Paper City Article

Wrapture

Tue, 01 Dec 2009 04:02:25 GMT

Bliss! Elation! Who couldn%26#8217;t use a little wonder right now? Here, your finely honed gift list, already gathered by our editors, who have sourced the fun, the fabulous, the simple and the stunning. Tie one of these up this season %26#8212; and get the gift of joy in return.

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Click on "launch slideshow," above to start shopping....

Little Goes a Long Way

Wed, 01 Feb 2012 02:58:06 GMT

%26ldquo;There%26rsquo;s something in the air,%26rdquo; mused Douglas Little over iced tea at the Rosewood Mansion on Turtle Creek. %26ldquo;People are starting to throw caution to the wind again.%26rdquo; Little is in town as he has recently been named creative director for Art Ball 2012, a job dreamt up for him by Art Ball co-chairs Merry Vose and Julie Hawes. And the designer %26mdash; known for his remarkable Bergdorf Goodman window displays and his luxury candle and fragrance line D.L. %26amp; Co. %26mdash; has wild abandon on the brain as he tells us his plans for the Dallas Museum of Art fund-raiser, set for Saturday, April 14. At the mention of one sexy word %26mdash; the night%26rsquo;s theme, %26ldquo;Wanderlust%26rdquo; %26mdash; Little reels with imaginative %26eacute;lan. He thumbs through a stack of tear sheets depicting his vision for the Ball and proclaims, %26ldquo;It%26rsquo;s about curiosities, travelling to distant lands and asking ourselves, How do we make it 3-D.%26rdquo; Samplings from his sketchbook? At the Fleischner Courtyard entr%26eacute;e, a tall, faux-bois tree dripping with cymbidium orchids will be constructed out of white plaster. Inside, six distinct areas will be staged and inspired by a fantastical destination, from the Seven Wonders of the Ancient World to Asia and Morocco. Little has even commissioned a set of emerging artists to create a collection of travel posters to be revealed that eve. The silent auction will be highly fantastic as well: For the block, several stylish types %26mdash; jet-setters, as Art Ball will dub them %26mdash; have been asked to select the single item they pack or covet when travelling. In other words, Art Ball is shaping up to be an outrageously flamboyant vacation %26mdash; only you needn%26rsquo;t pack the Goyard, nor fret about jet lag. Tickets and sponsorships 214.922.1353; artball@dallasmuseumofart.org.

Image: A bar topped with tigers? Douglas Little's Art Ball fantasy via illustrator Andrea Adams.

Move Over, Thoreau

Wed, 11 Jan 2012 11:20:06 GMT

It%26rsquo;s a rarefied life in the woods, indeed %26mdash; thanks to an enlightened mid-century architect, a thoroughly modern decorator and a homeowner whose obsession with restoring houses and moving on may have just come to an end. Has she found her Walden?

Tammie Kleinmann and Henry David Thoreau would%26rsquo;ve been the best of friends. %26ldquo;I went to the woods,%26rdquo; wrote the transcendentalist, in his seminal 1854 book, Walden: A Life in the Woods, %26ldquo;because I wished to live deliberately, to front only the essential facts of life.%26rdquo; Kleinmann can relate. She%26rsquo;s a wife, a mother and the co-founder of a full-service production company that represents directors of films and commercials. In other words, this is one high-energy, hard-working character. There%26rsquo;s something else you should know about Kleinmann, right up front: She is utterly, positively addicted to houses. She has renovated and sold about 15 of them in nigh on 20 years %26mdash; a do-the-math computation that makes the head spin. But that%26rsquo;s where Thoreau comes in: He sought self-discovery and self-reliance %26mdash; and some say, self-help %26mdash; by spiriting into a cabin in the forest, to live among the whippoorwills, owls and cockerels; to grow beans; to slow down. Kleinmann? The same thing may be happening to her, sans the beans and the whippoorwills.

As a shelter from it all, a girl could do worse. Her current house %26mdash; shared with husband Brian Nadurak (an art director at The Richards Group), their teen daughter, teen son, four dogs, a bird and a fish %26mdash; is a long, low composition by the late Texas architect O%26rsquo;Neil Ford, he of important buildings for Texas Instruments in Dallas and worldwide; the Museum of Western Art in Kerrville; many light-handed, region-sensitive residences; and, the building that put him on the international modernist map, the Little Chapel in the Woods on the Denton campus of the Texas Woman%26rsquo;s University. Eleanor Roosevelt spoke at its dedication in 1939. But by 1958, Ford had penned another masterpiece back in Dallas, on a leafy acre near Forest Lane and Hillcrest Road. The Kleinmann-Nadurak house follows one of the most progressive tenets that sprang from modernist thinking: Present a solid, almost featureless fa%26ccedil;ade to passersby, but gift the occupants with thrilling transparency out back. This house does that in spades. Duck through one of the plain front doors and a whole wooded world is served up, in CinemaScope. Ten-foot ceilings throughout, few interior walls and gobs of glass bring the lot%26rsquo;s towering trees rushing in. Dappled light shimmers wherever you look. Scrutinize the vista closer and you notice a creek coursing by. It%26rsquo;s idyllic, to be sure %26mdash; architecture and Mother Nature becoming fast friends. (At this, O%26rsquo;Neil Ford excelled.) The house lies lightly on the land, and its materials are quiet, too: brown brick outside and in, wood mullions, terrazzo floors and slatted-wood ceilings, those stained a soft, pale gray. It%26rsquo;s a restrained palette, befitting the restrained architecture.

But how does a 2012 family adapt to such a delicate mid-century shelter in the woods? That was designer Alice Cottrell%26rsquo;s charge. Kleinmann called on the one person she trusted to furnish the house %26mdash; the Ralph Waldo Emerson to her Henry David Thoreau. Cottrell had worked on a number of Kleinmann%26rsquo;s houses, and the two pals %26mdash; they even shop and travel together now %26mdash; had just reinvigorated Kleinmann%26rsquo;s previous residence when this one was purchased. (May we remind you of Kleinmann%26rsquo;s propensity to fall hard and fast for houses? But, she says, %26ldquo;I have never bought a house just to sell it.%26rdquo; Often she succumbs to the proverbial knocks on the doors with offers to buy, or another house will sweep her off her feet. This one, though, she says, %26ldquo;I stalked.%26rdquo;) Cottrell set about reimagining existing pieces and putting beloved pieces into new roles, all while sticking to an overall aesthetic that already captured her client%26rsquo;s vivacious personality. Kleinmann snaps, crackles, pops, sighs and swoons when describing what this house %26mdash; and all of her houses %26mdash; mean to her. Cottrell, on the other hand, is a gentle soul, quite dry-witted and seemingly unable to be flustered %26mdash; the perfect foil for Kleimann%26rsquo;s nuclear-powered enthusiasm for dwellings and decorating. The translation went splendidly, and in the end, Cottrell seemingly channeled the chicest of the glassy, woodland lairs on our pop-culture consciousness: the villain%26rsquo;s swank lodge in North by Northwest, the professor%26rsquo;s house in Tom Ford%26rsquo;s A Single Man. But as a real, family house, it%26rsquo;s a success. %26ldquo;We live all over this house,%26rdquo; Kleinmann says, with a husband who works on his own paintings in a sunlit corner and teen kids who host sleepovers on an epic, 19-foot sofa in the den. Will this be it? Has Kleinmann found her Walden? We present the numbers: Thoreau lived in his house in the woods for two years. Kleinmann and brood are at two-and-a-half years in theirs %26mdash; %26ldquo;the longest that I%26rsquo;ve ever lived somewhere,%26rdquo; she says.

IMAGES:

%26ldquo;The minute%26rdquo; owner Tammie Kleinmann saw this end of the capacious living room, she knew it would be the dining space. %26ldquo;Eating here and watching nature,%26rdquo; she says, %26ldquo;is like watching TV.%26rdquo; The B%26amp;B Italia chairs are covered in faux red fox from Dorian Bahr. The ottomans, at left, were designed by Alice Cottrell, built and upholstered (in faux grizzly-bear fur from Bergamo Fabrics, through I.D. Collection) at Kisabeth Furniture. Above them, a work by Berlin artist Cornelia Schleime. The window sheers are from Jack Lenor Larsen, silky and diaphanous. %26ldquo;We didn%26rsquo;t want drapes, in philosophy,%26rdquo; Kleinmann says, but Cottrell suggested them for some key windows. %26ldquo;It was the best thing we did.%26rdquo; Now, by drawing them, the vistas can be made even more dreamlike. The console table, far right, is from Napa Home %26amp; Garden; atop it, a fossilized crab (%26ldquo;about a trillion years old, says Cottrell%26rdquo;), made into a lamp by Jim Penix of Mineral Hunters in Dallas. Above it, a work by German artist Peter Schunter.

Off the kitchen, a den-like space that links O%26rsquo;Neil Ford%26rsquo;s original 1958 house with its 1961 expansion by Ford prot%26eacute;g%26eacute; Scott Lyons. Much attention and budget has been devoted to making the glassy house eco-friendly, by passionate contractor Marc Kleinmann (in fact, Tammie Kleinmann%26rsquo;s ex-husband) of EGC Custom Homes in Dallas. %26ldquo;I have a fetish for the mechanics of a house,%26rdquo; Tammie says. %26ldquo;I should%26rsquo;ve been in heating and air conditioning.%26rdquo; The greening of this house has included an efficient chimney insert and painstaking securing of all the walls and glass with modern sealants, making the house as airtight as possible %26mdash; and dropping the energy bill by 50 percent. All doors and window mullions were carefully refinished, too. %26ldquo;Everything%26rsquo;s been scraped and sealed and painted,%26rdquo; Tammie says. %26ldquo;I want this house to be here a long time.%26rdquo; In the den, a custom sofa by Alice Cottrell, in Rodolph plush, through Culp Associates. The rabbit-fur Smiley Cushion is from Calypso St. Barth; the rabbit-fur throw is by Adrienne Landau, through the David Sutherland Showroom. The ottoman is Minotti, in Edelman leather. Overhead, a zoomy light fixture by David Weeks Studio, through Ralph Pucci. Underfoot, tactile carpet by Missoni Home.

The living room, just the place for winter t%26ecirc;te-%26agrave;-t%26ecirc;tes. The B%26amp;B Italia club chairs are %26ldquo;the therapy chairs,%26rdquo; says Kleinmann, where she and husband Brian Nadurak sit with glasses of wine. The floor lamp between them is Holly Hunt. Cottrell designed the sofa, built by Kisabeth Furniture; the arm pillows are custom, too, in David Hicks fabric from Lee Jofa. The cocktail table was sliced from a teak tree that had encapsulated two other trees; Cottrell estimates that it weighs 1,000 pounds. (It took six men to move it into the house; Kleinmann couldn%26rsquo;t bear to watch.)%26nbsp;%26nbsp;

The rear of the O%26rsquo;Neil Ford house, looking toward the living-room wing. (Scott Lyons%26rsquo; 1961 expansion is at far right.) The original grounds were designed by husband-wife team Arthur and Marie Berger, who landscaped the DeGolyer Gardens in 1940, now part of the Dallas Arboretum. Kleinmann and family are mindful to %26ldquo;preserve the yard as carefully as we preserve the house.%26rdquo; An unwanted swimming pool was demolished and removed %26mdash; bit by bit %26mdash; in wheelbarrows, so as not to disturb the trees on the park-like acre. %26ldquo;Trees first, house second,%26rdquo; says Kleinmann, of her priorities, always.

Alice Cottrell, of Alice Cottrell Interior Design, with her dog Charlie.

A dinette of delicious leanings. The kitchen%26rsquo;s banquette is covered in real cork fabric, by Kravet. (A scientist friend of Cottrell%26rsquo;s tested it in a lab; it defied every chemical drizzled on it.) So confident has Kleinmann become in all of Cottrell%26rsquo;s fabric selections that %26ldquo;Alice only brings me one fabric now %26mdash; and I always go for it.%26rdquo; The restaurant-grade table is called Knobhill, from West Coast Industries. Above the banquette, two mixed-media works by Argentine artist Pancho Luna, through Craighead-Green Gallery

The master, modernist bedroom %26mdash; a study in velvety textures contrasted with architect O%26rsquo;Neil Ford%26rsquo;s brick and glass. (The sumptuousness of it all makes Tammie Kleinmann feel like she%26rsquo;s %26ldquo;waking up in a hotel.%26rdquo;) Alice Cottrell designed the headboard, in faux white fur by Kravet; at the foot of the bed, a faux red-fox throw by Adrienne Landau, through the David Sutherland Showroom. At the tall windows, faux cashmere curtains by Robert Allen. Underscoring it all, an Edward Fields carpet from Kleinmann%26rsquo;s previous residence; Cottrell had it re-cut for this house. The vintage Koch + Lowy lamp at bedside is from Vinya Design %26amp; Consign.

This cat doesn%26rsquo;t scratch %26mdash; she shoots. California artist Harry Siter%26rsquo;s gun-wielding Mother Nature, of bronze, aluminum and redwood, protects her trees,

The sleekest, chicest powder bath in Dallas. Cottrell had the house%26rsquo;s original cabinetry painted, then specified woven vinyl sisal for the floor, by Bolon of Sweden, from Interior Resources in Dallas. On the walls, Cole %26amp; Son%26rsquo;s jaunty Automania wallpaper, with line drawings of vintage sports cars; on the ceiling, silvery Mylar wallpaper by Wolf Gordon. The sink%26rsquo;s faucet is sensor-driven, to save water. (Cottrell calls it %26ldquo;the American Airlines Admirals Club faucet.%26rdquo;). Cottrell had two of Flos%26rsquo; Lampadina table lamps %26mdash; designed in 1972 by Achille Castiglioni %26mdash; converted into wall sconces. The damask towel is from Anthropologie.%26nbsp;%26nbsp;%26nbsp;

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High-Style Haul

Wed, 11 Jan 2012 10:53:37 GMT

This is not your typical stash of mid-century detritus. Yes, you%26rsquo;ll see Mr. Eames and Mr. Nelson popping up here and there, but the aesthetic at River Regency Antiques %26amp; Modern %26mdash; a mixed-up little shop on Riverfront Boulevard %26mdash; is a bit more swank, a bit more Barbarella. Dr. Morris Prigoff is responsible: The podiatrist had various booths at shops all over town when, finally, he thought, Why not open my own store? Behold the answer, a crowded jumble of furniture, lighting, art and accessories %26mdash; from a one-off, amoeba-shaped architect%26rsquo;s desk to a lipstick-red wiggle of a sofa to a set of glossy white 1960s Fiberglas side tables that look like gigantic molars. There are chairs, cocktail tables, sofas, dinette
sets, even an unofficial shop mascot: the mounted African antelope head in the back room, surveying the scene. (He%26rsquo;s for sale, too.) The whole m%26eacute;lange is looked after by shop manager Robert Solache, who is passionate about the pieces herein %26mdash; and, when not waxing on about Danish Modern cocktail bars or estate-sale finds, creates his own interesting art. Pull up a Milo Baughman lounge chair, and he%26rsquo;ll tell you all about it. 1500 N. Riverfront Blvd., 214.760.8779; riverregency.com.

Image: River Regency Antiques %26amp; Modern. Photo by George Fiala.

Czechmates

Fri, 06 Jan 2012 02:56:58 GMT

Mary and Roy Cullen invite us in. Catch more of the Surrealist hits and gorgeous glass from the Cullen Collection at the Museum of Fine Arts, Houston, through March 11, 2012.

Days before their splendid works on paper, canvas and glass were carted off for exhibition at the Museum of Fine Arts, Houston, our features editor, photographer and I descended on the pedigreed River Oaks domicile shown on these pages that%26rsquo;s the abode of Mary and Roy Cullen. Our purpose? To document these treasures and their owners amongst them.

To call this couple assiduous collectors would be an understatement, as there%26rsquo;s something more at play here than mere acquiring. The Cullens (yes, that Cullen family)%26nbsp;are preservers of the past, archivists of artists and revivers of lost or nearly forgotten talent %26mdash; resurrecting creative voices, resuscitating visionaries, recording their nuances, lives and concerns while illuminating a period in 20th-century history that deserves to be more widely known and understood. The story of this house is the tale of a time and place far from our own: Czechoslovakia in the years before and after World War II. While literally peeking into the Cullens%26rsquo; interiors, we are also peering behind the Iron Curtain at those who created and even, against all odds, occasionally thrived despite its stern, unwavering grip.

The Cullens%26rsquo; perhaps unlikely fascination with Czech history began in 1989, more than a decade before they built this house. It was prompted by a landmark exhibition organized by the MFAH and co-curated by Alison de Lima Greene, %26ldquo;Czech Modernism: 1900 %26ndash; 1945.%26rdquo; That exhibition opened doors that evolved into a floodgate, launching a collection that would go where only the bravest curators dare to tread. The Cullens%26rsquo; obsession involved tracking down arcane Czech treatises, sleuthing out artists from behind the Eastern bloc, unearthing forgotten or nearly vanished figures from the halls of art history and intrepidly plunging into the annals of Cold War Europe. Yet another tantalizing, serendipitous occurrence landed them front row and center at the Velvet Revolution: Through a personal connection, they were in Prague, then met Vaclav Havel and attended his presidential inauguration in 1989. In a nutshell, you have the background of this couple%26rsquo;s all-consuming pursuit.

The Cullens were well into their Czech quest when they built this house from 2003 through 2005. They tapped New York%26ndash; and San Francisco%26ndash;based Ike Kligerman Barkley as their architects %26mdash; a bicoastal firm, known for its sensitive, seamless borrowings from the past, which sought inspiration in the circa-1808 Nathaniel Russell house in Charleston, South Carolina. Fortuitously, the Cullens%26rsquo; next-door neighbor, Michael J. Siller %26mdash; who lived with his partner, Larry Hokanson, in a home of a similar blueprint by the same architects, but one with imperial Russian proclivities %26mdash; was enlisted as their designer. In fact, when the Cullens first glimpsed the Siller-Hokanson home, they implored the men to sell it to them. When Siller and Hokanson declined, the Cullens located an adjoining plot of land and cajoled its owner to part with the prime parcel, and Siller graciously made the introduction to their architects. The resulting Cullen commission puts forth a refined appearance, its dignified facade making a perfect pendant to the equally stately, Russian-inspired residence next door, both lining a busy River Oaks thoroughfare. And as you%26rsquo;ll glimpse, the Cullen home%26rsquo;s late-18th-century-style interiors live up to the grand promise of its exterior.

