian Rococo mirrors flank the arched entry door. The deep tones of the woods and gilt of the mirror warms the creamy quietness of the rooms shell, adding depth and richness.

Entry-Afromsky-Michael S. Smith

Photo by Lisa Romerein

A 15th-century crest of the patrician Medici family of Florence was selected for the grand staircase wall for its sheer size and sense of drama.

Entry-Afromsky-Michael S. Smith

Photo by Lisa Romerein

Another wall in the entrance hall features an antique Casserta sofa placed below an Italian portrait painting set into a framed mirror.

Living Room-Afromsky-Michael S. Smith

Photo by François Halard

Smith selected fabrics and furnishings with a time-worn appearance, evoking rooms lived in over generations with a sense of casual luxury. A mix of styles and periods in the living room brings together an English-style 18th-century armchair, a custom upholstered lounge chair, a custom sofa upholstered in linen velvet, antique textiles for pillows, a fanciful Italian mirror, 19th-century Indian silvered brass candlesticks, and an 18th-century marble bust. “We meant to evoke the atmosphere of a 17th-century house outside Rome. You feel you’re in Italy, not an Italian restaurant” said Smith.

Living Room-Afromsky-Michael S. Smith

Photo by François Halard

Another view of the living room illustrates Smith’s deft hand at creating modern rooms with a sense of history. Fabrics were selected for their subtle tones and textures: Smith had the sofa’s linen velvet embossed with Florentine motifs; a printed cotton by Fortuny covers a pair of Tuscan armchairs; a golden hued damask covers a tufted English-style armchair; and a flamestitch pattern covers a barley-twist stool. The richly colored carpet is a 17th-century West Anatolian Oushak.

Billiard Room-Afromsky-Michael S. Smith

Photo by François Halard

A rich clubby feel pervades the library/billiards room capped by a coffered ceiling and matching glass-front bookcases. An Oxford pool table centers the room, set beneath a pool table light from Reborn Antiques. The striking fireplace mantel is 19th-century Ver de Mer.

Dining Room-Afromsky-Michael S. Smith

Photo by François Halard

A rich chiaroscuro of parchment and brown in the intimate dining room brings to mind a Vermeer painting, made even more romantic by a candlelit antique Venetian chandelier and a fireplace at one end.

Dining Room-Afromsky-Michael S. Smith

Photo by Lisa Romerein

A detail of the opposite side of the dining room featuring a tall chest topped with a collection of porcelain.

Kitchen-Afromsky-Michael S. Smith

Photo via Michael S. Smith

Warmth, utility and comfort inform the country house-style kitchen Smith designed in keeping with the rest of the house. Chairs slip-covered in Brunschwig & Fils’s La Seyne cotton check surround an elm wood table.

Morning Room-Afromsky-Michael S. Smith

Photo by François Halard

In the sunroom a mix of styles and rich textiles produces a feeling of exotic eclecticism: a hand-painted cabinet simulates inlaid wood; a coffee table top of marble samples is made into a mosaic; antique hand-painted wine jugs line the mantel; Italian portraits punctuate the door opening and matching height of the cabinet in the European tradition; a layered sofa is upholstered in a loose vine-patterned cotton; and brilliant red textiles contrast creamy Venetian plaster walls.

Morning Room-Afromsky-Michael S. Smith

Photo by Lisa Romerein

A day in the life of Villa Westerly: Francine prepares to pour their latest vintage while Neil enjoys a good read on a sofa layered with pillows covered in antique textiles. Hanging over the console are antique Vesuvius paintings.

Master Bedroom-Afromsky-Michael S. Smith

Photo by François Halard

The master bedroom is a study in faded neutrals to suggest the passage of time. Smith designed a large scale Italian-style bed with a headboard upholstered in Fortuny’s Murillo cotton. The walnut cabinets flanking the French doors are 18th-century French. The intricately inlaid cabinet (immediate foreground, left) was found in Parma. My favorite item is the Roman-style “oil lamp” chandelier.

Master Bedroom-Afromsky-Michael S. Smith

Photo by Lisa Romerein

The master bedroom features an antique marble mantel found in a field in France. The ample sofa and chaise are covered in Bennison’s Hibiscus linen. A pair of Roman-style sconces match the chandelier.

Master Bath-Afromsky-Michael S. Smith

Photo by Lisa Romerein

An extra bedroom was converted to create the master bathroom, a classically-inspired space replete with a fireplace and elegant armchairs.

Corridor-Afromsky-Michael S. Smith

Photo by Lisa Romerein

The upstairs hallway which connects the master bedroom and guest room feels utterly Italian with its wide hall, stone floors, plaster walls, marble column set into the window recess, set of four oval framed plaster portraits, and leather covered benches.

Guest Room-Afromsky-Michael S. Smith

Photo by Lisa Romerein

The guest room, named the “Flower Room”, is graciously appointed with a seating area, fireplace, and banks of windows.

Balcony-Afromsky-Michael S. Smith

Photo by François Halard

Chic black painted antique wicker furniture with wine colored cushions sets a Victorian tone on the comfortably appointed upstairs terrace which connects the master and guest bedrooms.

Guest Room-Afromsky- Michael S.Smith

Photo via Michael S. Smith

One of a pair of metal beds found in Parma furnish a guest room in one of the property’s outbuildings.

Arbor-Afromsky-Michael S, Smith

Photo by François Halard

An expansive pergola draped in wisteria frames views of a man-made lake and the vineyards and Santa Ynez mountains beyond. The classically-inspired furniture is from Janus et Cie. Landscaping by Trace Iest Robinson.

Villa Afromsky-Mchael S. Smith

Photo via Michael S. Smith

This post was intended to finalize our tour, Under the Tuscan Sun – however, I neglected to include what I believe to be one of the most authentic Tuscan-style villas to ever be designed by an American designer: the Napa Valley home of Becky and Lee Hudson built by architect Ned Forrest and decorated by the late Mark Hampton. Stay tuned … just one more to round out our autumn tour of Tuscan villas!

Content for this post based on an article written by Sabine Rothman for Elle Decor with photos by François Halard and an article written by Andrea Estrada for Santa Barbara Magazine with photos by Lisa Romerein.

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Saladino Style

Posted October 22, 2013. Filed in John Saladino, Mediterranean Style, Tuscan Style

Entrance-Santa Barbara-John Saladino

The Tuscan style gained great popularity in the U.S. in the 1990′s, and there is probably no single American designer or architect more associated with this style than John Saladino, known for his romantic-classical take on Italian and Spanish Mediterranean styles. From the Veneto to the Tuscan landscape Saladino has distilled classical villa-style and Italian country house-style into a signature style of his own, informed by a thorough education of the classics and a passion for balance, proportion and harmony that integrates three distinct levels of scale.

Entry-Santa Barbara-Saladino

There is nothing more welcoming than an entry with a burning fire on a chilly day. This entrance remains for me the epitome of gracious country house-style living, no matter the architectural vernacular: stone walls; contrasting floors of rustic tile (but they could be stone pavers or wood, too); ambient lighting – here with a parchment shaded table lamp and a pair of gilt wood sconces; a handy chair to warm by the fire; a skirted table, in this case hung with Fortuny fabric, which softens the hard edges; a plant stand – which introduces  both another height and scale to the space and natural foliage; and a bench upon which to set your bag or hat. This entry enchants and hints at what’s to come and, I guarantee, you won’t be disappointed.

Saladino-Santa Barbara-Dominique Vorillon

For a 1920′s house in California Saladino imbued the stone-clad living room, above, with Baroque and Renaissance ambiance tempered by contemporary upholstered furniture with clean lines covered in simple, solid fabrics. Though evocative of a Tuscan farmhouse one would be hard-pressed to discover a period dwelling in Tuscany, where rooms have the lofty proportions and grandly scaled windows as this. Saladino is famous for implementing three scales into large rooms – the monumental, the residential, and the human –  to reduce the intimidation factor. Here he punched a sixteen foot steel-and-glass door into the monumental far wall while installing seven-foot French doors on the adjacent wall to reduce the scale to residential; then he floated a pair of sofas, with a folding Spanish leather screen behind one, to inject human scale.  This layering of varying scales and implementation of the old and new, in the hands of Saladino, truly exemplifies “the art of the room”.

Living Room-Santa Barbara-Saladino

Saladino’s love of classicism is evident in a corner setting of the living room where his Balustrade Table and Beaker Lamp commingle with two antique Italian chairs, an iron urn, and a print of a world tour column.

Dining Room-Santa Barbara-Saladino

The dining room possesses many attributes that I find compelling in a dining room of any style: varied sources of lighting (natural, from great expanses of glazing, which also allow access outdoors; table lamps for ambient light; downlights for drama; and candlelight via candlesticks, torchieres and a chandelier for romance); a conversational round dining table placed in a square room, with varying dining chair styles seamlessly joining an unmatched table; contrasting natural materials and textures as well as shades and hues; and a varying of scale and proportion from low to mid to high. The selections made here by Saladino typify rustic California-Mediterranean-style elegance at its best, marrying the romance of Old World European style with American ingenuity and a creative spirit.

Kitchen-Santa Barbara-Saladino

Another all-time favorite room of mine is this kitchen, which is perfectly timeless by design. The contrast created between the sleek brushed stainless steel cabinets and refrigerator and the antique French center cabinet hits the mark of perfection in my book. It’s simple, beautiful and functional – exactly what a kitchen is intended for.

Kitchen-Santa Barbara-Saladino

Another view of the kitchen opens up to the level above, with a balcony overlooking a seating and dining arrangement.

Master Bedroom-Santa Barbara-Saladino

The master bedroom is a study in russet ocher and blue-gray. The collection of floating chairs feels very European, and I love how the mirror was hung with heavy rope. The bed is 17th-century Italian.

Guest Suite-Santa Barbara-Saladino

Quarters are maintained for the owner’s grown children who live on the West Coast. A former painter’s studio was transformed for their son into a guest suite which opens onto a garden corridor with clipped boxwood and roses. A most gracious and unassuming space that reminds me of the kinds of rooms you see in quintas in Portugal. It is perfectly welcoming, though I would perhaps switch out the garland hanging above the bed for a painting – perhaps a California plein air painting from the 1930’s in muted hues of smoky lavender, indigo, mauve, grayed blues and moss green enlivened by shades of whiskey and cognac.

Guest Bath-Santa Barbara-Saladino

A glass grid is all that separates the son’s bedroom from its adjacent bathroom. The pair of lamps with cone shades and the pedimented mirror hanging above the sink are clear indications Saladino has been here. This photo reveals the rustication of the original stone walls.

Bedroom Suite-Santa Barbara-Saladino

In the daughter’s bedroom suite a dressing table is skirted in buttery kidskin against a pale pink wall. Many signs of a Saladino room are present: layered mirrors against a hanging textile as art above a skirted table holding a pair of candlestick lamps; a quilted bedcover; an antique Italian iron bench; a modern version of a classical chest of drawers bleached pale, and a sleek chaise lounge of his design; and the colors of the Mediterranean.

Dining Terrace-Santa Barbara-Saladino

What I miss most about California is the indoor-outdoor quality of life. Here, al fresco dining at its finest. Knowing the Santa Barbara area I can smell the eucalyptus trees without seeing them.

Garden-Santa Barbara-Nancy Goslee Power

The gardens were designed by landscape designer Nancy Goslee Power. The heady fragrance of Mediterranean plants such as rosemary, lavender, citrus, gardenia, and rose were planted on the rolling terrain of the property.

Garden-Santa Barbara-Saladino

Surrounded by lavender and olive trees, Power’s placed a 16th-century Italian wellhead at the center of one of several outdoor rooms.

Garden-Santa Barbara- Nancy Goslee Power

In another garden room a stone fountain ingeniously doubles as a spa – simple, classic and functional.

Our tour, Under the Tuscan Sun, will end with a remarkable villa decorated by Michael S. Smith for clients desiring a taste of Tuscany in the Santa Ynez mountains of southern California.