Besides highlighting their burgeoning Czech collection, the Georgian revival house manifests the couple%26rsquo;s commitment to vertical living and downsizing. They moved from a 1930s-era house, also in River Oaks, that they had called their Texas home throughout most of their 40-year marriage. (They%26rsquo;ve also lived, on and off, in a loft in Chicago, Mary%26rsquo;s hometown.) Conscious of the architectural riches they were leaving behind, and mindful that the new owners might tear down the property, they struck a deal to take the embellishments of their former casa with them. Ornate mantelpieces, a pair of elaborate built-in corner cupboards in the dining room, highly carved pediments, moldings, window frames and even the front-door surround found new life in their refined new brick-and-limestone edifice.%26nbsp;

Besides the recycling of its architectural elements, the Cullen house is most noteworthy for giving a new home to priceless and rare examples of Czech avant-garde art %26mdash; paintings, works on paper, magazines, books, treatises and other ephemera %26mdash; and glass, all of which span the early years of the 20th century to the 1960s, and miraculously survived two World Wars, revolution and the clench of Communism to somehow make its way to Houston, mostly due to Mary%26rsquo;s exhaustive investigative research. The many gems include in-depth works by names that were new to me and will be to many readers. This collection is a revelation indeed about Czech movements including Surrealism, Artificialism, Devetsil, Skupina 42 and all their practitioners, including those of whom Mary speaks with warm familiarity. She relays lively anecdotes and associations that would be only known to family or friends about headliners Karel Teige, whose sexy collage of an airplane buzzing stockinged legs graces the exhibition catalog cover; Jindrich %26Scaron;tyrsk%26yacute;, considered one of the avatars of the avant-garde; Jindrich Heisler, who still made photomontages despite being hidden in a bathroom during World War II; and especially Toyen, whose 1936 surrealist masterpiece The Message of the Forest says it all about life at the time.

What%26rsquo;s on view at the MFAH now through March 11 testifies to the couple%26rsquo;s confident collecting, passionate pursuit and absolute dedication to their subject. Reflecting back on the unveiling this past November, Mary Cullen said, %26ldquo;When the exhibition opened, many people asked me if I wasn%26rsquo;t thrilled about having my collection at the museum. My answer was that what I was really thrilled about was to have all these great Czech artists having their moment in Houston, and in such an amazing museum as the MFAH.%26rdquo;

The final alignment: Surely it was a happy coincidence that Roy Cullen%26rsquo;s grandson, collage master Dana Harper, married a Czech artist, Hana Hillerova, in 2007, their wedding celebrated in Prague. And fittingly, the couple%26rsquo;s daughter, born last year, is named after the celebrated Czech Surrealist Toyen. Life, art and the collection have come full circle.

%26ldquo;New Formations: Czech Avant-Garde Art and Modern Glass from the Roy and Mary Cullen Collection%26rdquo; at the Museum of Fine Arts, Houston, through March 11, 2012.

Images:

The collectors at home, Roy and Mary Cullen with son Meredith Cullen. %26ldquo;The Cullen Collection is unique in its sophisticated overview of both avant-garde art and modern glass ... You sense the passion that inspired artists and glassmakers during this revolutionary era of liberation and innovation,%26rdquo; says MFAH curator Alison de Lima Greene, co-organizer of %26ldquo;New Formations,%26rdquo; which highlights the pioneering couple%26rsquo;s avocation for Czech modernism.

The dramatically spiraling three-story stairway is the heart of the house. An Austrian chandelier illuminates its organic curves. Carpet by Hokanson. The library manifests the Cullens%26rsquo; dedication to the printed word. These walls star Latin American modernists including disciples of influential Uruguayan Joaqu%26iacute;n Torres-Garc%26iacute;a%26rsquo;s School of the South.
Karel Teige%26rsquo;s Untitled, 1947.

In a nook of the living room, a wooden sculpture by Mexican-American artist Tom Garcia (Mary Cullen%26rsquo;s brother), titled Harlow, 1967. On the lower right wall, an oil on canvas by Czech artist Zdenek Rykr, Tvar, undated.

A vignette in the library showcases a 1929 ceramic vase by Austrian talent Gudrun Baudisch, resting on a rare Cubist table by Vlastislav Hofman, circa 1912. Above, a gouache on cardboard by Brazilian H%26eacute;lio Oiticica, Seco # 15, circa 1956, signals the Cullens%26rsquo; other interest: Latin American modernism. These impressive doors in an upstairs hallway were gleaned from an auction in Chicago, then silver- and gold-leafed.

Toyen%26rsquo;s Portrait d%26rsquo;Andr%26eacute; Breton, 1950.

The downstairs salon transports us to turn-of-the-century Prague and Vienna, starring a suite of Czech furniture upholstered in a Josef Hoffmann Wiener Werkst%26auml;tte-design fabric.

The couple%26rsquo;s bedroom offers an ode to mostly female Surrealists, featuring a collaboration between Leonora Carrington and Edward James (to the right of the Scalamandr%26eacute; curtain), while a Carrington drawing, Map of Down Below, circa 1941, is immediately to the left of the bed. Other headliners are works by Aube Ell%26eacute;ou%26euml;t, the daughter of Andr%26eacute; Breton, as well as British artist Emmy Bridgewater. Also shown: Scalamandr%26eacute; fabric-covered French armchair, a Venetian chest of drawers and an 18th-century canopy topping an 18th-century architectural embellishment over the bed made up with Pratesi linens. Designer Michael J. Siller praises his clients%26rsquo; %26ldquo;impeccable taste and incredible eye for detail,%26rdquo; and notes that in the process of working on this commission, %26ldquo;I gained some lifelong friends.%26rdquo;

The living room mixes Georgian-style furnishings with the Czech avant-garde, including Portrait of Andr%26eacute; Breton by Toyen, 1950 (left of the door, top row, left), which was lost for half a century behind Breton%26rsquo;s bookcase, and an untitled 1947 collage by Karel Teige (right of the door, top left), which served as the slightly racy image for the exhibition catalog cover. The chandelier was purchased in the town of Nov%26yacute; Bor, Czech Republic. Mary Cullen says of their collecting mania, %26ldquo;Czech art is still not fully integrated into the history of the 20th century.%26rdquo; Their collection and its accompanying exhibition will assist in remedying this.

Horizon Italian Tile

Fri, 06 Jan 2012 02:41:05 GMT

Keys to the Door: Owner Olivia Boone; manager Bryan Dye.
Stocked Goods: For the last 16 years, architects and designers from all over the state have sought out Olivia Boone%26rsquo;s expansive Italian tile showroom in Dallas for their commercial and residential projects. In an industry where experience and relationships parlay into perks %26mdash; like being first in line at the quarry for their pick of premier-grade slabs %26mdash; Boone and her staff are rewarded with the best natural stone, from basalt to gorgeous Carrara marble. Now they%26rsquo;ve expanded to Houston with a sleek showroom that opened last month to both retail and the trade. Boone recruited Bryan Dye and Ed Gonzales, whom many remember from their days at Waterworks. With access to some of the oldest and largest Italian porcelain-tile manufacturers, Horizon%26rsquo;s old-world artisan suppliers are embracing new technologies to develop porcelain tiles that will have you doing a double-take. There%26rsquo;s pebble leather, not to mention glazed croc tiles so glamorous that your admiring fingertip will be shocked to find porcelain tile, not skin beneath. For those who enjoy a little trick of the eye, compare a piece of Calacatta marble tile (matte or glossy) alongside natural Calacatta marble, and your eyes will dart back and forth, trying to detect which is which. And for those who remember when wood-grain-looking porcelain tiles were nothing but badly stamped repetitive patterns, discover 24- to 40-inch %26ldquo;planks%26rdquo; of red and white oak, maple, ash, teak and more with miniscule grout joints, their surfaces rendered with sophisticated ink-jet prints in countless wood-grain configurations. Find those plus Japanese porcelain varieties, wall tiles of ceramic and glass, and loads of high-tech solutions that let you lay good tile over existing tile you might have inherited in your home or office. 2707 W. Alabama, 713.523.4500; horizontile.com.

Image: Horizon Italian Tile

Winter-White Wonder

Wed, 14 Dec 2011 12:07:37 GMT

Searching the real estate listings for months with friend and real estate agent Rosie Meyers, Deanna Anon saw it all: homes of all styles, both old and new, as well as high-rises. But it wasn%26rsquo;t until Meyers insisted she revisit a house tucked away in a gated neighborhood in River Oaks that the tides would turn.

%26ldquo;One weekend, I got a call from Rosie, and she said, %26lsquo;I really want you to come back and see this house again,%26rsquo;%26rdquo; Anon recalls. %26ldquo;In the time since we had looked
at it, decorator Randy Powers and Bill Caudell had moved in temporarily while their home was under renovation and had painted walls and brought in furniture, and the place looked homier.%26rdquo; When Anon strolled through the doors of the previously unfurnished space again, she says, %26ldquo;I knew it was right.%26rdquo;

The floor plan fulfilled much of her must-have list, including a media room (which solved the conundrum of having a television in her living room %26mdash; a must-not-do, she declares) and ample living space downstairs with a lavish master bedroom and a bath with all sorts of renovation possibilities. But what it didn%26rsquo;t include were the home office and walk-in laundry room that she desperately needed.

Clearly the decisive Anon recognized not only what she wanted in terms of amenities but also what she envisioned in terms of design direction, making her an ideal client. Enter interior designer Renea Abbott and architect Kurt Aichler, who were commissioned to realize her vision. Friends not only with the homeowner but each other, Abbott and Aichler had worked together on previous projects as well. With ample space %26mdash; 4,000 square feet of it %26mdash; to work with, the duo began tackling Anon%26rsquo;s wish list. High among her must-haves: interiors bathed with light, the removal of the decorative ironwork from the windows, and walls cloaked in paler shades of dove gray and winter white. Check, check and check. But they didn%26rsquo;t stop there.

Envisioning natural light in the bedroom and a skylight above the tub, Aichler found a creative solution for the light-challenged first-floor bedroom suite. He tapped into the roof above the attic, just a story above, to fashion a slim reveal of light that creates the illusion of electric bulbs hidden where the joints of the molding meet. In actuality, he and his crew took three days to build four walls around the perimeter of the attic that would cull light from the skylight to a tiny space cut between the ceiling joints below.

As for that office, Aichler relocated a couple of closets from one side of her bedroom to create a niche accessed through the hall. Her closet was reinvented as a galley-style space on the other side of the dramatic charcoal-gray wall behind her bed. %26ldquo;After years and years of living with small closets, it was important to me to have a large galley-style closet and be able to find what I want,%26rdquo; Anon says. She also relocated her bathroom from that spot.

She and her former spouse, Jeff Anon %26mdash; owners of the Houston-born Tex-Mex concept Berryhill Tamales %26mdash; remain in constant contact and hold one another in the highest regard. %26ldquo;He%26rsquo;s my rock, my best friend,%26rdquo; Deanna says of Jeff, who has just dropped in to say hello. Given their mutual respect and admiration, as well as the two teenage sons they are raising together, it%26rsquo;s no surprise they choose to live in close proximity to each other. Deanna, who works for Reliant Energy, explains,%26rdquo; I wanted to live within a two-mile radius of where I%26rsquo;d lived before, because this is my life %26mdash; the Tanglewood area %26mdash; where Jeff is, as well as the Houstonian Club and the Houston Polo Club, where Jeff and one of my sons play polo.%26rdquo;

Of course, the house is still a work in progress. Her next step will be to fluff the office space by adding a black-lacquered desk and silver-leaf ceiling, as well as acquiring investment-worthy furnishings and art. %26ldquo;Jeff has fabulous art pieces,%26rdquo; Deanna says. %26ldquo;The Miro and the Picasso, he gave me. We%26rsquo;ve always loved purchasing art together, and he knew I had to fill spaces on the walls.%26rdquo; She also contemplates developing some outdoor space: %26ldquo;I%26rsquo;m thinking perhaps%26nbsp; French doors leading to a patio with a water treatment outside my bedroom.%26rdquo; Otherwise, Deanna%26rsquo;s domestic vision is nearly complete, fitting every must-have on her list.

Images:

The Lueders limestone surround (in pewter tone) and the custom mantle in the living room were created by Materials Marketing. Thomas Pheasant constellation mirror by Baker. Waylande Gregory vase from Shabby Slips. Orchids from River Oaks Plant House.

Deanna Anon with sons, Auston (left) and Pierce. The living room was transformed from dark-gray environs to a lighter-gray palette with Pratt %26amp; Lambert%26rsquo;s Windham. Behind the sofa, a set of 12 Swedish Braille pages in whitewood frames. McAlister Collection rug in granite from Stark. Marvin Gould charcoal-and-graphite work on paper.

A silver- and gold-leaf shell chair pulls up to an ornate desk in the living room.

Ornamental kale, artichokes and green apples make an unexpected centerpiece on the dining-room table.

Although the media room looks black, it%26rsquo;s actually a midnight-blue hue called Domino by Sherwin Williams. The sofa was reupholstered in Kravet crushed-cotton velvet. Mies van der Rohe cocktail table from Design Within Reach. Sconces from Circa Lighting. Portrait of Abraham Lincoln by New York artist Hunt Slonem, represented at McClain Gallery. An oil painting by Marc Chagall hangs over the fireplace, which is filled with birch logs.

This vignette in the entry showcases a work by Houston artist Mel DeWees above an inlaid chest from Carl Moore. Floral repouss%26eacute; 24K-gold bowl beside a pair of candelabras.

In the master bathroom, a contemporary abstract work by artist Mel DeWees hangs above a stool recovered in a navy Fortuny fabric. Bathtub and hardware from Fixtures %26amp; Fittings. Porden patterned wallpaper by Designer%26rsquo;s Guild. Wall color, Zephyr by Benjamin Moore. The charcoal-gray bathroom cabinets are rendered in Blackjack by Benjamin Moore, a high-gloss oil paint. White carrara marble countertops from Color Marble Yard.

To create a comforting womb-like feel in the master bedroom, Deanna insisted on painting the wall behind the bed dark charcoal (Blackjack by Benjamin Moore) in contrast with a lighter-gray wall (Zephyr by Benjamin Moore). The silk-velvet-upholstered bed with Frette linens was designed by Renea Abbott, Restoration Hardware coverlet and a faux-mink throw from Z Gallerie. Ebony chest of drawers from Shabby Slips, painted dark gray. Silk charmeuse curtains by Shabby Slips. Pair of Miro prints above a wood bench topped by a linen cushion.

Restoreth Thy Soul

Mon, 12 Dec 2011 06:22:51 GMT

If you%26rsquo;re a mystic mind who believes in the meaning behind a sequence of dates, or if you, like a Las Vegas bookie, put better odds on numbers that feel like a winning combo, you might think the numerals 11-11-11 signify a good omen. If you%26rsquo;re Gary Friedman, chairman and co-CEO of Restoration Hardware, 11-11-11 signifies the auspicious start of a new era: the debut of Restoration Hardware: The Gallery Highland Village, the first built-from-the-ground-up realization of RH%26rsquo;s new retail concept.

Houston hit the design jackpot when Friedman and his collaborators chose the city for this endeavor. Gone are the nostalgic tchotchkes of the early Restoration days; in their place are 24,000 beautifully designed, globally researched objects built around the precepts of inspiration, quality and discernment. With bated breath, we await Friday, November 11, when the 14-foot gates of the three-story, 25,000-square-foot Howard Backen%26ndash;designed gallery open. Friedman takes us on a tour.

LC: The design direction of the store has changed dramatically in the last decade. Take us back to the impetus of this stylish move.

GF: It%26rsquo;s been a long journey. There have been two or three really big moves, but if you look back over the last 10 years, it%26rsquo;s probably hard to recognize them. When I got here in the early 2000s, the catalog had things like a dog toy on the cover, and most of the business was with what the company called discovery items %26mdash; nostalgic tchotchkes. We began to evolve it to a more premium-positioned lifestyle brand in the mid-2000s. We were tight on capital and had to do it in a very scientific manner, step-by-step. Otherwise, we risked dislocating the customer and possibly bankrupting the company, which was never profitable. When the economy blew up in the fall of 2008, from our point of view, there were two choices. One, you could follow the rallying cry in this country, %26ldquo;Value, value, value.%26rdquo; What that meant to most retailers, even developers and manufacturers of home products, was lower quality, lower prices. We said, %26ldquo;Where do we really want to be? Instead of letting this be a time of paranoia, let%26rsquo;s use it as a liberating moment and do exactly what we believe we should do,%26rdquo; because the consumer wasn%26rsquo;t buying anyway.

LC: How did the decision to go upscale bring you to this point?

GF: We said, %26ldquo;If we%26rsquo;re going to go down, let%26rsquo;s go down in style and let them remember us. Let%26rsquo;s do exactly what we love and use this as a moment of opportunity.%26rdquo; So we took the business to where we could offer unparalleled value. While everyone was going down [market], we went the other way, positioned the business in a way that was
very personal to us and reflected what we love with a point of view and style like
we preferred to live.

LC: Your inspiration?

GF: In the fall of 2008, a handful of us embarked on a journey and circled the globe seven times in 12 months to radically move the business up. Price didn%26rsquo;t guide us; design and quality did. In difficult markets, it%26rsquo;s our belief that people don%26rsquo;t want less quality. They want more. They aren%26rsquo;t going to be less discerning about their purchases, but more. They don%26rsquo;t have to be less inspired, but more inspired. You don%26rsquo;t inspire people by selling them cheaper goods or lower quality. We believed we needed to take design and quality up, and if that meant taking prices up, so be it, as long as it presents a great value.

LC: What%26rsquo;s the grand plan?