Content for this post was provided by a feature, Impeccable Imperfection, written by Marilyn Bethany for House Beautfiul, March 1995, with photos by Dominique Vorillon, and from Style by Saladino by John Saladino.

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Palazzo Labèque

Posted October 19, 2013. Filed in Axel Vervoordt, Italian Country Houses, Tuscan Style
House & Garden, 1992

House & Garden, September 2002

Axel Vervoordt imbued the Tuscan palazzo of the internationally famous Labèque sisters, Katia and Marielle, with his unique brand of elemental elegance in the mid-1990’s. Situated inside a fortified medieval city, the pianist duo’s sprawling residence is narrow but high. In the living room, above, Vervoordt mixed carefully selected pieces in unexpected combinations. As so many of Vervoordt’s rooms do, this room is heavy with mood and elicits romantic dreams of a creative life well-lived along the lines of a Merchant & Ivory film. The simple lines of the  modern Brian sofa and Nadia club chair of Vervoordt’s design are juxtaposed with an 18th-century gilt Italian Rococo mirror and an 18th-century French wine table. A minimalist cocktail table and a pair of painter’s stools set upon a natural fiber rug allow the “special moments “to elegantly breathe.

Photo by Simon Upton.

Photo by Simon Upton.

An 18th-century Venetian mirror-front cabinet in the living room (far wall in the first photo, and above) holds rock crystal candlesticks by Vervoordt.

Photo by Simon Upton.

Photo by Simon Upton.

Twenty years later this room remains relevant and chic, forever a favorite of mine. The unexpected placement of a sandstone sphere carved by Buddhist monks introduces a dose of drama and scale to the high-ceilinged living room

House & Garden, 1992

House & Garden, September 2002

As simple as this room appears it possesses mood and soul. Perhaps it’s the room itself, a virtual monk’s chamber with lofty ceilings reaching up to the heavens. Or perhaps it is the mix of dining chairs of relative similarity in alternating hues of red, natural, gold and indigo around a rough-hewn dining table set with silver chargers, a scattering of candles, and simple greens and vines flowing from tall necked vases. Of course, it is all of the above.

House & Garden archives

House & Garden archives

Up close and personal: the dining table is set with 18th century pewter plates, 19th century silverware and napkins embroidered with mandolins. Of the disparate elements brought together into one space Katia remarked “I am not interested in living in a museum where all the good silverware is stacked away and no one dares drink from ancient glassware. One needs to be respectful of precious objects, but they must be enjoyed.”

Photo by Simon Upton.

Photo by Simon Upton.

An alternate view of the dining room is confusing, as the arches of the groin vaulted ceiling dip directly above the mantel in this photos, whereas the space above the mantel in the previous photo is considerable. The mantels are not identical so the idea that perhaps two ends of the same room have fireplaces is unlikely. I venture to guess they have either two separate but nearby dining rooms, or they moved the dining room in the first photograph to the room featured above. The appeal is the same so my confusion is a moot point.

Photo by Simon Upton.

Photo by Simon Upton.

A wonderful and massive 18th-century walnut bookcase topped with globes as finials dominates the simply appointed library.

House & Garden, September 2002

House & Garden, September 2002

The columned loggia looks out over the garden

House & Garden, September 2002

House & Garden, September 2002

A woven bamboo chair meets a French wine table on the loggia.

Photo by Simon Upton.

Photo by Simon Upton.

In another area of the loggia Southeast Asian bamboo chairs are pulled up to a stone garden table.

House & Garden, September 2002

House & Garden, September 2002

Katia’s bedroom is draped in silk taffetas, with 18th-century pillows on the bed. The mirror hung off-center is Italian Rococo and a Han vase, on the right, sits on a 17-century Dutch cabinet from Antwerp.

House & Garden, September 2002

House & Garden, September 2002

A 17th-century Italian ivory-inlaid ebony cabinet-on-stand is set near French doors framed in gold damask in Katia’s bedroom.

Photo by Simon Upton.

Photo by Simon Upton.

An 18th-century Italian polychrome and parcel-gilt wardrobe is viewed through the doorway of Katia’s sparsely decorated bedroom.

Photo by Simon Upton.

Photo by Simon Upton.

Katia’s frescoed bathroom is the most elaborately decorated room in the house. It’s the small spaces that adapt so well to flights of fancy, jewelry boxes expanded to human scale. And what woman doesn’t appreciate the luxury of a glamorous bathroom? Here I would be tempted to dress for Carnival every day!

Nearing the end of our tour, Under the Tuscan Sun, we will next visit a residence decorated by John Saladino bearing the Tuscan vernacular in Santa Barbara, California.

Photos by Simon Upton from Architectural Digest, May 1992.

 

 

 

 

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An Artist in Tuscany

Millington Drake-Stefanidis

It could be said that interior designer John Stefanidis is one of the first influences on the revival of the Tuscan farmhouse as dwelling and the ensuing trend of restoring these casas colonicas, beginning in the 1970’s, particularly among British and Americans desiring a holiday home in the unspoilt terrain of Tuscany. The late artist, and close friend of interior designer John Stefanidis, Teddy Millington-Drake discovered Poggio al Pozzo, a ruin of a stone farmhouse, near Sienna in 1976. Unlike the villas of noblemen previously visited on our tour, Under the Tuscan Sun, Poggio al Pozzo was once a working farm, where sheep and oxen were sheltered on the ground floor inside the house and the most rudimentary and simplest of furnishings – a few chairs, a trestle table and some iron beds – were relegated upstairs, where the family would cook, eat, converse and sleep. For Millington-Drake, however, this was not a restoration but a fresh beginning. “Any invasion of contemporary life is bound to be an intrusion on both the house and the landscape, so it has to have a new character. This isn’t a peasant’s house or a farm anymore.” To capture the soul of the Tuscan region as it existed around the time of Poggio al Pozzo Millington-Drake looked to artists of the 15th-century, such as Giotto, Duccio and Cimabue, for suggestions of rooms that evoked simple dignity and local tradition.

Entrance-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

The entrance hall, above, had formerly been a cattle shed. Rough plaster walls, exposed beams and stone flooring lend a sense of rustic simplicity and appropriateness.