GF: The legacy real estate we have was all built 10 to 15 years ago for a very different company. The old Resto reflects nothing of the new Resto. I don%26rsquo;t think there is a single product in our entire assortment that we carried 10 years ago. We have 24,000 products in the entire company, and not one is the same. Some people say, %26ldquo;Gary, this has been a long turnaround.%26rdquo; But %26ldquo;turnaround%26rdquo; infers something once worked, but Resto never did. This was about taking the existing real estate and the existing name, and building a new company. It%26rsquo;s not anything of what it was. In many ways., it%26rsquo;s entirely new, and that%26rsquo;s why it took us this long to architect it %26mdash; we were capital-strapped. The new real estate is a canvas for the new collection. The reason why we call them %26ldquo;design galleries%26rdquo; is because we don%26rsquo;t want to be seen as a store. In our minds, our gallery represents an artistic expression of home furnishings.

LC: Can you pick a piece or two and describe how it came to be part of your current collection?

GF: Within the catalog, we have a profile on Raymond Libeert of Libeco, which is one of the oldest and the best Belgium linen weavers. My entire home is done in Libeco linen, and it was done that way before I came to Resto. After sleeping for years on 450- to 600-thread-count sheets made by Carlo Bertelli%26rsquo;s company in Florence, we are now one of the biggest importers of Italian bedding in America. Also, Timothy Oulton was making salvage-wood tables, bookcases %26hellip; I think he was making about 45 pieces a month for the entire world before he met us. Now it%26rsquo;s a very different number. With a lot of these people, we%26rsquo;ve developed partnerships %26mdash; it%26rsquo;s the relationships with those vendors that are very important to us. But we are still not that large. We still only have 86 stores in the United States. It%26rsquo;s unique that this quality of product is available across a broader distribution platform.

LC: The structures you build or remodel for the new Restoration Hardware are evidently as important as the contents you%26rsquo;ve curated. Why?

GF: One thing that was really important to us was that we build architecture or acquire buildings that really are harmonious to the product. We are designing buildings to be an architectural statement that are as beautiful as any great home. Our architect, Backen, Gillam %26amp; Kroeger Architects, has been an Architectural Digest Top 100 firm for years. Howard J. Backen was also the architect of my house. I think he%26rsquo;s one of the best in the world. The Gallery%26rsquo;s exterior is made with hand-troweled Venetian plaster, and as you walk through the 14-foot gated oculus-shaped entry, you step into a crushed-granite 2,500-square-foot garden courtyard, beautifully landscaped. Then you walk into the structure of the Gallery itself, with 14-foot ceilings and stunning 13-foot elegant arches trimmed with wood, with French doors (24 sets of them) that open onto the garden courtyards and balconies. The interior is flooded with natural light. The double, three-story staircase is dramatic, modeled after some great European staircases (and spans 37 feet at its widest point). Around it is what we are calling our design biblioth%26egrave;que, a global gesture towards design. You%26rsquo;ll march up the staircase which has reproduced antique maps from the most influential design cities, with clocks above the maps that will display the time in all those cities, whether it%26rsquo;s Buenos Aires, Tokyo, Sydney or Paris.

LC: We understand in this space there will be areas devoted to garden, a newsstand and other niche departments. Tell us about the evolution of these areas.

GF: At the base of the stairway, we will have these vintage newsstand racks with the daily newspapers, magazines and books published in those design destinations around the world. Again, it%26rsquo;s a global gesture of design, communicating we have a global view on design. It will be a place people can come and dream, be inspired, look at magazines. Within the base of the staircase, we have an organic tea atelier, where we%26rsquo;ll serve organic tea as a gesture to make people feel comfortable and relaxed. Some other elements of the store include a fresh floral boutique by David Brown that will represent our point of view on floral design. We love floral arrangements that are architectural, somewhat colorless %26mdash; green and white and natural based. We will have a digital rug installation by Ben Soleimani. Ben is one of the authorities in the rug business, whose famous stores in London cater to kings and queens. Although we will have a lot of our rugs hanging, we%26rsquo;ll also have a digital 6-by-9-foot giant iPad display. It will look like a rug from 20 feet away, but you can go up to it and swipe an iPad screen next to the display and view the entire rug collection. We decided to put a park on the roof. We have a big greenhouse you%26rsquo;ll walk into that%26rsquo;s mostly glass; there are trees and plants, and you%26rsquo;ll see a 7,500-square-foot green space on the roof. That will be the first of its kind. Altogether, we%26rsquo;ll have 10,000 square feet devoted to our gardens between the 2,500-square-foot garden store you%26rsquo;ll enter through and the 7,500-square-foot roof garden upstairs. It won%26rsquo;t feel like a store; you%26rsquo;ll feel like you%26rsquo;re in some great European estate.

LC: You must travel the world in search of inspiration. Take us through the list of far-flung places you%26rsquo;ve journeyed to pull together the new Resto.

GF: We travel a lot through Europe, as well as India. We hit cities from Antwerp and Paris to London, Barcelona and Morocco.

%26nbsp;

Fascinated by the number of high-profile artisans Friedman has signed on, we compiled a list of some of the designers who worked with him to reinvent Restoration Hardware.

%26bull; Mark Sage and Rudi Nijssen, antique collectors and innovators, Belgium

%26bull; Timothy Oulton, antique dealer/reproductionist, London

%26bull; Luay Al-Rawi, artisan/entrepreneur, The Netherlands

%26bull; Ben Soleimani, head designer of Mansour/Mansour Modern rugs

%26bull; Carlo Bertelli and Giulia Cavallaro of Florence-based Tessitura Toscana Telerie, bed linen

%26bull; Ann Sutherland, Perennials, outdoor fabric

%26bull; Raymond Libeert, CEO of Libeco-Lagae, linen

%26nbsp;

Images:

The gateway to The Gallery. This photo of the courtyard gate at the entrance of the Beverly Hills store gives you a sneak peek of what%26rsquo;s in store in Houston.

Chairman and co-CEO Gary Friedman, the architect of Restoration Hardware%26rsquo;s revamp.

This massive hand-carved architectural-column-based wood table is made from salvaged reclaimed pine from a series of 100-year-old buildings in Great Britain.

In a garden courtyard, generously sized Majorca seating is hand-woven from all-weather wicker strands wrapped around an aluminum frame.

Restoration Hardware is one of the biggest importers in the USA of imported Italian bed linens, such as this hotel satin-stitch variety.

Louis XV%26ndash;style chairs, some with carved oak details, bring a rococo flourish to tailored upholstered pieces.

Physicist Leon Foucault%26rsquo;s gyroscope, invented in the 19th century, inspired the Foucault Twin Orb Iron chandeliers, some with and others without crystal adornments.

Classical gicl%26eacute;e print reproduced on archival watercolor paper reprinted from the 1928 Royal Ascot Thoroughbred original.

The Belgium Slope armed chairs and sofas are covered in Belgian linen.

A Modern Moment

Mon, 12 Dec 2011 05:54:03 GMT

Tuesday, November 15, get your modern self to Carol Piper Rugs for the opening of an exhibition of dazzling rugs from some of the most important European modernist designers including Maison Jansen, Andre Arbus, Ivan da Silva Bruhns and Jules Leleu. To add fuel to the modernist flame, Yale University Art Gallery historian and associate curator John Stuart Gordon will sign advance copies of his book A Modern World: American Design From the Yale University Art Gallery, 1920-1950. Tuesday, November 15, 6 to 8 pm, at Carol Piper Rugs, 1809 W. Gray, 713.524.2442; info@carolpiperrugs.com.

Star Power

Sun, 09 Oct 2011 10:59:40 GMT

Behold this glamorous starburst fire screen, designed by John Lyle in white bronze with blackened-steel base and starfire glass; 41%26rdquo; wide by 33%26rdquo; high. Billy Haines would have eaten it up. To the trade at David Sutherland Showroom.

He Sculpts, She Sculpts

Wed, 12 Oct 2011 04:25:29 GMT

Abandon all logic, ye who enter here. For tucked away off a well-worn interstate exit in a well-worn East Dallas neighborhood %26mdash; tiny bungalows, with minivans and pickup trucks pulled right up to their weathered facades %26mdash; there exists a sun-bleached industrial building where some of the most otherworldly, though-provoking art in Texas or anywhere is happening. Virtually every day. Times two. The corrugated-metal building harbors secrets. Inside it are the workspaces and private galleries of preeminent sculptors Frances Bagley and Tom Orr, who share more than just the cavernous space: They share ideas, opinions, laughs and a wedding date. They are wife and husband.

%26nbsp;

They are also rather dichotomous. They are fiercely independent, yet supremely collaborative. They don%26rsquo;t quite. Finish each other%26rsquo;s sentences. But almost. They are funny, intense, warm, cool, intellectual, inquisitive %26mdash; but not necessarily simultaneously. Indeed, they have the cadence that only comes with time together. Lots of time. As for their work, that differs wildly %26mdash; and garners critical acclaim. Using mostly woods and metals, Orr explores parallel lines, moir%26eacute; effects, visual reverberations, reflections, shadows, shimmers, crumples, textural interplays and grids. %26ldquo;His fascination with illusion and [his] obsessive interest in sequence and process,%26rdquo; writes professor Cindy Hurt in Art Lies magazine, %26ldquo;has ultimately advanced the exploration of Op art to a new level, revealing a philosopher quietly at work.%26rdquo; Bagley, writes professor Charissa Terranova in the online art journal Glasstire, %26ldquo;ratchets up the stakes of peculiarity set by godfathers of the odd Hans Bellmer and Marcel Duchamp,%26rdquo; using foams, fabrics and found objects to wend her way through mysteries, conventions and obscurities. The female form %26mdash; and dogs and deer and horses %26mdash; figures heavily in her work.

%26nbsp;

Above: In the apartment/lounge, a 12-foot table rescued from the building%26rsquo;s former life as an auto-parts dismantling/reconditioning facility. Orr stripped it of years of grease and layered tops. The black Windsor chairs around it %26mdash; Victorian cottage furnishings %26mdash; are from his youth. On the wall, Bagley%26rsquo;s The Five Women, wood and pigment.

%26nbsp;

Funny enough, it all coexists under one 23,000-square-foot roof. (The proverbial %26ldquo;peacefully%26rdquo; is up for interpretation.) Bagley found the property after their longtime spaces at the Continental Gin Artist Studios in Deep Ellum had outlived their usefulness. She was driving down an East Dallas side street when she spied two buildings on almost three acres, and a sign planted in front: FOR SALE. FORECLOSURE. %26ldquo;I called Tom, panting,%26rdquo; she says. A real-estate attorney, who happens to be a well-known contemporary-art patron, helped them ink the deal. The place, though, was far from move-in ready: The former car-parts dismantler had sat vacant for years. There were barrels of acid dotting the grounds, and grease everywhere inside. %26ldquo;It was rough,%26rdquo; Orr says. %26ldquo;Really rough.%26rdquo; Piles of Sheetrock later, Orr and Bagley had walls, and his-and-hers studios and his-and-hers galleries, about 13,000 square feet in total. There%26rsquo;s a spartan little apartment, too, that they call %26ldquo;the lounge,%26rdquo; with an open dining-living-kitchen space, a small bath and a tiny shower. Friends and visiting artists have been known to bunk there. The other part of the main building is inhabited by a display company; the second building, much smaller, is given over to a silk-screen company. One day, Bagley and Orr may construct another building for other artists, but for now, they are quite content.

%26nbsp;

Part of what they love about their repurposed building is its sheer square footage and its lofty ceilings. %26ldquo;Space is important,%26rdquo; says Orr, %26ldquo;especially since we work so big.%26rdquo; Bagley concurs. %26ldquo;You can work on several big things. That is a real luxury.%26rdquo; Both like that they can keep their works around them %26mdash; regarding them, dialoguing with them %26mdash; before they%26rsquo;re taken away to patrons, to public buildings, even other countries. (The two have exhibited works in Japan, for instance.) %26ldquo;I don%26rsquo;t understand,%26rdquo; Bagley says, with convicted incredulity, %26ldquo;how some artists make something and let it go right out the door.%26rdquo; Her work isn%26rsquo;t the only thing to which Bagley is bonded. Her husband and their building are important to her, too. %26ldquo;It%26rsquo;s something neither of us would%26rsquo;ve done on our own,%26rdquo; she says. %26ldquo;We%26rsquo;re a team here.%26rdquo;

%26nbsp;

To which Orr quickly adds, %26ldquo;We talk about work constantly.%26rdquo;

%26nbsp;

To which Bagley quickly adds, %26ldquo;We wear each other out.%26rdquo;

%26nbsp;

Above: In Orr%26rsquo;s gallery, a large work called Lodge, executed with vintage dinette chairs and square aluminum tubing. Orr thought of a beaver lodge, %26ldquo;which has a similar construction %26mdash; and social interaction, as the ring of inward-facing chairs.%26rdquo; The tubes are not attached to each other in any way; Orr has placed them using only gravity and tension.

%26nbsp;

Above: In Bagley%26rsquo;s gallery, Pretty Girl, mixed media with video. %26ldquo;I have always been interested,%26rdquo; Bagley says, %26ldquo;in how extracted visual information tells a different story. I used the very attractive eyes of a woman added to a rather distorted figure made of gauze. It is the contrast that caused me to title it Pretty Girl. Is she pretty?%26rdquo;

%26nbsp;

Above: Outside, a steel work by Orr that was installed lakeside in Ube, Japan, at an exhibit of contemporary sculpture. The work was inspired by cascading water, visually created here %26ldquo;by lines crossing over lines,%26rdquo; says Orr.

%26nbsp;

Above: Bagley%26rsquo;s Poodle, of spray Styrofoam. %26ldquo;I was experimenting with animal forms,%26rdquo; she says, %26ldquo;and this is an effort gone wrong. My mistakes are often my best work.%26rdquo;

Above: A new, untitled, mixed-media work by Orr, inspired by Japanese ghost stories.

%26nbsp;

Above: In a corner of Bagley%26rsquo;s studio, a merry-go-round horse (once part of a larger installation called The Kingdom) flies toward a yellow taxidermy form of a squirrel, %26ldquo;before the fur is added,%26rdquo; says Bagley. %26ldquo;The form was just ugly and vague enough,%26rdquo; she says, %26ldquo;to be used as the basis for the Idol of Baal,%26rdquo; in gigantic scale, for Verdi%26rsquo;s Nabucco, the 2006 Dallas opera for which Bagley and Orr designed the costumes and sets %26mdash; breaking new ground for opera design, indeed.

%26nbsp;

Above: In Bagley%26rsquo;s work space, a board of random bits and inspirations.

%26nbsp;

Above: The larger of two gallery spaces for Bagley. The four draped figures are Styrofoam deer heads used in taxidermy, minus ears and horns. %26ldquo;The movement of the twisted heads,%26rdquo; says Bagley, %26ldquo;covered by a drape of fabric or curtain, for me, references theater and obscurity.%26rdquo; The work on the floor, Braided Rug, is woven of human hair, something with which Bagley has been intrigued since she was a child %26mdash; %26ldquo;how hair is cut and can be formed.%26rdquo; The rug took about five years to realize, Bagley says, %26ldquo;because of the expense of the real human hair. I had to buy it in batches when I had a little money. The actual braiding took about six months, with two assistants helping me.%26rdquo; There is additional meaning for Bagley, too: %26ldquo;It speaks of how we, as human beings, have fur. It is a reference to a bearskin rug %26mdash; our fur on the floor.%26rdquo;

%26nbsp;

Above: The view from Orr%26rsquo;s workspace, past his gallery, through Bagley%26rsquo;s gallery and toward Bagley%26rsquo;s workshop. Over the door, a photograph that Orr found in the 1960s, in an abandoned photo studio in Oak Cliff that his uncle%26rsquo;s salvage company was wrecking.

%26nbsp;

Above: A vintage Howdy Doody surveys Orr%26rsquo;s studio.

%26nbsp;

Above: Orr at work on a prototype panel for an installation in Japan, just completed. Called Luminous View, the finished work is executed in a long, narrow room, 35 feet by 8 feet by 8 feet, and is a winning entry in an international competition called %26ldquo;Art in a Container,%26rdquo; exhibited at the Kobe, Japan, biennale, October 1 through November 23. Orr used layers of Polygal architectural panels threaded with electroluminescent wire.

%26nbsp;

Above: In Orr%26rsquo;s studio/workshop, a found chair and vintage cushion with no meaning. %26ldquo;Nothing, except that I like it,%26rdquo; he says.

%26nbsp;

Above: Looking forward: A working model for a future Orr installation at Love Field, to be executed in 2013 of powder-coated square aluminum tubing. Travelers will walk under the large-scale work as they transition from a parking garage to a terminal.

%26nbsp;

Regarding Frances and Tom: Where to see works by Bagley and Orr

%26bull; Bagley%26rsquo;s limestone-block Reading Garden, an outdoor installation at 2951 S. Hampton Road, at the Hampton-Illinois branch of the Dallas Public Library

%26bull; Bagley%26rsquo;s inverted brass pyramid and floor compass at 330 N. Olive St., in the Dallas Area Rapid Transit East Transfer Center

%26bull; Orr%26rsquo;s monumental wood, paint and aluminum works in the Customs area of Terminal D, at the Dallas/Fort Worth International Airport

%26bull; Orr%26rsquo;s gridded Steel Wave at 400 S. Record St., downtown, on the plaza of the Belo Building

%26bull; The Wildlife Water Theater, their in-water collaboration at White Rock Lake behind the Bath House Cultural Center (521 E. Lawther Dr.), executed with steel poles, glowing polycarbonate poles, Fiberglas discs and land elements

%26bull; The artists%26rsquo; own Web sites, francesbagley.com and tomorr.net

Eye on Design

Sun, 09 Oct 2011 10:19:14 GMT

We have our eyes focused on nine designers, all local, all vocal about what's new, what's here to stay, best paint hues and fabulous finds. Laurann Claridge mines what's on their minds %26mdash; design-wise %26mdash; and comes up with decorating gems.

Rachael Miclette

Principal/designer, Jacomini Miclette Design

Swedish antiques inspire Miclette.

Your personal aesthetic? And professional? My style reaches for a modern, clean and simplified shell architecturally. I bring comfort to the interiors with traditional furnishings mixed with French and Swedish antiques and a few contemporary elements like a Lucite table or abstract paintings. Professionally our clients tend to be traditional yet like a clean and sophisticated look. %26ldquo;Less is more%26rdquo; is also a good way to define our design style that incorporates antiques and custom-designed furniture.