Sitting Room-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

Stefanidis introduced unpretentious and simple furnishings throughout that suggest both a casual appeal and elements that had been used in the fifteenth-century, such as chests used for storage and boldly patterned textiles and carpets. Modular upholstered pieces, so popular in the 70’s, are grouped around the sitting room’s tall open fireplace, and again in a conversation area at the back of the room.

Sitting Room-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

Color is introduced through many of the items Millington-Drake had collected on his travels, and from his art: kilim rugs, a Javanese ikat, and one of his painting on the far wall.

Sitting Room-Millington Drake-Stefanidis-Tuscany

Photo by Christopher Simon Sykes.

The sitting room stretches the length of the house with the bedrooms opening off of it. The staircase, at the far end, leads to an upstairs library, once the pigeon loft. With few and small windows, as most farmhouses would have had, the play of light and use of color was a paramount concern for Stefanidis in the reworking of the rooms for an artist, where light is a valuable yet elusive commodity.

Kitchen-Millington Drake-Stefanidis-Tuscany

Photo by Christopher Simon Sykes.

In the tradition of frescoes found in Palladian villas Millington-Drake painted the walls of an ante-room to the dining room with vigorous abstract drawings of a happy nature. “The room was a response to a line in Baudelaire about traveling. The walls are not prepared in any way and the painting is done directly onto the whitewash with acrylic paint and pastel chalks and then fixed. The room needed something on the wall of general interest to stop it becoming just a passage” remarked Millington-Drake.

Photo by Pascal Hinous.

Photo by Pascal Hinous.

Another view of the ante-room reveals the Plate Room beyond with the artist’s brightly enameled plates arranged against a wall. Local pottery lines the shelves of the passage.

Kitchen-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

A traditional Tuscan fireplace is set within a kitchen alcove of fresh white plaster walls, local stone framing the arch, and indigenous country furniture.

Kitchen-Millington Drake-Stefanidis-Tuscany

Photo by Christopher Simon Sykes.

Another view of the kitchen gives away the room’s most obvious 1970’s fixture: white ceramic tile covering not only the floor but the island too.

Dining Room-Millington Drake-Stefanidis-Tuscany

Photo by Christopher Simon Sykes.

Rustic simplicity is created through the use of honest materials in the dining room, where rush-seated chairs surround a table covered with heavy white cotton set against rough plaster walls and a terra-cotta tiled floor – the whole a perfect foil for Millington-Drake’s raw abstract painting.

Stairwell-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

Millington-Drake’s Clytemnestra series of drawings is exhibited in a grid along a stairwell. If you look closely you will spot a vase by Picasso holding gladioli.

Bedroom-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

Stafanidis outfitted a guest room bed with sheer cotton sari cloth tied with bows that match the color of the bed frame, one of Millington-Drake’s durrie rugs, and 18th-century drawings of Indian architecture – a noticeable contrast in an otherwise stark environment.

Guest Room-Millington Drake-Stefanidis-Tuscany

Photo by Christopher Simon Sykes.

Another view of the same guest room with the sari panels thrown over the frame feels airy and unpretentious.

Photo by Christopher Simon Sykes.

Photo by Christopher Simon Sykes.

Another guest room with a bed hung with saris to compliment the bed and a durrie rug.

Studio-Millington Drake-Tuscany

Photo by Pascal Hinous.

The artist’s studio was formerly a barn with hayloft, affording Millington-Drake the luxury of light and space. A view of the main studio area viewed from the upper level reveals the alchemical workings of an artist.

Photo by Pascal Hinous.

Photo by Pascal Hinous.

On the upper level of the studio Millington-Drake is preparing maquettes for plate designs.

Studio-Millington Drake-Stefanidis-Tuscany

Photo by Christopher Simon Sykes.

“When I moved into Poggio I was still painting in an abstract way. I was writing poetry, and some of the paintings and many sets of drawings were in fact poems or phrases written across paper or canvas” said Millington-Drake of his work at the time, in his studio above.

Pergola-Millington Drake-Stefanidis-Tuscany

Photo by Pascal Hinous.

A stone-walled dining terrace with a pergola continues the centuries-old tradition of private and secured al fresco dining.

Our next stop, Tuscany, will be the Renaissance palazzo of Katia and Marielle Labèque, the internationally famous pianist sisters, designed by Belgian architect and designer Axel Vervoordt.

Content for this post is based on an article written by Elizabeth Lambert for Architectural Digest, October, 1979, with photos by Pascal  Hinous, and from Living in Vogue by Judy Brittain and Patrick Kinmonth, with photos by Christopher Simon Sykes.

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Home Away From Rome

 

La Vagnola,Giancarlo Giammetti's villa near Sienna, Tuscany.

Giancarlo Giammetti, Valentino Garavani’s busuiness and life partner, purchased La Vagnola, an 18th-century Tuscan villa in Cetona, in 1986 and enlisted the maestro of atmosphere Renzo Mongiardino to create enchanted interiors inspired by the surrounding lush, classical gardens. For twenty-five years he and Valentino vacationed here to escape the pressures of Rome and their international jet set lifestyle. Portions of the property date back to the 16th-century but is was in 1750, on the occasion of his marriage to Maria Antonietta Vagnoli, that the  nobleman Salustio Terrosi started building the villa. Giammetti put the villa on the market with Sotheby’s in 2010.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

The interiors at La Vagnola are the unmistakeable work of Mongiardino. Every surface bears his signature of intricate hand-painted decoration and Byzantine-inspired patterns on walls, floors and ceilings. The striking entry hall is washed in inky light indigo to compliment the delicate frescoes of the ceiling’s decoration, which is grounded by a neutral marble and terra-cottta patterned tiled floor. I am particularly fond of the wall-mounted photophore, far left.

Photo by Oberto Gili

Photo by Oberto Gili

The design and decoration of La Vagnola was based on these early 19th-century Austrian and German watercolors of period interiors which, according to Mongiardino, are oddly reminiscent of decor found in Tuscan houses during the 17th-century. They were hung in the garden room and provide a key to understanding much of the inspiration, design and color schemes selected for many of the villa’s rooms.