Miclette favors a soft, easy-to-live-with palette.

If you could inhabit the space of any designer past or present, which would you make your own? Bobby McAlpine%26rsquo;s little cabin getaway, The Shack. It%26rsquo;s a small yet warm and welcoming mix of dark rustic woods and warm luxurious fabrics, with hints of gilt frames all layered on top of each other to create a fancy oasis in an unpretentious setting.

Sage design advice you live by. John Saladino on color: %26ldquo;Color should be used in a way that%26rsquo;s appropriate to the environment, so that it reinforces the architecture, balances the natural conditions and nurtures the souls of the inhabitants of the house.%26rdquo;

Alabaster grapes top a chic cocktail table.

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! The bottom tier would have four stacks of coffee-table books written by designers, architects and artists past and present. The top tier would have a collection of alabaster grapes on a stack of design books or a pewter shallow footed bowl, a shagreen decorative box and three decorative candlesticks in a gilt finish or possibly carved stone.

Best furniture investment that withstands the test of time. A small accent table %26mdash; a period piece, the perfect size to put next to a club or side chair.

What are some of the clever ways you%26rsquo;ve incorporated collections into a space? We designed an eight-foot painted metal-and-glass %26eacute;tag%26egrave;re that mimics an antique French birdhouse to house a collection of Steuben glass. It%26rsquo;s hexagonal with arched glass panels, a steeple top and hidden LED lights. The six glass shelves displayed the pieces, which could be viewed on all six sides.

The designer adores this classic berg%26egrave;re, soon to be upholstered.

%26nbsp;

Aaron Rambo

Co-owner, Found

Rambo%26rsquo;s own loft

Your personal aesthetic? And professional? My personal aesthetic: masculine, strong, clean forms %26hellip; art-filled, hung salon style %26hellip; muddy in color %26hellip; original finishes %26mdash; whether chipped vintage lacquer or 19th-century paint %26hellip; large-scale objects displayed as artwork %26hellip; well-worn surfaces that don%26rsquo;t have to be treated as precious %26hellip; a few feminine touches, like a tight arrangement of blush-pink roses, to soften the look. Professionally: approachable, collected, personal.

Design blogs and periodicals you devour. Blogs: habituallychic.com, the sartorialist.com, nickolsonstyle.blogspot.com, anafternoonwith.com (Michael Mundy). Magazines: Elle D%26eacute;cor, Veranda, Architectural Digest, House Beautiful, Dwell, Wallpaper.

Designer Fr%26eacute;d%26eacute;ric M%26eacute;chiche%26rsquo;s Paris apartment. Photo from Insider%26rsquo;s Paris: An Intimate Tour by Jean Demachy (Filipacchi Publishing, 2003).

If you could inhabit the space of any designer past or present, which would you make your own? Designer Fr%26eacute;d%26eacute;ric Mechiche%26rsquo;s apartment in the Marais. It%26rsquo;s collected, edited and full of amazing antiques. Walls are clad in wood from an 18th-century stagecoach; it features muted color, chipped, gilded finishes, bold contemporary artwork and sculptures.

Paint hues that never let you down. Sherwin Williams%26rsquo; Sealskin, a warm black with a brown undertone. Sherwin Williams%26rsquo; Backdrop is a clean, gray taupe that works with everything (I used it for the walls in Found). And just about any color from Farrow %26amp; Ball%26shy; %26mdash; the depth of color changes with the light (love Mouse%26rsquo;s Back). I prefer a uniform color on both the trim and walls in different sheens with as few changes in color throughout the house as possible.

Steal: Brutalist brass chandelier, $45

Your most fabulous find. A French postal bag ($35) that I put in a custom acrylic, museum-quality display box that was almost $800 from Sarah Balinskas. My steal: A vintage Brutalist brass chandelier that hangs over my coffee table. I found it on top of some shelving outside a dive in the Heights for $45.

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! Set a tall stack of books you often reference atop it, as well as a heavily carved, large gilt wood architectural fragment that adds some antiquity and texture to a sleek, modern table. Something alive, whether a potted orchid or loose arrangement of a single bloom to add a pop of color and keep the table from feeling static. Add a tray on the lower shelf to hold magazines, books, remotes, etc.

Gilt wood candlesticks for a tabletop

Some of Rambo%26rsquo;s favorite hues

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Kelie Mayfield

Principal, MaRS Design Culture

The designer%26rsquo;s own living room

Your personal aesthetic? My personal aesthetic leans to the eclectic %26mdash; though you%26rsquo;d never be able to tell from my home. The interiors and landscape nod to the mid-century modern style. The majority of the contemporary, multifunctional furniture I custom-designed. I take a minimalist approach; it%26rsquo;s more interesting that a space has just a few key elements in its architecture, art or furnishings that make a powerful statement.

Design blogs and periodicals you devour. Thecoolhunter.net and charlesandmarie.com feature high design on just about everything from all over the world, while cargocollective.com hosts visually compelling artists, photographers, graphic designers (such as Bruce Mau). Love the apps MoMA, Wallpaper, Houzz on my iPhone.

Mayfield%26rsquo;s mod interpretation of pipeline translated to wallpaper for a client

Sage design advice you live by. Have fun with design. A famous architect I worked for, Enric Miralles, once told me to keep a sense of humor %26mdash; it is what makes architecture better.

Most fabulous find. Steal: A Proletariat ticket bought for $100 at DiverseWorks Luck of the Draw. I came home with an Aaron Parazette lithograph.

Mayfield conjured graphic wallpaper from an industrial pipeline design.

Favorite ways to corral a collection or cull clutter. I designed our bedroom furniture to conceal the clutter on nightstands and dressers. Our walnut dresser is fitted with four white lacquer trays with compartments to put watches, wallets and keys that tuck nicely away under the vaulted top of the dresser. The platform bed and headboard have a built-in nightstand that includes a drawer for your reading and also a sliding tray fitted with chargers to power up our iPhones.

Inspirational art by Paul Fleming

The artist you%26rsquo;d design a room around. Anish Kapoor. It would be an exciting challenge to design a space around one of his mirror-like works, which are known for their capacity to distort the viewer and their surroundings. I%26rsquo;d experiment with large patterns and light to enhance the distortion of the room as seen through his reflective sculptural piece.

Inspirational art by Anish Kapoor

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Best furniture investment that withstands the test of time. A good-quality, clean-lined contemporary sofa. I favor Italian manufacturers such as Minotti, Maxalto, Moroso or B%26amp;B Italia, upholstered in a durable felt or wool.

A sleek Minotti sofa

Clever ways to cull a collection. Working with Gulf South Pipeline, I discovered a treasure trove of vintage images that captured the process of building their 7,700-mile natural-gas pipeline. I enlarged them and played with the pixilation to create wallpaper graphics throughout their office.

Workplace design for Gulf South Pipeline crafted by Mayfield

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Tom Harper

Owner, Tom Harper Design

Your personal aesthetic? And professional? I design more transitional, modern spaces %26mdash; minimalist, less colorful. I live in a small, intimate space and keep tchotchkes to a minimum. Clutter makes me crazy! I love old tattered items mixed with sleek modern pieces. Professionally, I keep things current without getting trendy or outrageous, to design a timeless space you can truly live in.

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The late artist Cy Twombly%26rsquo;s untitled blackboard works created with oil pastel and industrial paint on paper (circa 1970) serve as inspiration to Tom Harper. Photo from Cy Twombly: A Monograph by Richard Leeman (Flammarion, 2005).

If you could inhabit the space of any designer, past or present, which would you make your own? Philip Johnson%26rsquo;s Glass House. It sounds so clich%26eacute;, but it%26rsquo;s spectacular simplicity. One of my favorite perspectives of a home is from the outside at night. Could any space be more dramatic than a house built of glass, well lit and beautifully appointed? I%26rsquo;d love the challenge of displaying art without walls.

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Lit from within at night: architect Philip Johnson%26rsquo;s own famed Connecticut residence, The Glass House. Photo from The Glass House: Pairings (National Trust for Historic Preservation, 2007)

Paint hues that never let you down. Gray. It%26rsquo;s a great neutral and goes with everything %26mdash; more current and fresh than tan. Grays are tricky, though; they can read blue, green or purple rather than gray. A sample can of paint can be a lifesaver and prevent a few headaches; a paint color will look very different from one room to another. I love Restoration Hardware paint, especially Pumice and Slate.

Restoration Hardware paint chips

Sage design advice you live by. %26ldquo;Edit, edit, edit.%26rdquo; So many spaces are overdone and cluttered. Your eye needs a place to rest, and it can%26rsquo;t do that if you are in a visual whirlpool.

Your most fabulous find. My best buy ever was my neoclassic EJ Victor writing desk. Valued around $8,000, I purchased it for $50 from a Gucci store being remodeled. Thank you, Tom Ford! Another steal is my porthole mirror from Aaron Brothers Art %26amp; Framing It looks like wood and gold leaf, is quite stylish, and you%26rsquo;d swear it%26rsquo;s a $300 piece, but it%26rsquo;s only $40.

Steal: Porthole mirror, only $40

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! Neat stacks of design books topped with an interestingly shaped object like a moss ball; a wood or bronze piece about a foot high; boxes of all kinds (made of materials like horn, croc and quartz) to stow remotes, coasters, etc.; a tray to corral a collection of things or use as a functional serving piece. The key to coffee-table design is using different textures and shapes, varying the levels and heights, keeping things in tight groups.

A giant moss-like ball for a tabletop

The artist you%26rsquo;d design a room around. Cy Twombly. I%26rsquo;d create an almost black-and-white room, somewhat transitional, and hang one of his slate-gray %26ldquo;graffiti%26rdquo; pieces. Using elements of silver leaf, glass, cashmere, Mongolian wool and shear white window treatments, I%26rsquo;d add just a touch of muted color, like a silvered, pale blue green or amber.

Catherine Brooks Giuffre

Designer, J Randall Powers Design/CBG Interiors

The living room of Brooks%26rsquo; former home

Your personal aesthetic? And professional? Classic, refined and timeless. My entire home is painted one color, so each room flows harmoniously into the next, making it possible for every piece of furniture/upholstery/lighting to be moved seamlessly. Our artwork is the main color focus. Professionally, my goal is to complete a job that%26rsquo;s reflective of my client.

If you could inhabit the space of any designer, past or present, which would you make your own? Rose Tarlow%26rsquo;s Beverly Hills apartment. Not only a designer but an antiques dealer as well, her mix of the two is superb. I admire her sense of scale and bravery putting pieces together. Every piece has a function because she starts with a serene foundation, whether it%26rsquo;s paint or grasscloth, and then adds to it.

Rose Tarlow%26rsquo;s living room in her Beverly Hills home. Photo from Architectural Digest, October 1981.

Paint hues that never let you down. Martin Senour%26rsquo;s Soapstone. It%26rsquo;s an exterior paint color I use inside. It%26rsquo;s neutral but has so much depth that several rooms can be painted the same color, and they%26rsquo;ll look just slightly different, given the light. It has a touch of green, gray, brown and none of the unflattering yellow or pink hues. A trick: Paint the trim the same concentration as the walls; because the wall paint is latex and the trim is oil-based, the trim looks a shade darker. The look is very custom. Then paint the ceilings 25 percent of the wall color. Other colors: Martin Senour%26rsquo;s Dovetail is a pretty white trim color, Wooden Spoon is a great basic, and Lariat Tan is a darker neutral more brown/taupe.

Your most fabulous find. A Louis Philippe chest from Kirby Antiques, made of burled walnut veneer with the original marble top. The clean lines, beautiful wood and marble lend themselves to every style, from contemporary to over-the-top decorated. It was the end of the day, and he was ready to make a deal %26mdash; $1,300.

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! A tray (raffia, parchment, leather, silver) to create a story or hold a collection; a box to hold remotes, matches; something organic, maiden-hair fern in an interesting planter, fresh flowers (even a single flower) or branches for drama and height. Something sentimental: child%26rsquo;s artwork, a special gift, something passed down that would spark conversation. And last, books that inspire.

Perfect accessories to top a table

Best furniture investment that withstands the test of time. McGuire furniture, especially the original designs from the 1960s. It has so much style, is very comfortable and retains its value. McGuire pieces can always be consigned and sold for their original value, more if it is a discontinued style. And the glass cylinder Brooks lamp designed by J. Randall Powers for Visual Comfort. It%26rsquo;s a classic.

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Very collectible McGuire furniture

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Chandos Dodson

Principal designer, Chandos Interiors

Your personal aesthetic? And professional? My personal aesthetic is classic-traditional and modern. While my design pedigree is in traditional work, I design far more contemporary and modern residences. I live in a mid-century Preston Bolton home and love its exposed brick and floor-to-ceiling windows.

If you could inhabit the space of any designer past or present, which would you make your own? Mark Cunningham%26rsquo;s New York apartment. The furnishings and art are super chic and modern, while the architectural details are pared down and classic. If it were painted differently, someone with traditional tastes could move right in. The art is amazing.

Mark Cunningham%26rsquo;s New York apartment, featured in Elle Decor

Sage design advice you live by. In the words of Billy Baldwin: %26ldquo;Indecision cuts all arteries; the heart will not beat. A room will be dead before it is born.%26rdquo; Be decisive.

Your favorite ways to corral a collection or cull clutter. I renovated my pantry to accommodate an overflow of kitchen appliances cluttering my countertop. I added a base cabinet and several plugs to the pantry and stored everything at waist height, allowing me to easily move them into the kitchen when needed. I also installed narrow four-inch-deep shelves so I can quickly grab any spice, oil and vinegar.

Alexandra von Furstenberg%26rsquo;s weighty Lucite box

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! Start with gorgeous books, add a wood and shell-inlay tray (Moroccan in feel), a gray shagreen box for height and concealed storage, a small bronze sculpture (something Henry Moore%26ndash;like) and white Casablanca lilies.

A Dodson-curated tabletop

The artist you%26rsquo;d design a room around. I love Claire Sherman%26rsquo;s Moss (2010). I%26rsquo;d use it in a navy-lacquered study with navy velvet upholstery and an Ikat rug.

Claire Sherman%26rsquo;s Moss inspires Dodson

Best furniture investment that withstands the test of time. Unless you plan to use your furniture only briefly, invest in a quality set of dining chairs. Because dining rooms typically don%26rsquo;t have a lot of furnishings, every piece counts. The Klismos chair is an all-time favorite %26mdash; a classic silhouette that goes in any interior.

Top design books, vintage or new. Rooms to Remember: The Classic Interiors of Suzanne Tucker %26bull; Michael S. Smith: Elements of Style %26bull; Naomi Leff: Interior Design %26bull; Alberto Pinto: Classics %26bull; Jean-Michel Frank.

Dodson envisions a bronze sculpture on a tabletop like Jack Zajac%26rsquo;s Mandoria Piccola, at Gremillion Gallery.

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Laura Umansky

Owner, Laura U Collection

Inside Laura U, the designer%26rsquo;s own Houston shop

Your personal aesthetic? And professional? Personally my look is contemporary and extremely edited. I have a hard time making design decisions for myself: To commit to one thing means I%26rsquo;m denying all of the amazing things I have yet to discover. My home is small by choice, white and gray with pops of primary color in the kitchen only. Professionally I mold my aesthetic to match my clients%26rsquo;. We work collaboratively until I can extract what it is that they are really looking for. I love to work in any style; however, we always add a bold pattern, a statement piece and a bit of whimsy.  

Design blogs and periodicals you devour. Elle D%26eacute;cor, Wallpaper, Anthology, lonnymag.com. We always fight over the latest issue of House Beautiful.

If you could inhabit the space of any designer, past or present, which would you make your own? The Brion Tomb by Carlo Scarpa (San Vito d%26rsquo;Altivole, Italy). It%26rsquo;s perhaps the most peaceful place I have ever seen, and I admire Scarpa%26rsquo;s work more than any other.

Your most fabulous find. We found three vintage Tomlinson chairs with their labels intact. Low slung, cane backs, great shape %26mdash; Craigslist easy and Craigslist price. Fab!

The artist you%26rsquo;d design a room around. We actually designed a kitchen around Damian Hirst%26rsquo;s Ellipticine with warm white walls and high gloss Poggenpohl cabinetry, furnished
with a tulip table base and bright-yellow 3form top (mirrored backing). The ceiling is painted lavender with an amazing violet art-glass chandelier. Underfoot, Hokanson carpets pull in every color from the art. The result is youthful and fun.

Clever ways to cull a collection. We worked with a collection of antique spools %26mdash; hundreds of them. We carved out a corner of a wood-paneled wall to create a niche for a display that could be viewed from two different rooms. Then it was sealed with acrylic.

One of three vintage Tomlinson chairs Umansky scored on Craigslist

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Karen Pulaski Tyrell

Owner/principal designer, Tribute Goods Design

At home with her children%26rsquo;s art

Your personal aesthetic? And professional? My personal style is modern, vibrant, tactile and inviting. I respond to my senses and feel moved by objects that convey sentiment, intellect, beauty and history. From my children%26rsquo;s art projects to custom-designed Italian pottery with a motif echoed in a drapery trim, I look to my environment for grounding and inspiration. I don%26rsquo;t believe in repeating textiles, furniture or wall coverings %26mdash; ever. I encourage fine-art collecting, while color schemes are always determined by the client%26rsquo;s skin tones.

If you could inhabit the space of any designer past or present, which would you make your own? The Empire Suite at the Carlyle Hotel. Designed by Thierry Despont, it%26rsquo;s the essence of modern yet timeless chic living in the heart of the city. Details are rich and sexy, from the sculptural staircase to the modern bathrooms to the perfectly proportioned master suite and, of course, the 360-degree views of Central Park. My husband, Steve, and I spent our wedding night in this apartment.

The swank Empire Suite chez the Carlyle Hotel

Sage design advice you live by. Form follows function %26hellip; Love what you do and who you are doing it for. It will be felt in the space.

Your most fabulous find. Splurge: an antique French drapier%26rsquo;s table from Made in France that I use as my desk. The fine-grained oak, delicate details and the scale are unusual. It%26rsquo;s both masculine and feminine. Steal: A tole-and-brass light fixture from 1stdibs.com %26mdash;%26nbsp;mid-century %26ldquo;junk%26rdquo;! Shipping was more than the light fixture. I love the juxtaposition of an eight-point starburst with camellia blossoms; it looks like a Chanel brooch.

Steal: From 1stdibs.com

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! Small cut-glass objects for light play; scented candle and matches; a few art books on the lower shelf and an interesting shagreen box with a pop of color.

The artist you%26rsquo;d design a room around. A Francis Bacon painting %26mdash; the intensity of color and emotions that his work projects charges a room. Fill the room with a simple rug and good neutral upholstery with accents to pick up the richness of color from his work.

Art inspiration stems from this Francis Bacon oil on canvas, Seated Figure, 1978.

Best furniture investment that withstands the test of time. Art. The contemporary art market has surpassed the S%26amp;P for several years.

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Brian Beatty

Owner, Brian Beatty Design

The versatile chest finds a place in designer Victoria Hagan%26rsquo;s vignette. Photo from Victoria Hagan: Interior Portraits by Marianne Hagan (Rizzoli, 2010).

Your personal aesthetic? And professional? My personal aesthetic is %26ldquo;collected undecorated%26rdquo; %26mdash; some call it European. I detest clutter but appreciate a mix of quirky, vintage, modern and antique pieces. Professionally it all depends upon the client%26rsquo;s personality, lifestyle and space. I listen and pay attention, then interpret a suitable, tasteful look.

Paint hues that never let you down. My clients often prefer a safe palette of whites, beiges, grays, which are easy to live with, but%26nbsp;I also love dark hues. On a recent project, I did several black rooms %26mdash; the result was classic, elegant and fresh. I usually prefer the walls and trim to be the same color, to create a calm, updated backdrop, then %26ldquo;twist%26rdquo; the ceiling with a great tonal paper (love pattern on the ceiling) or very soft %26ldquo;off%26rdquo; paint color.

Sage design advice you live by. A sense of humor, natural light and no clutter.

Your most fabulous find. Recently I came across a magnificent set of eight satin-black Regency dining chairs from the %26rsquo;30s %26mdash; a steal for $3,600. Stately, graceful and comfortable.

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Beatty loves this English Regency parcel-gilt Klismos chair, circa 1810. Photo from Chairs: A History by Florence de Dampierre (Harry N. Abrams, 2006).

The challenge: You have a clean-lined, two-tiered glass and polished-nickel coffee table. Accessorize it! That shiny table needs something organic %26mdash; stat! Top shelf: One great %26ldquo;found%26rdquo; wood object or element, or a cluster of small Prinknash gunmetal matte glazed pottery bowls and/or bud vases. Bottom shelf: one current or vintage art book, displayed open.

A cluster of Prinknash pottery

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Welcome to Gray Gardens

Sun, 09 Oct 2011 09:39:47 GMT

Stroll past Lynn and W.L. Gray%26rsquo;s cozy English country cottage set on a cloistered street in the River Oaks area, and you might find yourself debating its hue. Is it warm gray, or perhaps a green tone muddied up with a dash of black or brown? Actually, the exterior of this three-story house is cloaked in seven different shades of paint.

Designer and colorist Lynn Gray, who presides over the property she and her family have lovingly dubbed Gray Gardens, has a method behind this color madness %26mdash; one that encapsulates the most subtle and natural variances of hue. %26ldquo;My husband and I are both Scottish,%26rdquo; she says, %26ldquo;so our favorite time of day is the gloaming. That%26rsquo;s the time when the sun starts to go down and the sky turns that pretty orange hue. It traces back to Scottish music, where they talk about walking through the gloaming. People often think it%26rsquo;s a field, but it%26rsquo;s not. It%26rsquo;s the light %26hellip; What I wanted with this house was to make it appear like it%26rsquo;s in the gloaming all the time.%26rdquo;

The house had already experienced a darker sort of twilight. The quaint structure, which was originally erected in 1935, had fallen into disrepair over the years because its aging homeowners couldn%26rsquo;t keep up with the maintenance. When the Grays happened upon it, the neighbors uncharitably described it as the ugliest house on the block. The exterior was painted an unsightly shade of green that Lynn didn%26rsquo;t care for: mint. To counteract the color temporarily while she worked on the myriad other issues in the house, she painted the front door black, then slowly added more ebony accents, from trellises to trim around the exterior, all in an effort to calm down that mighty mint. Meanwhile, she watched the sun set night after night, contemplating how its warm glow changed the appearance of everything in its shadow.

Cross the threshold, and you find that there are as many stories to tell inside this house as out. Now owned by a woman who describes herself as a collector of collections, particularly those with a naturalist bent, the house is a haven for a rotating array of objets and furniture that she switches in and out according to whim. %26ldquo;I%26rsquo;m a naturalist,%26rdquo; Lynn says. %26ldquo;I think the seashell thing started when I was a little girl. My great-grandmother had a seashell in her living room, and I used to hold it up to my ear and listen to it.%26rdquo;

Seashells gave way to birds%26rsquo; nests, then feathers, bones, skulls, rocks %26mdash; %26ldquo;any of the stuff you%26rsquo;d likely find in a natural science museum,%26rdquo; she says of the pieces that fill tabletops and curiosity cabinets alike. %26ldquo;In my library, I have a table with eight birds%26rsquo; nests that all came from the same ligustrum in front of the library window. I get one a year, and they are all different birds %26mdash; none of the nests are ever the same. That tree is like a bird condo. When I see the baby birds fly off and their broken shells are either in the nest or have fallen from it, I get on the ladder, climb up, get the nest and put it under a dome.%26rdquo;

She shares such acquisitive leanings with her husband, W.L., whom she married 20 years ago. They harmoniously blended not only their families, but also their shared passion for collecting. While Lynn initially %26ldquo;calmed down%26rdquo; her desire to amass religious art (and de-acquisitioned the pieces she already owned), W.L. brought with him a fondness for crystal decanters, blue-and-white china, art and nearly anything Herm%26egrave;s. Over the decades, she%26rsquo;s bought back many of her religious artifacts, melded his English antiques into their decor and merged his collection of decanters on groaning tabletops with the treasures they%26rsquo;ve found while traveling the globe. And then, of course, there%26rsquo;s their shared fondness for Herm%26egrave;s. Lynn%26rsquo;s collection of silk scarves even graces what she refers to as the %26ldquo;fifth walls%26rdquo; %26mdash; aka the ceilings%26mdash; of their home.

Where there is a space, Gray intends to fill it; where there is a wall, ceiling or architectural detail, she%26rsquo;ll paint it. But one thing remains certain: This house will forever host a changing assemblage of what this couple loves most at any given moment.

Cinnabar bracelets keep four of Lynn%26rsquo;s ostrich eggs, part of a collection, from wobbling off the bookshelf%26rsquo;s edge. She also collects tortoiseshells %26mdash; she has amassed the molted shells since she was a child. Top left:

The shell-encrusted Louis XV-style console in the living room was a surprise from W.L. Gray to his wife. Lynn fabricated the two candelabras with seashells and hot glue. The wing chair, most likely from the early 1900s, is one of a pair %26mdash; old family pieces from a good friend.%26nbsp;

The circa-1940s French writing table in the library is where Lynn writes children%26rsquo;s books for her grandson. The stories are about Poppy and The Empress (aka grandparents W.L. and Lynn), who live in a magical green house in the land of Serendipity with their little MG. One of a pair of Chippendale wedding chairs %26mdash; note the tiny hearts carved into them %26mdash; made for a couple getting married in the early 1900s.

Color play in the master-bedroom suite includes Steel Wool walls, Dawn Mist ceiling and high-gloss black trim, all Pratt %26amp; Lambert Accolade. The red-leather studded bed, from Meredith O%26rsquo;Donnell, is dressed with a red-and-black-checked Pendleton blanket and vintage monogrammed pillowcases. Sable antelope trophy head. The Grays collect pieces by artist Julie Speed, which are rendered like old masters%26rsquo; works. Photographs of Native American tribes by Edward Curtis, who traveled the Southwest with authentic tribal costuming to prop his subjects.

Lynn%26rsquo;s cabinet of curiosities is an Asian piece dating to the 1920s that displays everything from Mardi Gras crowns to cinnabar, shells and coral. But this is just the tip of the iceberg: She has boxes filled with such collectibles, hidden offsite in a storage locker.

The Grays have amassed 18 crystal decanters, from mid-1800s treasures to contemporary finds.

W.L. wears primarily Belgian Shoes and Stubbs %26amp; Wootton slippers. For years, Lynn ordered and wore Belgian Shoes herself and tried forever to get her husband to buy a pair of what she calls the most comfortable shoes she%26rsquo;s ever worn. He finally conceded and now owns tartan, devil-accented and velvet monogrammed Belgian Shoes, each with the signature tiny leather bow. Every year, Lynn orders six pairs for him; he never knows what colors or patterns he%26rsquo;s getting.

Driving and hunting caps, mostly purchased during their travels to Scotland.

W.L. keeps a tidy, well-organized closet just off the master bath. 6. A bird%26rsquo;s-eye view of some of the found nests that Lynn keeps under gleaming glass domes.

The exterior of Gray Gardens is painted seven shades of a gray-green hue with Pratt %26amp; Lambert Accolade. The front door offers a sneak peek of what%26rsquo;s to be found inside: lots of coral accents, both real and painted. The vintage iron urns flanking the entry have followed the Grays from house to house.

Lynn insisted that the bottom of the pool be %26ldquo;emerald black.%26rdquo; The installer tried to dissuade her, but she wanted a lagoon-like look, and she%26rsquo;s thrilled that she held her ground. (The installer ultimately agreed.) The mismatched antique iron garden urns are watered from below, via openings on the bottom of the pots and stands.

Lynn and W.L. Gray drive around town every Sunday in their vintage 1952 MG TD convertible. They are only the second owners of this beautifully maintained hunter-green MG. W.L. had wanted to own an MG TD since his college days %26mdash; while his wife loves how the car perfectly coordinates with their house.

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Competing Geometries

Sun, 09 Oct 2011 06:43:16 GMT

If cowboy boots tell you a lot about the man who wears them, James McInroe%26rsquo;s positively scream. The decorator is clonking about inside an apartment at the Mansion Residences %26mdash; the tony high-rise lashed to the Rosewood Mansion hotel, complete with sweeping views, smiling concierges and cr%26egrave;me br%26ucirc;l%26eacute;e whenever you please, since room service comes with the deed %26mdash; placing a modernist sculpture on a glass cocktail table, just so. The boots at the south end of McInroe%26rsquo;s all-black ensemble are a combination of gray and black skins. Bison? Shark? Who knows. But, more tellingly, the toes are capped not with steel tips or some kind of tooled, Western-y points: They are capped with upturned arcs of black patent leather. Shiny, glossy, black-as-pitch leather. Clearly, you don%26rsquo;t call James McInroe when you want to go ropin%26rsquo; or ridin%26rsquo;%26mdash; you call James McInroe when you are ready to blaze trails of a more seriously chic kind.

Which is precisely what happened here, relative to this nearly 3,000-square-foot aerie with the aforementioned round-the-clock room service and CinemaScope views of uptown and down. The owners are longtime clients of McInroe%26rsquo;s, who settled here after stints at a house in University Park and another high-rise along Turtle Creek Boulevard. The Mansion apartment, indeed, had the proverbial good bones %26mdash; very good bones. The original blueprints reveal why: %26ldquo;Booziotis %26amp; Company Architects,%26rdquo; the Dallas firm responsible for The Margaret and Trammell Crow Collection of Asian Art and the stunning private art gallery for Marguerite and the late Robert Hoffman. Stepping off the elevator, one looks to the right to see a massive, floor-to-ceiling entry door of gleaming Macassar ebony. It slowly pivots open into a gallery-style foyer, from which two hallways zoom. Go left, and a curved wall thrusts you toward the sunken living room, all high ceilings, tall windows and bountiful space. At this side of the apartment, too, are an open-plan office, a light-filled den and a yacht-like kitchen, everything hidden and battened down. Turn right inside the entry foyer and you%26rsquo;re pulled into darker halls and byways, which lead to a cozier den and the private quarters, complete with highly contemporary glass-and-marble baths and fitted closets galore.

Because of the inherited severity of the apartment%26rsquo;s shell %26mdash; it brings to mind Halston%26rsquo;s famously minimal New York townhouse by Paul Rudolph %26mdash; one instinct might%26rsquo;ve been
to pull in two Barcelona chairs, one potted orchid and call it a day. Not so McInroe and his design partner Marcia Curtis-Hornsby, who massaged the space into something a bit
more dramatic, and certainly more luxurious. To calm down %26ldquo;too many fighting veneers in one place,%26rdquo; says McInroe of the apartment%26rsquo;s various woods, the existing bamboo floors
went from natural to gorgeously dark, their original beveled grooves now sanded off and coats of ebony stain slicked on. The wide, drywall columns between the living room%26rsquo;s enormous windows were encased in mirror, to magnify and maximize the skyline view. Where wall-to-wall carpet was envisioned (shades of Halston again), velvety bolts of the
stuff were snugged down.

But it wasn%26rsquo;t until McInroe and Curtis-Hornsby stirred in the owners%26rsquo; furnishings and art that the apartment found its new voice. The former Dunn and Brown Contemporary was the main source for the highly modern collection; Lisa Brown, now of Lisa Brown Consulting, continues to expand it. Almost half of the decorative stash %26mdash; furnishings included %26mdash; came from the couple%26rsquo;s previous residences. In fact, McInroe almost recoils in dread at the theorem that new digs mean new everything. %26ldquo;We never do that,%26rdquo; he asserts. %26ldquo;We always work with clients%26rsquo; collections. We only add %26lsquo;new%26rsquo; where it improves the look of things.%26rdquo; Some pieces were recast in fresh finishes, and others got new roles entirely. Indeed, the project gave McInroe and Curtis-Hornsby artistic license, allowing new juxtapositions, new combinations. That is the strength and imprint of a James McInroe, Inc., project: its courageous %26mdash; often outrageous %26mdash; mix of dark and light, high and low, elegant and edgy. Here, it%26rsquo;s happening in spades, from Mies van der Rohe chairs covered in hairy white cowhide to a prim, piped sofa (%26agrave; la a Chanel suit) facing off to a carved, black, X-base stool whose seat cushion is covered in rabbit fur. Jet black, of course. Same as the patent-leather tips on those screaming boots.

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The den, handily adjacent to the kitchen. The sofa is custom, by James McInroe, Inc., in Brentano fabric. Flanking it, luxuriously scaled selenite lamps, also designed by McInroe.
The cocktail table is Lucite and glass; the pair of chairs is 1970s, made in Spain, and covered in Velours de Versailles from Kravet. Two King Tuts, made by Lenox in 1978 for the Metropolitan Museum of Art, survey the scene. The Louis XVI-style bench is 1960s, from James McInroe, Inc., upholstered in black rabbit skin. Underneath, Greek-key carpet by Stark, now unavailable.

On a cocktail table in the living room, 1970s Murano-glass sculptures from James McInroe, Inc.

Certainly, the chicest sunken living room in town, two steps down from the rest of the apartment. Decorator McInroe has organized the capacious room into multiple zones for conversing and dining. The ivory-leather and polished-ebony Normandie lounge chairs are from Jan Showers; the pair of Mies van der Rohe Brno chairs (in rather hairy white charolais cowhide) are from James McInroe, Inc. Background, far right, are 1970s chromed-steel chairs by Design Institute America, also from James McInroe, Inc. The tall table lamp, far left, is 1960s, covered in ostrich skin. In the foreground, a 1999 cast-bronze sculpture by Joel Shapiro; above the fireplace, a 2009 painted-aluminum work by Jane Manus. On the mirrored columns are two photogravure works by Ted Kincaid, through Barry Whistler Gallery. Underfoot, luxe, velvety, commercial-grade nylon carpeting, the source of which McInroe keeps secret.

The apartment%26rsquo;s entry foyer, with a curved wall that leads to the living room and points beyond. The black-lacquer wall console is original to the apartment; above it, Chuck Close%26rsquo;s Self-Portrait/Pulp, 2001, of colored and pressed paper pulp, all handmade.

In a nook just off the kitchen, a fitted banquette augmented with Milo Baughman chairs. On the banquette, pillows in Sunbrella fabric designed by Trina Turk for Schumacher. On the linen-upholstered walls, eight etchings by Trenton Doyle Hancock, circa 2002. The gilded-iron chandelier is from Mexico City, circa 1960s; the vase below it is Italian, by Porcellane d%26rsquo;Arte.

On a low granite wall that divides the living room from the entry, a 2009 work by Tara Donovan, of Mylar and hot glue. Beyond it, on the curved wall, a site-specific work by Matthew Sontheimer, Forepost, 2001-2010, in adhesive vinyl. The Macassar ebony wall panels are original to the apartment.

In a darkened hallway, Erick Swenson%26rsquo;s Untitled (Velvet Horn), 2009, in polyurethane resin, acrylic paint, MDF and steel. Beyond, a second den with a pair of 1960s cowhide-upholstered American chairs, a Pierre Cardin cocktail table, and at far left, a custom daybed by James McInroe, Inc. On the far wall, a hallucinogenic Op art piece%26nbsp; %26mdash; %26ldquo;1970s, of course,%26rdquo; says McInroe.

The serene master bedroom, with a parchment wall original to the apartment that most certainly channels the great French decorator Jean-Michel Frank. The zebrawood headboard was designed by James McInroe; the upholstered panel is leather, from Larru Leathers. Many of the bed linens are by Home Treasures, at Casa di Lino in Dallas. The pair of bedside lamps is 1970s Czechoslovakian glass; the chandelier is Murano glass. The tinted bird%26rsquo;s-eye maple wall was original to the apartment, too; on it, an oil-on-photograph work by Ann Stautberg, from Barry Whistler Gallery.center The decorator James McInroe, in the apartment%26rsquo;s foyer.