The main drawing room in La Vagnola, the Tuscan villa Valentino and Giancarlo Giammetti shared. Photo by Oberto Gili.

Photo by Fiorenzo Cattaneo.

Giancarlo Giammetti kept some of the furniture that came with the purchase of the villa, which included Empire pieces seen throughout. The sienna, ocher and green color scheme and the checked fabric on the sofas and curtains by Valentino are in traditional Italian country house-style — albeit a rather elaborate setting for country living. Such is the life of kings of a fashion dynasty! The Chinese wooden figurines once adorned the Royal Pavilion at Brighton.

Photo by Oberto Gili.

Photo by Oberto Gili.

The paintings flanking the fireplace in the main drawing room, above, are from the school of Zurbarian. Mid-19th-century Italian marble vases line the mantel.

Photo by Oberto Gili.

Photo by Oberto Gili.

Giammetti’s dog at the time, Olivia, a King Charles spaniel, is resting on an Empire settee that belonged to Princess Mathilde, Napoleon’s niece. Above hangs a 19th-century portrait.

Photo by Fiorenzo Cattaneo.

Photo by Fiorenzo Cattaneo.

A view of the drawing room opposite the fireplace wall: trompe l’oeil columns were added to existing early 19th-century hand-painted wallpaper by Renzo Mongiardino to mimic the real columns. The collection of crystal in the foreground is antique Baccarat.

Photo by Oberto Gili.

Photo by Oberto Gili.

The designs for the walls and ceilings of a vestibule leading to the dining room were inspired by rooms in Florence’s Palazzo Pitti. The floor design was created from terra-cotta and marble. The tiered corner cupboards and the fringed light fixture are Mongiardino original designs.

Photo by Oberto Gili.

Photo by Oberto Gili.

The reading room opens into the library. The green and white ceramic stove, c. 1790, is purely decorative.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

Cabinets in the library were modeled after a historic Venetian design and hold 2,100 rare books that Giammetti miraculously returned to the villa, missing since the 1960’s.

Photo by Oberto Gili.

Photo by Oberto Gili.

Mongiardino’s ornate designs for the ceiling and walls of a sitting room were created in his studio then applied on site. An arrangement of furniture upholstered in richly patterned needlepoint and simple rattan chairs creates a cozy, eclectic environment.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

A more recent view from the sitting room toward the reading room and library beyond when the villa was photographed in 2010.

Photo by Oberto Gili.

Photo by Oberto Gili.

When Giammetti purchased La Vagnola Mongiardino insisted that a large room must be built to project the house into the gardens. “Without it, the house will never work” commented Giammetti of Mongiardino. In an early photo of the light-filled garden room, above, walls of Bohemian glass envelop the space. Simple red-and-white checked fabric covers two wing chairs. One of a pair of the polychromed Chinese figurines originally found a home here in this room.

Photo by Oberto Gili.

Photo by Oberto Gili.

A close-up view of a vignette in the garden room features 18th-century Chinese-style figurines sitting under Meissen vases holding lilacs. The set of wicker armchairs is 19th-century English, and one of two wing chairs, on right, is upholstered with a floral fabric on the inside. The whole feels quite Victorian.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

A recent photo of the passage connecting two sides of the garden room with a center hall table is framed out by four sets of four columns wrapped in trompe l’oeil vines with porcelain jardinieres set between them. Not a surface untouched or free of ornament!

Photo by Oberto Gili.

Photo by Oberto Gili.

A vintage photo of the passage connecting the two garden rooms features a masculine Empire center hall table and large scale objet d’art.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

The garden room as it appeared in 2010 reveals an arrangement of commodious English-style slip-covered furniture in one all-over pattern.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

The billiard room with its allegorical painted ceiling.

Photo by Oberto Gili.

Photo by Oberto Gili.

The design of the spare all-white kitchen was given to one of Giammetti’s friends, Tommaso Ziffer, a young decorator at the time.

Photo by Oberto Gili.

Photo by Oberto Gili.

The “Sophia Loren” guest room was so named in honor of the room’s inaugural guest, richly appointed in Old World style with a lacy ceiling designed by Mongiardino. The tea-stained effect of the cotton for the walls, drapes and carpet is a pleasant, warm contrast to the cool blue and white of the ceiling and Chinese export porcelains.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

Another more current view of the “Sophia Loren” guest room shows the addition of an upholstered sofa with a medallion design.

Photo by Oberto Gili.

Photo by Oberto Gili.

Giammetti’s bedroom features its original sky-blue ceiling painted with Classical borders, a 19th-century sleigh bed with a vintage canopy, and a 19th-century needlepoint rug. I rather like this Old World way of arranging a bedroom, with the bed along the wall as opposed to perpendicular to it. It opens it up and allows the room to be more lived in and used to read, write … or Pinterest!

Photo by Obeto Gili.

Photo by Obeto Gili.

Giammetti’s framed collection of Victorian plaster seals hung in a corner of his bedroom in a photo taken in the 1980’s.

Photo by Oberto Gili.

Photo by Oberto Gili.

Giammetti commented that the curtained closets in his richly appointed Empire-style dressing room  were created for convenience. “I don’t waste much time thinking about clothes” he remarked. The daybed in 19th-century Swedish; the round table and walls and ceiling are Mongiardino designs.

LA VAGNOLA HOUSE & GARDENS

Photo by Oberto Gili.

Photo by Oberto Gili.

La Vagnola borders one side of a piazza in the village of Cetona, accessed by iron gates through an ancient archway.  The villa, tucked behind chestnut trees on a fifty-acre estate, looks onto a predominantly green garden dotted with boxwood in earthenware pots. Paolo Peyrone, a pupil of the English landscape designer Russell Page, assisted with the design of the landscaping around the house, referred to as the park. Giammetti initially wanted an English-style garden, full of color. But Peyrone suggested “Let’s get a bit of green first, and then we’ll decide what flowers to have” remembered Giammetti. When it was completed Giammetti understood that the best color in a garden, especially in Tuscany, is green.