The elevator lobby on the apartment%26rsquo;s floor serves just one other dwelling, as there are only two apartments per floor at the Mansion Residences. Here, an Italian buffet from the 1940s, a pair of Gaetano Sciolari lamps and a dhurrie rug, all from James McInroe, Inc. The pair of 1940s chairs and the 1940s mirror are from Jan Showers.

Meet the Smiths

Fri, 23 Sep 2011 03:14:23 GMT

Above the hearth in the family room is an oil on canvas by Yoshitomo Nara. The small sculpture to the right of the painting is by Houston artist Sharon Engelstein. Donghia Stellare Gold Dust chandelier. Sofa, armchairs and vintage draperies were all crafted by Custom Creations. Geometric tone-on-tone rug from Creative Flooring Resources.

Leigh and Reggie Smith are living a love story. Not only are they parents to three school-aged children, but they are completely entranced with one another %26mdash; and with the ever-growing collection of contemporary art that fills the soaring walls of their River Oaks home. The Georgia-born and -raised couple met in law school and lived in Atlanta for a time before making Houston home. Leigh%26rsquo;s sister Carol McCranie Magri %26mdash; a student at Parsons School of Design during the %26rsquo;80s who also worked with Christie%26rsquo;s auction house %26mdash; introduced Leigh and Reggie to the galleries and artists about which the New York art world was then abuzz. %26ldquo;We started buying art literally the first year we were married, in the late %26rsquo;80s. It slowly became a passion we shared,%26rdquo; recalls Leigh, a bubbly brunette who was drawn with Reggie into the Pop Art movement of the era. Reggie adds, %26ldquo;We couldn%26rsquo;t afford to buy a big painting right out of school, but we could buy print work. That%26rsquo;s primarily how we started, with a lot of prints by Rosenquist, Warhol, Lichtenstein, Tom Wesselmann, Ruscha and Rauschenberg. They are all great print makers, and we bought pieces that have really held their value and escalated in crazy ways. But back then, it was really affordable.%26rdquo; Today, these art patrons are active on the boards of the Contemporary Arts Museum Houston, the Museum of Fine Arts, Houston%26rsquo;s Glassell School of Art and the Aurora Picture Show, among others.

When the family of five outgrew their Museum District Georgian-style house, they found a grand and gracious River Oaks home whose expansive wall space, 14-foot ceilings and large rooms could not only handle the depth of their present collection but give the couple space to acquire still more. Built in 1982 by legendary local real estate magnate Harold Farb, the house passed through three owners and, in 2009, was acquired by the Smiths, who reinvented the floor plan with family in mind, collaborating with friend and designer Terry Prather. %26nbsp;%26nbsp;%26nbsp;

While the former formal living room made a smashing presentation in all its fabric-festooned glory (adorning walls, ceiling and windows) as one walked through the front door, the Smiths reimagined the buttoned-up style as a toned-down family room awash in easy-to-live-with neutrals. Now their Yoshitomo Nara painting over the hearth is the focal point of the room.Surrounded by playful Japanese art such as the pastel-hued, 60-inch-tall resin sculpture in the library, also by Yoshitomo Nara, and a gelatin silver print of a work made with Bosco chocolate syrup by Vik Muniz in the dining room, one is tempted to assume a certain facile aim behind the Smiths%26rsquo; collecting. But dig a little deeper. The couple is cognizant of the fact that with three children in their midst, it%26rsquo;s important to veer from dark or sexually charged imagery created by the artists they favor, so the messages in their chosen works can indeed appear mixed.%26ldquo;So much of our collection has a cleverness to it,%26rdquo; says Leigh. %26ldquo;It%26rsquo;s conceptual with an intellectual, funny twist. Like Yasumasa Morimura dressing up like someone else, or playing with a historical image like Oscar Wilde or the iconic Frida Kahlo portrait rendered way too big (she never worked in that scale), where if you look at it, you realize it%26rsquo;s not a woman but an Asian man %26hellip; The Japanese art isn%26rsquo;t so cute when you get into it. It%26rsquo;s rather dark. They use imagery that looks like Hello Kitty, but there%26rsquo;s a rock-n-roll edge. It%26rsquo;s a little subversive with a counter-culture slant.%26rdquo;
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And when it comes to discerning what artwork her children would like to live with in their own bedrooms, Leigh says, %26ldquo;They definitely ask for certain pieces in their rooms; especially moving here, now that they%26rsquo;re older, there was a lot of bargaining back and forth.%26rdquo; The children are budding collectors of art, too (as well as dolls and action figures). They%26rsquo;ve grown up traveling with their avid art-supporting parents, who nearly always include museum and gallery excursions on holidays. The Smith kids even managed to get in on the art-buying act this past Christmas, when they teased their mom for weeks, saying they were going to get her the pet monkey she%26rsquo;d always longed for, when in fact they conspired with their dad to splurge on a Donald Roller Wilson monkey painting for her.A collector of many things outside the realm of contemporary art, Smith%26rsquo;s sentimental fondness for pieces of the past, particularly ones%26nbsp; that tie back to her childhood, has a place here, too. You%26rsquo;ll find dollhouse furniture, royal commemorative plates and English presentation plates dating from the early 1800s to the turn of the last century, which might have been gifts given on special birthdays or christening presents. In the breakfast room, Smith has neatly stacked a trove of tin picnic baskets, several of which once belonged to her grandmother. %26ldquo;Then we collect seashells,%26rdquo; she says. %26ldquo;All my children and I are crazy about seashells. Everywhere we go, we collect them and stick them in boxes all around the house.%26rdquo;One thing is for sure: This is a home constantly evolving as the Smiths add to their art stash by supporting Texas%26rsquo; emerging artists and traveling to discover others whose work has the art world chattering %26mdash; all while remaining true to their own marvelously quirky collecting predilections.

One corner of the large family room features Misc Tyrone, an oil painting on canvas by artist Barkley Hendricks, who recently exhibited at the Contemporary Arts Museum Houston. To the right hangs a painting by German artist Ulf Puder, from Barbara Davis Gallery. Cigarette tables from Mecox. The sculptural box atop the two-tiered side table is by Yoshitomo Nara. The lips pillows are by Marilyn Minter, commissioned by the Aspen Art Museum.

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The dining room has Venetian-plaster wall treatment. Antique oval Italian dining table and chairs, from the former Brian Stringer Antiques. Flowers by David Brown. Aubusson rug from Matt Camron Rugs %26amp; Tapestries. Curtains custom made by G%26amp;S Draperies, with Vervain fabric from S.Harris. Above the hearth is a self-portrait photograph by Monica Castillo, mounted on acrylic.

In the garden room hangs a 1937 oil-painting portrait by Francis Picabia, an artist from France whose estate is represented by Waddington Gallery, London. Waylande Gregory vase from Sloan/Hall. The daybed covered in natural linen is from Antiques on Dunlavy. The shape of the sofa, designed by Terry Prather, mimics the curve of the window bay; it was created by Custom Creations with F. Schumacher %26amp; Co. fabric.

In the entry hall rises a grand staircase with iron and brass railing. The sculpture, Girl Balancing on a Globe by Yinka Shonibare, is a piece the Smiths purchased at Art Basel in Switzerland from Stephen Friedman Gallery of London. The tiger-striped carpet on the stairs is from Creative Flooring Resources.%26nbsp;

In the master bedroom, a pencil portrait titled Green Diane by John Currin from the Andrea Rosen Gallery, New York. Curtains by Custom Creations are Pindler linen with Kravet leaf trim. The chairs are covered in linen printed-vine fabric by F. Schumacher %26amp; Co. Area rug with coordinating vine pattern by Creative Flooring Resources. Paint is Farrow %26amp; Ball Light Blue No. 22.

A peek inside Sarah%26rsquo;s room, the Smiths%26rsquo; daughter. The photograph-like portrait of the Smith children is actually a pastel-and-acrylic on paper by Heidi McFall, commissioned through the Annina Nosei Gallery, New York. Phillip Jeffries grass-cloth wall covering. Heirloom chairs upholstered in fuchsia chenille. Bed by Crate %26amp; Barrel, with bedding from Serena %26amp; Lily. Vintage white ceramic chandelier.

In the expansive entry hall, lined with glossy parquetry floors, is one of a pair of French Louis XV-style settees. The gilded chandeliers are original to this circa-1982 house. Over the hearth in the library, a photographic portrait by Yasumasa Morimura of himself made to resemble one of several famous self-portraits by artist Frida Kahlo. Entitled An Inner Dialogue with Frida Kahlo, the piece is from Luhring Augustine Gallery, New York.

In the corner of the library stands Quiet, Quiet a 60-inch-tall resin and lacquer sculpture by artist Yoshitomo Nara from Blum %26amp; Poe. The lacquered floor-to-ceiling cabinets are painted River Oaks Green, a hue that actually appears black. Look closely, and you%26rsquo;ll spy Nara and Murakami collectible toys. Aubusson rug from Matt Camron Rugs %26amp; Tapestries.

The sitting room outside the master suite includes fabulous portraiture by artists James Drake (top left), Jim Nutt (bottom left), John Alexander (top center), David Hockney (bottom center) and Larry Rivers (bottom right and top left).

Julian Opie%26rsquo;s oval orange portrait from Galerie Bob van Orsow, Zurich. The Laurie Simmons sculpture is entitled Clothes Make the Man; starburst demi-lune table from Carl Moore Antiques.

The breakfast-room niche features photographic works by Liliana Porter from Sicardi Gallery and a toile-inspired piece by Sarah Charlesworth, from Baldwin Gallery in Aspen. Lining the shelves is a collection of Leigh Smith%26rsquo;s vintage tin picnic baskets. Wallpaper by Phillip Jeffries .

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In the garden room is a baby grand piano by German maker August F%26ouml;rster. The Louis XV-style daybed, covered in linen and topped with two Fortuny-covered pillows, is from Antiques on Dunlavy. Custom rug from Creative Flooring Resources. The curtains depicting cacao beans are Vervain fabric from S.Harris.

A view from the pool toward the back of the house. Leigh Smith, left, and her children, Sarah, Sam and Ross, stand at the landing.

Sleep Like a (Million Dollar) Baby

Fri, 30 Sep 2011 03:51:54 GMT

Should you be in the market for a new spot to slumber, consider something of the Qing variety. (Qing Dynasty, that is.) This rare, six-post canopy bed %26mdash; intricately carved from huanghuali wood and dating to the 18th century %26mdash; is up for bid at Dallas Auction Gallery%26rsquo;s two-day Asian sale, September 7 and 8. Look carefully at the low railings: Twelve openwork panels are carved with chi-dragons, clouds and characters representing longevity, all supported on cabriole legs. What will it take to sleep this well? Bring $800,000 to $1.2 million, the bed%26rsquo;s estimate. Information 214.653.3900; dallasauctiongallery.com.

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Image: High-dollar dreamland: A rare canopy bed from the Qing Dynasty (it could fetch more than $1 million), on the block at Dallas Auction Gallery. Photo courtesy Dallas Auction Gallery.

Wheel Style

Thu, 11 Aug 2011 04:44:55 GMT

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Ralph on the Road: Two Bits of News from Mr. Lauren:

%26nbsp; %26bull; This may be your last chance to see 17 of his gorgeous (and gorgeously restored) automobiles in one place, at the Mus%26eacute;e des Arts D%26eacute;coratifs in Paris. After August 28, the pinched-tail 1931 Alfa Romeo, the feline 1955 Jaguar XKD, the bubble-fendered 1938 Bugatti Atlantic, above, and their fetching stable mates roll back into Lauren%26rsquo;s garages. Information lesartsdecoratifs.fr; ralphlaurencarcollection.co.uk.
%26nbsp;%26nbsp; %26bull; There is, however, one way to stay on Ralph%26rsquo;s winding road: the new Automotive Watch, above, with its matte-black dial ringed by gleaming burled elm %26mdash; inspired, by the dashboard of the aforementioned 1938 Bugatti. The black calfskin strap? That references the Bugatti%26rsquo;s supple leather seats. The watch is crafted for Ralph Lauren by top timepiece maker IWC, and is approximately $11,900. (Bugatti not included: One of two extant from only four ever made, its value is estimated at $30 to $40 million.) Shall we go for a spin? Information 877.639.7934; ralphlaurenwatches.com.

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Jeeves, Please Take the Long Way Home.%26nbsp; (And we mean long.)

Behold Audi%26rsquo;s sinfully luxurious new A8 L (L for, yes, long), powered by a 12-cylinder engine as smooth as Fortuny silk. We could go on and on about the stretched A8%26rsquo;s gorgeous aluminum body, its LED headlights, its all-wheel-drive Quattro system, et cetera. But it%26rsquo;s the back of the cabin that is worth our column inches: The extended wheelbase allows for longer rear doors and gobs of legroom, with everything bathed in ambient light and fitted with soft leather and gleaming wood. An available Executive package adds power-articulated rear seats, with heating, cooling and lumbar support. Go even more bespoke and outfit the rear of your L with a central console, to which can be added a folding table and a refrigerator for the chilling of the Veuve. That bubbly, by the way, will be moving along quite briskly: Audi%26rsquo;s 6.3-liter W12 engine produces 500 horsepower, capable of propelling this limousine from standstill to 60 in 4.9 seconds. But, really, there%26rsquo;s no need to hurry. Jeeves, did you catch that? Price upon request. Information audiusa.com (click on %26ldquo;Experience,%26rdquo;
then %26ldquo;New Audi Models%26rdquo;).

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An Aston Martin You Can't Have (Yet)

Behold the most stunning crystal ball in all the world. It%26rsquo;s a British-Italian venture between two legends, Aston Martin and automotive design house Zagato, and it%26rsquo;s a peek at what will be a limited-run 2012 Aston Martin %26mdash; confirmed days ago. What to know: V12 engine, 510 horsepower, entirely hand-formed aluminum body, Zagato%26rsquo;s famous %26ldquo;double bubble%26rdquo; roof styling, only 150 to be made at most. What to do: Talk very, very nicely to your Aston Martin dealer. (And bring $530,000.) Information astonmartin.com; zagato.it.

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A Week in Wheel Style: Cadillac CTS-V Wagon

Move over, Grandmother%26rsquo;s Country Squire: We%26rsquo;ve had our driving-gloved hands on a vehicle that will absolutely change your mind about what a station wagon can be. (And it will still swallow a Chippendale chest in the cargo hold.) Our impressions, herewith:
%26nbsp;%26nbsp; %26bull; It%26rsquo;s got presence. It is highly architectural, with folds, creases, buttresses, a wide stance and rather unusual angles. It%26rsquo;s as if Rem Koolhaas might%26rsquo;ve had a hand in it.
%26nbsp;%26nbsp; %26bull; The ride and drive are extremely precise. The suspension is nicely balanced; the steering is lightning-quick. It is on par with the best of the Mercedes E-Classes.
%26nbsp;%26nbsp; %26bull; This thing hauls %26mdash; more than just shopping bags. The 6.2-liter supercharged V8 puts a whopping 556 horses on the ground, through a six-speed manual transmission. (All hail the return of shifting for yourself.)
%26nbsp;%26nbsp; %26bull; The gigantic, two-panel glass roof suffuses the interior in natural light. Your passengers will look especially fetching. Your older ones will recall those grand, old, glass-roofed Vista Cruiser wagons.
%26nbsp;%26nbsp; %26bull; That interior, by the way, is a fine place to spent quality travel time. Our CTS-V was fitted with mahogany-like African sapele wood on the dash, console and doors; a 10-speaker Bose surround-sound audio system; and 14-way power seats that puffed cold air at us %26mdash; in three speeds. (Just the thing for hot rides.) From $63,660. Information 800.458.8006; cadillac.com.

A BMW with Strokes of Genius: Your New Wheels?

Art and auto cognoscenti are humming about the rarest of rides, up for auction this month in Carmel, California. Its most special feature? Bodywork painted by Pop-art superstar Frank Stella. Bonhams is offering the supersleek 1979 BMW M1 on behalf of the Guggenheim Museum (the world%26rsquo;s toniest garage, no doubt) to which the car was given in 1999. Its sale will finance future acquisitions and will catapult its new owner into the automotive stratosphere: It is the only BMW painted by one of the company%26rsquo;s wildly famous Art Car artists %26mdash; since 1975, BMW has commissioned the likes of Warhol, Calder and Koons to paint special cars %26mdash; that wasn%26rsquo;t ordered by BMW itself. This one was painted by Stella for a private client, and is expected to fetch up to $600,000. Should you be the victor, be sure and point out your BMW%26rsquo;s second-most-compelling feature: Stella%26rsquo;s signature on one of the rear window%26rsquo;s louvers. Exceptional Motorcars, Motorcycles and Automobilia, August 18 and 19, 323.850.7500; bonhams.com/quail.

Fall's Hottest Ride: Range Rover's Randy Little Brother

Get thee on the waiting list: The first deliveries happen this fall for the Evoque, the newest sibling in the Range Rover family. The dapper, diminutive SUV comes with all the necessaries %26mdash; 240-horsepower engine, six-speed transmission, Land Rover%26rsquo;s grippy Terrain Response traction system %26mdash; and a conscience, too. It employs polymers, composites, aluminum, even recycled polyester to keep its weight and its petrol-gulping down. But it%26rsquo;s that handsome shell and sumptuous interior that have us in a Beefeater spin. Just look at it: taut, angular and wedgy, with premium leather seats inside, contrast-stitched by dual needles and surrounded by polished woods and brushed aluminum. The paint colors are coolly evocative: a shimmery Ipanema Sand, a loden-like Galway Green, a deep Buckingham Blue. The Evoque can be had as a five-door, but we insist on the two-door coup%26eacute; with rear hatch, whose long, pinched sides recall the great English %26ldquo;shooting brake%26rdquo; sports wagons %26mdash; you know, the ones with the hunting dogs and the Wellington boots stashed in the back. You%26rsquo;re onto us. From $43,995 (five-door) and $44,995 (coup%26eacute;). Information 800.346.3493; helloevoque.com; landrover.com.

Man + Machine

Mon, 01 Aug 2011 05:59:21 GMT

Only mere mortals think of wheeled conveyances as ways to get from Point A to Point B. Herewith, seven lofty modes of transport %26mdash; and the Dallas men who own them. These gents do not tolerate the mundane. They are individualists, all. And is it just us, or does each man uncannily resemble his ride? We present seven high-speed studies.