Photo by Oberto Gili.

Photo by Oberto Gili.

The 18th-century stable, as it was photographed in the 1980’s, became an orangery with an upstairs exercise room. A recent photo of the orangery is featured at the beginning of this post, now entirely covered in creeper.

Photo by Oberto Gili.

Photo by Oberto Gili.

Peyrone created an outdoor garden room with walls of hedge, antique statues and a lily pond.

Photo by Oberto Gili.

Photo by Oberto Gili.

The view away from the orangery through a pair of obelisks flanking the entrance to the formal garden of box hedges.

Photo by Oberto Gili.

Photo by Oberto Gili.

The pool pavilion, “La Turkerie” so named for its Orientalist interior – and the terraced pool and garden devised by Peyrone.

Photo by Oberto Gili.

Photo by Oberto Gili.

La Turkerie is a magnificent frescoed pavilion that stands in the middle of the garden near the pool, built by the Terrosi-Vagnoli family in 1837 in honor of a visiting pasha.

Photo by Isidoro Genovese.

Photo by Isidoro Genovese.

A  photo taken in 2010 of the small pool, formal gardens and the orangery beyond.

Our tour of Tuscany will take us to the late artist Teddy Millington-Drake’s country house designed by John Stefanidis in the 1970’s – an early example of Tuscan farmhouse-style adopted by expats seeking holiday refuge in the Tuscan region.

Content for this post was provided for by an article written by Charles Maclean, Tuscan Pastoral, for HG magazine, September, 1989, with photos by Oberto Gili. Additional photo by Gili from Renzo Mongiardino: Renaissance Master of Style. Photos taken by Fiorenzo Cattaneo from Roomscapes: The Decorative Architecture of Renzo Mongiardino.  Photos taken by Isidoro Genovese are from an article for The Wall Street Journal on the sale of La Vagnola by Sotheby’s in 2010.

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Villa Cetinale

Posted October 13, 2013. Filed in Camilla Guinness, Italian Country Houses, Tuscan Style
Photo by Jonathan Becker.

Photo by Jonathan Becker.

Lord Edward Richard Lambton’s 17th-century Roman Baroque Villa Cetinale in La Cerbaia, near Sienna, is set amidst one of the most spectacular sitings in Tuscany, with views spanning over miles of rolling hills. Designed by the architect Carlo Fontana, a pupil of Bernini, the villa was built in 1680 by Cardinal Flavio Chigi for Pope Alexander VII. Edith Wharton proclaimed in her 1904 study, Italian Villas and Their Gardens, that it was “one of the celebrated pleasure-houses of its day.”

Photo by Jonathan Becker.

Lounging outside Cetinale’s rear façade: Lord Johnson Somerset, Ned Lambton, Leah De Wavrin, Timmy and Emma Hanbury, and Marina Lambton. Photo by Jonathan Becker.

During the 1970’s Villa Cetinale was a playground for the rich, famous and pleasure-seeking aristocratic set under the watch of Lord Antony Lambton, where he retreated in 1973 amidst a sex scandal while serving as the Tory M.P.’s defense minister. But that’s another story, better suited to the gossip columns. For the full, entertaining exposé read James Reginato’s article, The Luck of the Lambtons, written for Vanity Fair.  Upon Lord Lambton’s death in 2006 his son, Lord Edward Richard Lambton, Earl of Durham – who goes by Ned – inherited the villa. Today he shares the villa with his third wife, model Marina Hanbury, and his family.

The Earl and Countess of Durham. Photo by Jonathan Becker.

The Earl and Countess of Durham. Photo by Jonathan Becker.

Photo by Jonathan Becker.

Photo by Jonathan Becker.

While the gardens had been beautifully brought back to life by his father, Lord Antony, his son Ned Lambton was faced with a five-year renovation of the villa. Upon its completion he called on longtime friend Camilla Guinness to decorate and bring back to life the villa’s rooms. The main salon, above, was completely refurbished. “My main aim was to alter the villa as little as possible. Barring [extensive] damage by dog pee to all the curtains and gilded table legs, and a shortage of bathrooms, it was pretty perfect the way it was. The real challenge was to make sure things weren’t over-restored and to try to keep the patina of walls and furniture” commented Guinness. The salon breathes with simply painted white walls, neutral upholstered furniture and a natural fiber rug, lending a relaxed atmosphere and allowing the patterns of the tiled floor and tracery of the arched-and-vaulted ceiling stand out. The red curtains add a dose of regal attitude.

Photo via Villa Cetinale website.

Photo via Villa Cetinale website.

Another view of the main salon showcases a gilt console table that had been in need of refurbishment due to soiling from Lord Antony Lambton’s dogs.

Photo by Jonathan Becker.

Photo by Jonathan Becker.

The all-white dining room is crisply classic, highlighting the famous bas-relief depicting Cardinal Chigi, who commissioned the villa, receiving Grand Duke Cosimo III de’ Medici above a serving table.

Photo via Villa Cetinale website.

Photo via Villa Cetinale website.

Another view of the dining room reveals the articulation of the groin-vaulted ceiling and the near monastic quality of the decor befitting Italian country house style.

Photo via Villa Cetinale website.

Photo via Villa Cetinale website.

The light and airy garden dining room has retained the trellised frescoes depicting the surrounding landscape.

Photo by Jonathan Becker.

Photo by Jonathan Becker.

Lord Ned Lambton at the head of the garden dining room’s table entertaining family and friends.

Photo via Villa Cetinale

Photo via Villa Cetinale

The light and bright kitchen has brown-and-white checker-patterned tiles in true Italian country house fashion.

The villa boasts twelve bedrooms, nine of which are available to renters. Here are four of them:

Bedroomd-VIlla Cetinale

Bedroom-Villa Cetinale

Bedroom-Villa Cetinale

Bedroom-Villa Cetinale

 

GARDENS AND TERRACES

Photo by François Halard.

Photo by François Halard.

Villa Cetinale Gardens-François Halard

Photo by François Halard.

Photo via Villa Cetinale.

Photo via Villa Cetinale.