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Greg Brendel (top of page) + 1960 Ferrari 250 Granturismo Coup%26eacute; Pininfarina%26nbsp; |%26nbsp; The specs: One of 145 remaining, of 353 made. Twelve cylinders, three carburetors, 240 horsepower. Original leather upholstery. Original leather tool satchel in trunk. The bond: Ten years together. Brendel has collected Ferraris for 15 years; he currently owns five. Why Ferrari: %26ldquo;The dominating racing heritage and rich history and culture,%26rdquo; says Brendel, %26ldquo;dating back to the %26rsquo;50s, all due to founder Enzo Ferrari. The road cars all derived from the racetrack.%26rdquo; Why this car: %26ldquo;Its original, unrestored condition, and the unmistakable exhaust rumble of the vintage 250 motor.%26rdquo; Under the radar: Not being red and not being wedgy, Brendel%26rsquo;s coupe %26ldquo;does not scream %26lsquo;Ferrari%26rsquo; in the modern sense.%26rdquo; But whose thumbs go up when he passes? Aesthetes with %26ldquo;the discerning eye.%26rdquo; Our take: It%26rsquo;s the Cary Grant of Ferraris: dapper on the outside; spirited underneath. Plus, it smells deliciously of mellowed leather, steel and gasoline. This is the conveyance of pedigreed playboys, of gentlemen with wild streaks.%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;

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William Baker + 1960 Studebaker Lark VIII Station Wagon%26nbsp; |%26nbsp; The specs: Eight-cylinder, 259-cubic-inch engine. Advanced %26ldquo;TT%26rdquo; (Twin Traction) option, for increased grip in slippery situations. Pull-down window shades at every side window, driver included. Plastic saints affixed to dash top. The bond: Five years together. Why this wagon: %26ldquo;My daily driver is a Honda Element,%26rdquo; Baker says, %26ldquo;and I can almost picture the morphology. It%26rsquo;s as if the Element is a descendant of the Studebaker. And both have room for my dog, Trouble, and lots of space for flea-market finds.%26rdquo; On the road:%26ldquo;I love driving it on weekends in the spring and fall.%26rdquo; Friends have piled into Baker%26rsquo;s wagon for a holiday-lights tour of Oak Cliff. Other vintage vehicles? %26ldquo;No, but it was about time. Almost everything else I have is vintage.%26rdquo; Our take: The Lark melds midcentury style with modernity. Funny, so does Baker, a principal at Jones Baker Interiors + Architecture, where colorful, clever restaurant and hotel interiors are devised. (Think Cibus, Cru, Trader Vic%26rsquo;s.) Baker is an inveterate collector of kitsch %26mdash; kitsch with a certain cool. Ditto the Lark: jaunty air, perfect patina.

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Vijay Kannan + 2011 Jeep Wrangler%26nbsp; |%26nbsp; The specs: Vee-six engine with 202 horsepower. Four-speed automatic transmission. Beach-vehicle permit affixed to windshield, from Surfside, Texas. The upgrades: Beefy twin-tube front bumper and brush bar. Additional driving lights. Eight-hole MB wheels, model number 72. The bond: Three months. Why a Jeep: Kannan is an urbane adventurer. His city life means high-rise living and studying for his M.D. at UT Southwestern Medical Center. (At 25, he already packs a neuroscience degree from Johns Hopkins University.) But when the scrubs come off? Intense rock climbing and kayaking. One requirement for his ride: He has to be able to sleep in it overnight. Plus, Kannan says, %26ldquo;You really need a Jeep to get over large rocks and felled trees.%26rdquo; The new black: Kannan is also a man of subtle sophistication %26mdash; and careful analysis. He purposefully chose glossy black enamel for his uprated front bumper, not common matte-black, because the gleam, he thinks, %26ldquo;really directs the path of interpretation of the rest of the vehicle.%26rdquo; As for his Jeep%26rsquo;s overall aura? %26ldquo;It%26rsquo;s stealthy. I love to look at bright-colored Jeeps with fun modifications %26mdash; but that sort of attention-grabber is not what I%26rsquo;m going for.%26rdquo;

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David Sutherland + 2005 Bentley Continental GT%26nbsp; |%26nbsp; The specs: Six-liter engine. A velvet-gloved 552 horsepower. Hand-stitched leather cockpit. Handbuilt, book-matched wood dashboard and door panels. Why a Bentley: Sutherland%26rsquo;s career as %26ldquo;an editor of products%26rdquo; (he owns the top-notch David Sutherland furniture showrooms in Dallas and Houston) has made him %26ldquo;acutely aware of proportion, line, mass and color.%26rdquo; Says he: %26ldquo;Bentley is so much more than an iconic name. It wins races and runs with presence.%26rdquo; The wait: %26ldquo;I first saw the Bentley GTs in 2003, ordered one in 2004 and took delivery of a 2005 model in December of 2004.%26rdquo; Sutherland specified the exterior color, the specific wood inside, even the color of his seatbelts. (Dark brown, FYI.) Times change: %26ldquo;My first car was a 1965 Chevy Bel Air and I could stand between the engine and the fender well! This engine isn%26rsquo;t one for a tinkerer.%26rdquo; The bond: Six years together. %26ldquo;My favorite time of the day is starting the engine. It has a rumble that just asks %26lsquo;Where are we going %26mdash; and how fast can we get there?%26rsquo;%26rdquo;

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Jared Levy + 1973 Triumph Tiger TR7R%26nbsp; |%26nbsp; The specs: Original 750cc engine, %26ldquo;re-engineered%26rdquo; for added horsepower. Lucite-ball shift knob with red dice encased. The tweaks: Gas tank from a 1955 Triumph. Custom-designed handlebars. Special red wheels (%26ldquo;My lucky color,%26rdquo; Levy says). The bond: Five years together. (A Craigslist discovery, in fact. %26ldquo;When I got the bike, it was a basket case.%26rdquo;) Levy does his own welding, painting and engine work. Rough rider: Levy designed the seat himself: a sling of leather, whip-stitched through grommets at the edges and hand-tooled with the Triumph logo. %26ldquo;It has no padding %26mdash; but it just completes the raw look of the bike.%26rdquo; Our take: Levy spends his days thinking about derivatives and dollars %26mdash; and advising others about theirs. (The investor and analyst has been a CNBC contributor, and has just launched his first book.) But at the closing bell, it%26rsquo;s all about a winding boulevard. Levy climbs on his steed three or four days a week and rumbles around Dallas %26mdash; a modern-day James Dean, indeed. Why a Triumph: Levy%26rsquo;s father had one. Besides, %26ldquo;It%26rsquo;s an extension of me. It%26rsquo;s quirky, odd and eccentric. It does require a bit more maintenance than I do.%26rdquo;

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Tim Myrick + 1967 Rolls-Royce Silver Shadow%26nbsp; |%26nbsp; The specs: %26ldquo;A huge 6.2-liter V8,%26rdquo; says Myrick. %26ldquo;A real muscle car. It will pass anything on the road but a gas station.%26rdquo; Famously, though, Rolls-Royce didn%26rsquo;t release horsepower figures back in the day, preferring to say just a dignified, %26ldquo;Adequate%26rdquo; or %26ldquo;Sufficient.%26rdquo; The bond: Four years together, though Myrick owns three other Rolls-Royces. He bought his first in 1985, for his 25th birthday. He still owns it. Why a Silver Shadow: %26ldquo;It was so futuristic for 1967, with four-wheel disc brakes and an automatic height control that even adjusts for the use of gasoline while driving.%26rdquo; Prime pedigree: Myrick%26rsquo;s 1967 car was first owned by flamboyant San Francisco socialite Joan Hitchcock %26mdash; then, six months later, by flamboyant Dallas grand dame Nancy Hamon. Hamon had the car for 32 years. (In the walnut-doored glove box, Myrick found photos of a swingy, shift-dress%26rsquo;d Hamon in 1968, vamping with her new toy.) Why Rolls-Royces: Myrick, a partner in Uptown Psychotherapy Associates and a judges%26rsquo; captain for the national Rolls-Royce Owners%26rsquo; Club, defers to Sir Henry Royce himself: %26ldquo;The quality remains long after the price is forgotten.%26rdquo;%26nbsp;%26nbsp;

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John Reoch + 2010 Volvo C30 T5 R-Design%26nbsp; |%26nbsp; The specs: Turbocharged 2.5-liter 5-cylinder powerplant. Six-speed manual transmission. Panama hats tossed in rear seats. The bond: Eighteen months together. Options list: Black Sapphire paintwork and %26ldquo;Off-Black%26rdquo; leather upholstery. The R-Design package already adds lower-body skirting, a large rear spoiler, special wheels, even special seats. Why this Volvo: %26ldquo;It%26rsquo;s modern, fresh and intelligent. Also, the car has a very strong heart.%26rdquo; A little luck: Reoch has collected St. Christopher medals %26ldquo;for decades.%26rdquo; The one affixed to his C30%26rsquo;s dashboard is a vintage piece from the 1930s or %26rsquo;40s, %26ldquo;specifically for cars.%26rdquo; Stable mates: Two British motorcycles (a 1965 BSA and a 1967 Triumph) and two Italian ones, both Ducatis. Through Reoch%26rsquo;s veins flow premium gasoline: His first car was a 1952 MG TD %26ldquo;in colonial yellow.%26rdquo; His second? A 1954 Jaguar XK 120 M with wire wheels, gunmetal-gray paint and a red leather interior. Boundaries blurred: Reoch, an avid art collector and commercial real estate attorney, even has high-speed style at home: He had his favorite body shop spray an aluminum Philippe Starck rocking chair for him %26mdash; in purple Lamborghini paint.

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Behind the scenes of "Man + Machine": click here

Rarefied Air

Thu, 07 Jul 2011 06:39:28 GMT

If messieurs Patek and Philippe were still with us, they%26rsquo;d be advised to watch their backs. If misters Rolls and Royce still plied their crafts, they might want to sleep with one eye open. For when it comes to concept, design, fitting and decoration, there is some heady competition in the architect-decorator team of Ralph Duesing and John Bobbitt. The Dallas gents %26mdash; Duesing the gentle type, with a C.V. that includes studies at the %26Eacute;cole Nationale Sup%26eacute;rieure des Arts D%26eacute;coratifs in Paris, and Bobbitt the boisterous storyteller, with one of the most unerring eyes in the nation for scale, furnishings, art and accessories %26mdash; have a project under their dapper belts that holds its own against any masterwork built with utter devotion and care.

A bit of rewinding is in order. Bobbitt takes a meeting with a potential client. %26ldquo;I want a New York apartment,%26rdquo; says the woman, %26ldquo;but in Dallas.%26rdquo; Bobbitt%26rsquo;s heart skips two beats. The decorator has a thing for Manhattan, having lived there, and for its grand prewar apartments. The woman presses on: %26ldquo;But first, who are your favorite designers?%26rdquo; Bobbitt rattles off his shortlist: Renzo Mongiardino, Peter Marino, Jacques Garcia. The woman grinds the interview to a halt %26mdash; she%26rsquo;s been talking to others, but Bobbitt gets the job. An oversimplification, perhaps, but a demonstration of the mythical connection that must exist between all parties embarking on a journey such as this. And the program isn%26rsquo;t simple: Turn a standard, three-bedroom apartment at The Vend%26ocirc;me on Turtle Creek into a 4,800-square-foot Beaux Arts gem for two %26mdash; with one bedroom only. No guest quarters? %26ldquo;That%26rsquo;s what hotels are for,%26rdquo; says the woman to Bobbitt, who, at that moment, knows he is dealing with an unconventional sort.

Bobbitt%26rsquo;s keenest move was his next. He rang Ralph Duesing, the Dallas architect known for houses of classical leanings, but with restraint and modernity. Duesing works classically, too, hand-drawing everything %26mdash; floor plans, elevations, millwork designs, the tiniest details. His evocative renderings look more like works in the Uffizi Gallery than they do blueprints. It was a match made in draftsman heaven for Bobbitt, who decorates much the same way, making intricate sketches and drawings before the first settee is chosen or the first drapery panel goes up. The two spent nearly a year planning and drawing the Vend%26ocirc;me apartment; construction took twice as long. Two years in the building? No ordinary project, this. It was conceived as the ultimate prewar apartment %26mdash; inserted into a high-rise built in 2002. But Duesing and Bobbitt sorted it out, even raising the ceilings nearly two feet in certain areas (a happy discovery by Bobbitt early in the project, who, looking up at The Vend%26ocirc;me at a stoplight, noticed extra distance between the 17th and 18th floors and deduced that there was more space above the apartment%26rsquo;s existing ceiling; he was right). The new interior is an arrangement of volumes that alternate from grand to intimate %26mdash; and, says Duesing, %26ldquo;as you pass from room to room, there is a deliberate light-dark-light progression that subtly defines each space.%26rdquo; The materials are luxurious: floors of Portuguese lagos azul stone and African wenge wood; walls of thick, ebonized walnut; French doors of solid bronze; wooden doors of solid crotch mahogany. Even the myriad friezes at the ceilings are bespoke, each designed by Duesing and built and carved from solid woods. (%26ldquo;None of it comes from a catalog,%26rdquo; says Bobbitt. %26ldquo;Ralph drew every one.%26rdquo;) Classical building techniques were used throughout, down to the mortise-and-tenon construction of every door, every panel, every drawer. %26ldquo;This,%26rdquo; says Bobbitt, %26ldquo;is an apartment of interior haute couture.%26rdquo; Proof? Decadent luxuries such as a fully paneled dining-room wall that hinges open to an adjacent drawing room, or the round-walled room whose ceiling is a fully operational cosmological clock. The clock %26mdash; its motorized rings mark the hour, the day, the month, even the moon%26rsquo;s phases %26mdash; is a nod to the owners%26rsquo; collection of celestial globes and armillary spheres. %26ldquo;Instruments that mark time,%26rdquo; Bobbitt explains. %26ldquo;It all relates.%26rdquo;

Within this highly crafted shell, Bobbitt has mixed beloved art with completely new acquisitions. Bronze griffins and swans spring from the walls, as sconces. A pair of leggy Klismos chairs pulls up to a plump ottoman upholstered in zebra hide. A curvaceous Venetian-glass chandelier dangles over a glossy rosewood dining table. Everywhere, the selections are confident, curatorial; they hold their own against the apartment%26rsquo;s monumental shell. %26ldquo;It is,%26rdquo; says a justifiably proud Bobbitt, %26ldquo;exactly the kind of apartment I%26rsquo;ve wanted to do for somebody %26mdash; for a long time.%26rdquo;

Images:

The apartment%26rsquo;s private elevator vestibule opens to this formal foyer. The doors are solid bronze and glass; their Roman-grille motif is repeated elsewhere, most notably in the dining room%26rsquo;s custom carpet. The gilded-bronze lantern overhead is 19th-century, in the Louis XVI style, from East %26amp; Orient Company.

Shouldn%26rsquo;t everyone have a clock room? Indeed, the ceiling of this round-walled inner vestibule is a working cosmological clock, made of steel, gilded wood and turned walnut. Involved in the design: an engineering firm, a machinist and a computer programmer. On the rotating rings, artist Jane Athey spent nearly a year executing the time, days, months, years, zodiac symbols, even moon phases.

The luxurious dining room, for round-table nights of the best kind. A 19th-century Venetian-glass chandelier illuminates the mise en sc%26egrave;ne, including a rosewood table and Dessin Fournir mahogany chairs, all from David Sutherland Showroom. The silk-and-wool carpet is by Hokanson, designed for the apartment by John Bobbitt. The wall panels are faux marquetry, inspired by a 17th-century technique wherein ebony was inlaid with brass, pewter and tortoiseshell. The unadorned walnut panels were first built in place, then disassembled and crated to Vancouver, Canada, where Gorman Studios executed the stunning decorative work. Artists returned with the panels %26mdash; and stayed for two months, touching them up after reinstallation. The framed painting is by 1800s American landscape artist George Inness.

One wall in the dining room holds a secret: It unlocks and unfolds to the adjacent drawing room, allowing for a second table for parties. The tolerance between the wall and the floor is paper-thin; Bobbitt posits that the wall%26rsquo;s hinges could support a bank-vault door. The entire apartment is built to such a level. The contractor was Cole Smith Jr.; the project manager was Keith Williams, both of Crow Bar Constructors. The finishes throughout (%26ldquo;heirloom-furniture-grade,%26rdquo; insists Bobbitt) were by Barry A. Martin Painting Contractors; the bespoke drapery and bedding were by Donna Burley of Straight Stitch.

Not only a jewel box of a powder room, but a concentration of extreme craft. The inspiration is a pair of 18th-century Venetian corner cabinets that Bobbitt discovered years ago in Paris: The walls here are glass %26mdash; including the green moldings %26mdash;%26nbsp;all by Bowman Glass in Dallas. Molloy Mirror executed the antiquing and silvering; what isn%26rsquo;t glass is wood, gilded in white gold by Carlos Espinosa of Las Negras Studio. The sink and faucetry are from Sherle Wagner; the mirror above the sink is antique Venetian.

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An artisanal attention to detail permeates the apartment. Here, just one of the many frieze moldings, each designed by architect Ralph Duesing, drawn by hand, then built up and carved from solid woods. Note the molding%26rsquo;s corner joint: The scroll pattern, in particular, isn%26rsquo;t interrupted by the corner itself %26mdash; the size of each scroll was dictated by the room%26rsquo;s measurements, so that no scroll was truncated in corners.

%26nbsp;

On the dining room%26rsquo;s rosewood table, a bowl of amber starfish and shells, a %26ldquo;curious find,%26rdquo; says Grange Hall%26rsquo;s Jeffrey Lee.

In the library, one of the iconic orangutans of Arkansas artist Donald Roller Wilson, just one of a collection propped throughout the apartment.

%26nbsp;

In the entry hall, a pair of sentries %26mdash; swans of mercury-gilded bronze, as sconces.

Domestic bliss, with a twist. In a hallway adjacent to the formal dining room, a long wall for plates and glasses. A testament to the cleverness of Duesing and Bobbitt: One section of the wall nearest the service elevator is removable, so that large furnishings and works of art can be moved into the apartment with ease.