From left, Lily Robinson (at the buffet), Leah De Wavrin, Timmy Hanbury, Marina Lambton, Emma Hanbury, Lord Somerset, and Ned Lambton (standing) in the portico of Villa Cetinale. Photo by Jonathan Becker.

From left, Lily Robinson (at the buffet), Leah De Wavrin, Timmy Hanbury, Marina Lambton, Emma Hanbury, Lord Somerset, and Ned Lambton (standing) in the portico of Villa Cetinale. Photo by Jonathan Becker.

Today, owning and maintaining a property of this size and magnitude is becoming more rare and difficult due the sheer expense of it. If these images leave you green with envy don’t fret: Villa Cetinale is available for holiday rental. I imagine it’s a win-win situation for all; we can live like aristocrats, even if only for several days, while our illustrious hosts retain the spoils of privilege afforded them by an aristocratic past.

Our next stop will be La Vagnola in Cetona, the 18th-century Tuscan villa of Giancarlo Giammetti that he shared with his business and life partner Valentino Garavani, decorated by Renzo Mongiardino. Though heavily blogged about and posted to Pinterest I hope to contribute some less viewed photos of the villa. If for no other reason,  I look forward to having all images of this very famous villa in one place for future reference.

Content for this post based on an article written by James Reginato for Vanity Fair, with photos by James Becker. Photographs by François Halard originate from Vogue, April ,2005. All other photos via Villa Cetinale’s website.

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Villa la Rose

Posted October 12, 2013. Filed in Italian Country Houses, Tuscan Style, Villas
Photos courtesy Villa la Rose website.

Photos courtesy Villa la Rose website.

My survey of Tuscan-style architecture and interiors, beginning with Under the Tuscan Sun, continues into the hills above southern Florence. The 15th-century Villa delle Rose, an example of the classical Tuscan villa modeled after Villa Medici in Fiesole, was saved from obscurity by Ernest Boissevain and his wife Jean Tennyson, the famous opera singer, when they discovered it in near ruins in the 1950’s. Originally a fortified farm, Nicolo Antinori – a Tuscan nobleman – purchased the property around 1487 to further expand his wine dynasty, making stylistic changes and improvements over successive generations to the dwellings. It stood abandoned for many years following encampment by both Nazi and American forces during WWII.

Main Entrance-Villa la Rose-Ferragamo

Today Villa delle Rose – now referred to as Villa la Rose, originally named for the property’s luxuriant roses – is owned by Maria Beatrice and Leonardo Ferragamo of the fashion and luxury leather goods empire and is available for private rental.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

The entry of Villa la Rose celebrates country house-style with walnut front doors original to the house and a reproduction of one of the villa’s 15th-century refectory tables.

Entry Hall-Villa la Rose-Ferragamo

Another view of the entry hall features a hunt scene painting. Unfortunately, wide-angle lenses don’t capture the spirit of their subjects, and in this case are better suited for real-estate websites; but it’s certainly interesting to see more of this exceptional villa.

Photo by Robert Emmett Bright.

Photo by Robert Emmett Bright.

The grand salon at the time of the Boissevians was simply furnished with silk damask upholstered furniture and wall-to-wall beige carpeting – typical of its era – as a foil to the theatrical late-18th-century frescoes which mix trompe l’oeil architectural elements and panoramas.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

Further restoration and decoration of Ville la Rose by the Ferragamos became a family affair:  Maria Beatrice’s sisters, Elena Garagnani and Francesca Garagnani Poccianti, and Francesca’s husband Carlo Ludovico Poccianti – partners in the architectural and interior design firm Archflorence – approached the project with reverence for the many decorative frescoes throughout the villa. Elena, an artist, brought back to life the Piranesian ruins depicted against a clear cerulean sky in the grand salon, above.

Photo via Villa la Rose.

Photo via Villa la Rose.

The designers’ modus operandi throughout the villa was to allow the frescoes to take center stage, with simple yet luxuriant furnishings in complimentary colors supporting them. Here, a modern travertine cocktail table and the clean lines of contemporary furniture upholstered in blue silk velvet strike a contemporary note.

Photo by Robert Emmett Bright.

Photo by Robert Emmett Bright.

The frescoes in the small dining room at the time of the Boissevians are an airy, intricate blend of Herculaneum-inspired figural and decorative motifs.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

The same room is now furnished as a sitting room for the Ferragamos with neo-classical furniture complimenting the delicate tracery of the stylized grotesques.

Photo by Robert Emmett Bright.

Photo by Robert Emmett Bright.

A mythical mural enveloping the large dining room with a trompe l’oeil dado is complimented by a predominantly green richly patterned Aubusson,  contrasting red velvet upholstered Italian Louis XIV chairs, a 16th-century table, and a delicate Venetian chandelier during the Boissevains stewardship.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

The same dining room is now furnished with a mahogany-and-walnut table and chairs. Instead of pulling from the reds and greens of the frescoes the Ferragamos have played up the blues and yellows. The gilt-wood console adds a note of Baroque grandeur against the Fragonard-esque 18th-century frescoes.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

Simple country-house style inform the kitchen with its original Tuscan fireplace. Rustic Spanish armchairs surround a farm table.

Villa-Le-Rose-Tuscany-photo-2

A view from the loggia into an inner courtyard towards a facing wing framed in luxuriant foliage.

Library-Villa la Rose-Ferragamo

The library features to scale models of sailing vessels, one of Leonardo Ferragamo’s passions and pastime as president of a manufacturer of yachts.

Photo by Robert Emmett Bright.

Photo by Robert Emmett Bright.

The ballroom/reception room photographed at the time of the Boissevians, where Italian Baroque carved sculptures intermingle with trompe l’oeil statuary.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

The Pocciantis designed a silk Pagoda canopy to compliment a bedroom’s Chinoiserie theme.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

Elena Garagnani restored the Eastern-style frescoes in the Chinoiserie-themed bedroom. An 18th-century bench is covered in antique gold silk, and the two armchairs were handmade in Florence.

Photo by Robert Emmett Bright.

Photo by Robert Emmett Bright.

The State Bedroom at the time of the Boissevains featured an ornate appliqued bedcover, canopy and illusionist headboard to compliment the framed panels of the decorative wall frescoes.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

Today a carved 17th-century gilt-wood-and-damask valance was fashioned by the Pocciantis to frame one of the frescoes in the former State Bedroom, recognizable by the fretwork border near the cornice.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

A vanity was designed to complement the neo-Pompeian arabesques in a guest bath.

Photo by Pieter Estersohn.

Photo by Pieter Estersohn.

Black Portoro marble covers the floors and bathtub of a bathroom with walls covered in neo-Pompeian frescoes.

THE VILLA AND GARDENS

Villa la Rose-Ferragamo

Villa la Rose-Ferragamo

Villa la Rose-Ferragamo

Villa la Rose-Ferragamo

Villa la Rose-Ferragamo

Villa la Rose-Ferragamo

Next stop, Tuscany, will be the 17th-century classically-inpired Villa Cetinale presided over by Lord Edward Richard Lambton, the seventh Earl of Durham.

This post was based on an article written by Mitchell Owens for Elle Decor, April, 2005, with photography by Pieter Estersohn, and on text adapted by Cameron Curtis McKinley for In the Tuscan Style written for Architectural Digest: Chateaux and Villas, 1982, with photography by Robert Emmett Bright. All other photos via the Villa la Rose website – available for short and long-term rental.

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The Tower of Peretti

Elsa Peretti’s holiday retreat on the Tuscan coast was hardly your typical relaxed and breezy waterfront dwelling. La Torre was a ruin of  a watchtower on the steep and craggy cliffs of Southern Tuscany built by Spanish invaders in the 16th-century as a military lookout between the Tuscan archipelago and the island of Corsica. Its remote siting appealed to Peretti as a safe haven from curious tourists. But its isolation and decrepit condition would not make life easy for her. After many attempts Peretti could not turn the awkward and spartan interiors with their thick stone walls, cell-like rooms and cracks for windows into welcoming spaces. Enter friend and maestro of atmosphere, Milanese architect Renzo Mongiardino.

A cast after one of the gaping grotesques in the Baroque Bomarzo gardens opens wide around the fire in the ground-floor living room. Tromp l'oeil columns, pediments, and vines emphasize the fairy-tale-like quality of the tower, reinforcing the 'imaginative tradition of17th-century architecture' Mondiardino desired.

Photo by Fiorenzo Cattaneo.

Mongiardino presented Peretti with two options: the first was to honor its past, taking it back with whitewashed walls, simple wooden furniture and mattresses on the floor. The second option was to create the illusion of living in a three-dimensional fairy tale tower with tromp l’oeil effects. “I was set on recuperating the sense of shelter and fantasy within as opposed to the bareness of the real world outside” explained Mongiardino. Peretti did not hesitate and gave Mongiardino carte blanche to create an illusory tour de force.

Bomarzo cast-Mogiardino-Elsa Peretti Tower

Photo by Fritz von der Schulenburg.

A cast after one of the gaping grotesques in the Baroque 16th-century Bomarzo gardens opens wide around the fire in the ground-floor living room, proving that overscaled elements lend the diminutive ones substance and drama. Tromp l’oeil columns, pediments, and vines emphasize the fairy-tale-like quality of the tower, reinforcing the “imaginative tradition of 17th-century architecture” and in the process distorting the actual perspective of the room, bringing to it a sense of lightness and space, which Mondiardino desired – further expanded upon with a blue painted sky for the ceiling. “I like it when tromp l’oeil effects actually manage to conquer the limitations of real space” noted Mongiardino. The patterned floor incorporates terra-cotta, wood and marble.

Sitting Room-Elsa Peretti-Tuscany-Mongiardino

Photo by Fritz von der Schulenburg.

A a cozy recess in the same room contains a perspective of arches and fragments of beams and friezes and simple furnishings with an Old World sensibility.

Elsa Peretti-Tower Room-Mongiardino

Photo by Fritz von der Schulenburg.

Above the lower level siting room is the salon at the top of the tower. Its pyramidal shape was dictated by the tromp l’oeil scheme Mongiardino employed vis-a-vis “breaking open the sides of the the vaulting and allowing a sweeping painted sky into the room”, as explained by Mongiardino.

Photo by Fiorenzo Cattaneo for Roomscapes: The Decorative Architecture of Renzo Mongiardino.

Photo by Fiorenzo Cattaneo .

Another view of the tower’s uppermost salon reveals what Mongiardino described as “a more conventionally decorated space with tranquilly bourgeois furnishings.”

Photo by François Halard; HG October 1988.

Photo by François Halard

Mongiardino designed the tower sitting room as a “Roman ruin” with trompe l’oeil coffered ceiling opening to sky. The bookcases and furniture were designed by Mongiardino.

Photo by Frtiz von der Schulenberg.

Photo by Frtiz von der Schulenberg.

The spiral stairs lead to a roof-top terrace; the chair covered in a kilim injects of note of exoticism.

A collection of pictures hang on stripe-painted walls in Elsa Peretti's bedroom.

Photo by Fritz von der Schulenburg.

A collection of pictures hang on stripe-painted walls in Elsa Peretti’s bedroom.

Photo by Fritz von der Schulenburg.

Photo by Fritz von der Schulenburg.

Mongiardino combined real terra-cotta tiles with stenciled imitation ones on the upper walls in a bathroom.

Photo by Fritz von der Schulenburg.

Photo by Fritz von der Schulenburg.

Simple, stark furniture was chosen by Peretti and Mongiardino for a corner of the guest room with stenciled walls.

Next stop on our tour of Tuscany is the classically-inspired Villa delle Rosa, the holiday home of the Ferragamo clan, of the luxury leather goods and fashion empire.

This post was based on an article written by Marella Caracciolo for The World of Interiors, April, 1991, with photos by Fritz von der Schulenburg; and Roomscapes: The Decorative Architecture of Renzo Mongiardino with photos by Fiorenzo Cattaneo; and”Elsa in Italy” written by Rhoda Koenig for HG, October 1988, with photos by François Halard.

 

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