Architect Ralph Duesing, left, and decorator John Bobbitt.

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One side of the living room, with its walls of solid, ebonized walnut and a centerpiece of a chandelier by Thomas Grant. The inset in the wall is upholstered in Holly Hunt leather from George Cameron Nash; the sofa is Cameron Collection, from Nash, too. The zebra-upholstered ottoman is by Bobbitt, who devised hidden, pull-out trays in it %26ldquo;big enough to hold a dessert plate%26rdquo; %26mdash; and certainly a cocktail glass or two.%26nbsp;

A Look Back at the Life and Rooms of Decorator Herbert Wells

Thu, 07 Jul 2011 02:27:57 GMT

Known as the %26ldquo;King of Khaki,%26rdquo; Herbert Wells %26mdash; or Herb, as he was oft referred %26mdash; was a self-made man with an eye for style who decorated Houston as a milliner, window artist and, finally, interior designer to the upper crust (his true oeuvre) for 60 years. He died in the winter of 2010.

Born outside Boston, Herbert Wells moved when he was four or five with his family to Hartford, Connecticut, where his father worked in the business that dominated that small New England city: insurance. After high school, Wells found a position designing windows at Hartford%26rsquo;s most prominent department store, G. Fox %26amp; Company. He was inspired by Mary Louise Elliott Hirsch, a Bryn Mawr girl who became his lifelong mentor and nurtured his huge talent. She encouraged the 20-something Wells to dream big %26mdash; and dream big he did, venturing all the way from Hartford to Houston in 1949, with his mother and brother in tow.

Upon his arrival here, Wells worked at Sakowitz department store downtown. %26ldquo;I was kind of an Eastern snob,%26rdquo; he recalled when giving his oral history to writer Mimi Schwartz in 2007. %26ldquo;I thought, this won%26rsquo;t do. If you%26rsquo;re going to do anything in Houston, you ought to be in business for yourself.%26rdquo; And as fast as you could say, %26ldquo;Herb Wells reinvents himself as a milliner,%26rdquo; the gentleman who had never made so much as a fedora in his life set up shop around 1951 at a house he purchased in the Montrose, at the corner of Hawthorne and Mount Vernon %26mdash; one that his patrons and friends would call %26ldquo;Mount Vernon%26rdquo; with reverence.

Jerry Jeanmard, his business partner and the man who carries on the Wells Design/Jerry Jeanmard mantle, remembers, %26ldquo;He began making hats because the materials weren%26rsquo;t expensive.%26rdquo; Armed with the mailing lists of the River Oaks Garden Club and The Church of St. John The Divine, Wells was soon well on his way to finding his place among the well-heeled old-guard set.

It was a small jump from hats to houses for the budding decorator. His first interiors client, Martha Lovett, purchased hats from him then, in a quandary one day, asked him to help design curtains for her bathroom. Ironically, the task of making curtains, while a fortuitous start, would come to be something he avoided in many home schemes, including his own.

Later that decade, simultaneous with his interior design career, Wells opened a retail shop with his brother and mother at the corner of San Felipe and Post Oak Boulevard. Although the store would have several locations through the years, it always maintained its status %26mdash; a calling card that spoke volumes about Wells%26rsquo; level of taste. %26ldquo;My first memory of Wells Design,%26rdquo; says Jeanmard, a graphic designer turned interior decorator who got his momentous start with Wells, %26ldquo;was this wonderful 10-foot door made with end blocks of wood. I remember the store was just the best. I couldn%26rsquo;t afford a single thing. The only item I have is a lamp with a bear holding up a palm tree, and I got that when they closed the shop and were having a sale. I still have it.%26rdquo;

This vanity project sated Wells%26rsquo; desires to both shop and procure beautiful objects, but it was purported to have never made much of a profit. Then again, that wasn%26rsquo;t quite the point. Soon after the start of his interior business %26mdash; which, for a brief interlude, took him in the direction of designing debutante party decor %26mdash; Wells became known for many famous firsts. %26ldquo;He introduced a lot of modern pieces to Houston,%26rdquo; recalls Jeanmard of the man who often worked with Texas architects Frank Welch and Howard Barnstone. %26ldquo;A lot of mid-century classics you%26rsquo;d see now at Design Within Reach.%26rdquo; In addition, Houston designers can thank Wells for bringing sisal floor coverings to Houston. And did we mention Marimekko? Wells was wild for the Finnish designs, and long before Neiman Marcus picked up on the dresses, he had myriad pieces of the fabrics in his shop.

Beyond Wells%26rsquo; palette of subdued Martin Senour paints, which reflected his fondness for khaki and taupe tones, Jeanmard says that the single overriding theme strung throughout his work was a quality his business partner emulates to this day: an avoidance of pretension. Graced with a dry wit and a quick sense of humor (which might explain their 20-plus-year collaboration), Wells instilled in Jeanmard a preference for plainer, simpler assemblages %26mdash; pulled back, in a sense. But make no mistake, he always opted for the best quality pieces, whether they were priced high or low, but never showy nor vulgar ones. And, need we mention: Reproductions were verboten.

Jeanmard recalls that Wells didn%26rsquo;t have a %26ldquo;look,%26rdquo; per se. %26ldquo;No, he definitely adapted to the client%26rsquo;s desires. To work with a decorator well, you have to be able to relinquish some control, and that was one of the things Herb would charm people into doing,%26rdquo; he says.

Despite Wells%26rsquo; brilliance in determining which hue was the right fit, he shunned the label %26ldquo;colorist.%26rdquo; He also dazzled people with his gleaming architectural eye. %26ldquo;It was as good or better than anyone I%26rsquo;ve ever known,%26rdquo; Jeanmard says. %26ldquo;He could look at a plan and immediately know if you had to move this wall. I was completely in awe of that.%26rdquo;

Wells married Sue Carter, a divorced mother of two, when he was well into his 40s. The couple lived first at the International-style home he helped decorate inside loop 610 near Uptown Park, then at his house on West Oaks. After she passed away, the widower Wells became the devoted companion of the elegant Anne Farish of Houston and Aspen until his death at age 86, late this past winter.

The two reconnected in the early %26rsquo;80s, more than 20 years after their initial meeting. A fan of his shop, Farish hired him to design a playroom for her children, which then led to a project redoing her terrace, which he re-imagined in a daring combination of orange and pink. %26ldquo;Herb%26rsquo;s style was always so refreshing and original,%26rdquo; Farish says. %26ldquo;Frequently it had a stroke of whimsy and the unexpected. He was always open to new ideas, intrigued and excited by new designs. But he
never waited for a trend to emerge.%26rdquo;

Wells and Farish traveled together frequently, whether just out for the day in Houston at The Menil Collection or the Decorative Arts Council, or exploring Dale Chihuly%26rsquo;s studio, visiting the art festivals in Miami or tripping up to New York City. Back home, the couple shared a cairn terrier named Tuesday Wells. Of the feisty former show dog, Farish recalls, %26ldquo;Tuesday tried to bite neighbor Barbara Bush%26rsquo;s dog, Millie. When Herbert moved out of the neighborhood, Barbara wrote to say she would miss Herbert terribly %26mdash; but not Tuesday.%26rdquo;

Well-Known Clients Who Sought Out the Wells Touch:

Lyndon and Ladybird Johnson
Louisa Sarofim
Bob and Elyse Lanier
The River Oaks Country Club (2005)
Wiess House at Rice University (received a Good Brick Award from the Greater Houston Preservation Alliance in 2006)
Jane Owen
The Brown family
The Cullen family
The Hobby family
The West family

Images:

Wells in his home office.

An overview of the living room in Wells%26rsquo; Inwood Manor apartment.

The pink apothecary jars are part of the collection Wells kept in his media room. He favored periwinkle-blue and pink hues, and grouped them on the shelves of a revolving French steel biblioth%26egrave;que. He bought the apartment next door to his own at Inwood Manor several years after he moved into the San Felipe property, then broke through the common wall to combine them.

In the living room, part of a collection of periwinkle-blue porcelain and pottery. Wells was a huge fan of that color.

The entry features an English antique chest and Louis Philippe mirror. The Regency chair, its seat covered with suede, is part of a set in the dining room. Wells%26rsquo; madcap selection of hats hangs above.

Wells left this old parquet-topped French desk to his prot%26eacute;g%26eacute;, Jerry Jeanmard. A wall covered with Clarence House fabric divides this office space from the conference-table area in the next room %26mdash; Wells was always a fan of upholstered walls and sisal rugs.

Playing it old school, Wells always wore a jacket and would famously flash friends the fun, silk patterned linings he had custom-made. One of his dozens of sport coats drapes across the arm of a modern 20th-century wing chair in his bedroom.

This elephant head in the dining room is made of leather.

The fa%26ccedil;ade of Wells Design, his fabled Post Oak shop.

Herbert Wells with his loyal friend and companion, Anne Farish.

Some of Wells%26rsquo; collection of vaseline glass. Wells responded to the chartreuse color, amassing it even when it wasn%26rsquo;t fashionable to do so.

Wells%26rsquo; favorite project was the interior of the former Ray house in River Oaks. It now belongs to Sarah Dodd Spickelmier and Keith Spickelmier.

This needlework piece actually refers to herb plants, not Herb Wells.

More of Wells%26rsquo; favorite blue-hue apothecary jars perch atop this French steel biblioth%26egrave;que, which is likely from Ann-Morris Antiques in New York. (Wells bought many pieces from that firm, particularly steel ones.)

As you might imagine, Herbert Wells was a difficult man to buy for. One Christmas, Jerry Jeanmard made him this collage from his spiral-bound address book. A former graphic designer and illustrator who%26rsquo;s credited for creating the Blue Bell ice cream logo, Jeanmard preferred to create gifts for Wells.

This pair of French bonneti%26egrave;res, which originally belonged to Sue Wells, likely held china in Wells%26rsquo; dining room; previously, he%26rsquo;d installed them in his dressing room. The decorative finials were a Wells signature. The window shutters slide into pockets in the wall, as apparently Wells wasn%26rsquo;t much of a curtain guy.

Although this leather valise is monogrammed with %26ldquo;HW,%26rdquo; Wells or a friend likely found it already inscribed with the initials.

Another fragile collectible, this one enshrined under a glass dome.

Wells%26rsquo; renovation of the Oak Room at the River Oaks Country Club.

Originally Wells did not want a dining room in his home, but on a trip to Aspen with his companion Anne Farish, he saw this table and couldn%26rsquo;t resist. Teetering upon a steel pedestal base, it has a honed-marble top. The Regency chairs date back to his house in West Oaks.

A sampling of Wells%26rsquo; many silk pocket squares %26mdash; he possessed dozens. Always dressed in a jacket and tie, he preferred to never exactly match his tie and his pocket square.

An overview of Wells%26rsquo; bedroom. He had a stripped architectural fragment reconfigured into a headboard for the bed. Artist Virgil Grodtfelt%26rsquo;s watercolor hangs above a painted antique nightstand. The swing-arm lamp is from Hanson, the maker of the first swing-arm lamp %26mdash; Wells didn%26rsquo;t like imitations. Tramp art chest. The towels hanging in the open bath area were positioned thus because Wells admired their color. (And did we mention, they%26rsquo;re actually dish towels.)

Todd Thinks Pink

Fri, 27 May 2011 11:53:03 GMT

Imagine our surprise when we arrived at the recent Neiman Marcus Stiletto Strut to see the brightest, boldest, pinkest truck in all the world parked out front at NM%26rsquo;s downtown flagship. It belonged to the I-do gurus at Todd Events, the all-encompassing planning/designing/wedding biz helmed by the pharaoh of f%26ecirc;tes, Todd Fiscus. Indeed, Todd Events is adding fuchsia to its signature Sunkist-orange palette, a revamping of its look that also includes a simpler, more modern logo and stripes of fuchsia and orange splashed everywhere. We love it: Picasso had his blue period; Fiscus gets his fuchsia.

Tricks of the Trade

Thu, 26 May 2011 12:04:29 GMT

Sixteen years ago, caterer Jackson Hicks, founder of the much lauded Jackson and Company, purchased a stately Greek Revival home (circa 1905) in the historic Westmoreland District, a neighborhood on the cusp of downtown Houston. The stunning structure has the distinction of being listed on both the Texas and national registries of historic houses. Naturally, over the years a half-dozen owners made their own adjustments and modernizations to the property, but when it fell into Hicks%26rsquo; hands, he didn%26rsquo;t take the responsibility of renovating it lightly. Instead, he meticulously contemplated every room %26mdash; but especially the kitchen.

After all, this is the man whose catering company was selected to wine and dine our global leaders at the World Economic Summit in the early 1990s; to christen The Menil Collection and the Wortham Theater Center at their respective openings; and to put on a party we%26rsquo;ll not soon forget to f%26ecirc;te the Houston Grand Opera%26rsquo;s 50th anniversary. As the 30th anniversary of his company loomed, Hicks began the elaborate machination to devise the perfect template of organization for his turn-of-the-20th-century kitchen. This from a man who%26rsquo;s adept at contemplation and quite serious about the mental exercise.

Hicks had renovated the basics of his kitchen 16 years ago, but this latest innovation is where his culinary artistry came in to play. Details learned from decades of cooking, entertaining and serving were instituted: Peer beneath the gleaming verde marine Italian marble counter surfaces, pull out a drawer, and you%26rsquo;ll notice that you can reach all the way to the far recesses of the space. Or open a cabinet below, and you%26rsquo;ll discover deep drawers that are infinity easy to maneuver. %26ldquo;The depth of the drawers was about two-thirds of what they are now,%26rdquo; Hicks says. %26ldquo;We gained three to four inches of access. You can actually pull the entire drawer out and reach everything at the very back.%26rdquo;

Hicks has collected rare stemware, china and silver for more than 40 years, and the floor-to-ceiling china cabinets in the open butler%26rsquo;s pantry house his precious pieces. Notice the doors were revamped with a lip at the edge to keep dust at bay, and tighter-fitting panes of beveled glass inserted in the glass fronts. Hicks is a stickler for detail, so every one of the hinges, even the tiny screws that adhere the antique molded glass door and drawer pulls to the wood, has been replated in nickel.

Desiring more space, he masterfully reconfigured oodles of shelf and storage areas by simply pushing back the wall by the breakfast nook 18 inches. Just enough space, it allowed Hicks to create another wall-to-ceiling, end-to-end row of glass-fronted cabinets that actually slide open to reveal stacks of his Ironstone plates, more stemware and his most treasured cookbooks. %26ldquo;It%26rsquo;s a very turn-of-the-century feature,%26rdquo; says Hicks of the sliding doors. %26ldquo;It%26rsquo;s nice because you%26rsquo;re not losing any of the interior room when they are open. I also like the period detail.%26rdquo;

Hicks also built out a closet pantry with swinging doors that hold dry goods on both sides and deep drawers that hide the detritus of hefty small appliances that often eat up loads of counter space. He installed a Wolf commercial range and oven, with loads more BTUs (i.e., heat and power) than a residential stove has.%26nbsp; Although he found no need to disguise the mighty, stainless Thermador refrigerator/freezer (which has the look of a commercial one), he opted to hide his dishwasher behind a coordinating wooden panel. %26ldquo;I love my Bosch dishwasher,%26rdquo; he says. %26ldquo;You can put in really good stemware if you load it properly. And it%26rsquo;s so quiet, you could host morning prayer around it and never hear it.%26rdquo;

For more images, click on 'launch slideshow' above.

Inside the Nest of Virginia McAlester

Wed, 27 Apr 2011 06:47:08 GMT

Passionate preservationist, architecture intellectual, on-foot explorer: Meet the unconventional woman whose family has lived in the same Swiss Avenue manse for 90 years %26mdash; and counting.

Image: McAlester%26rsquo;s grandmother%26rsquo;s chairs rule the living room. %26ldquo;My grandmother had a pair of the red ones,%26rdquo; she says, %26ldquo;but by the time I got the house, only one had enough upholstery left to be barely usable.%26rdquo; The piano is a 1905 Steinway; McAlester%26rsquo;s mother learned to play it as a child. The lady walking her Borzoi dog is %26ldquo;a very minor piece, signed Scalini,%26rdquo; McAlester says, but it holds special significance for her, since a leaping Borzoi is the logo of Alfred A. Knopf, the publisher of McAlester%26rsquo;s book, A Field Guide to American Houses.

As C.V.s and pedigrees go, it%26rsquo;s hard to top Virginia McAlester%26rsquo;s. She packs a degree in architectural sciences from Harvard-Radcliffe, has penned definitive books on architectural styles and has been hugely involved in Preservation Dallas, Friends of Fair Park, the Dallas Landmark Commission and the National Trust for Historic Preservation. Her mother? She was Dorothy Harris Savage, an ardent preservationist and forward thinker without whom %26ldquo;Dallas might never have had a historic preservation movement,%26rdquo; wrote one scholar in 2003. McAlester%26rsquo;s father, Wallace Savage? He was a forward thinker, too %26mdash; he was Dallas%26rsquo; demonstrably progressive mayor from 1949 to 1951.

Reams and sheaves would be needed to illuminate McAlester%26rsquo;s importance to Dallas. Wildly passionate about a city%26rsquo;s design and dynamics, she pounds the pavement here and everywhere, digital camera clicking, capturing houses, sidewalks, buildings, bike lanes, even curbs and gutters. McAlester lives for the past %26mdash; but she doesn%26rsquo;t naysay the future. She is as concerned about where cities are going as she is about where they%26rsquo;ve been. She%26rsquo;s obviously smart, quite dry-witted, terribly observant and rather opinionated. (Our kind of woman.) In her %26ldquo;spare%26rdquo; time, she is updating her landmark Field Guide to American Houses and, on May 7 and 8, for the famous Swiss Avenue Historic District Mother%26rsquo;s Day Home Tour, she is opening the door to the grand manse that she has called home virtually her entire life %26mdash; a 6,000-square-foot stunner that has sheltered her ancestors since 1921. She lets us in for a poke-around.

Your extraordinary house: How do you characterize its architecture?
It was built in 1917. It%26rsquo;s Mission style %26mdash; sort of an understated version, with a shaped Mission parapet over the entrance and dormer. But the usual Mission tile roof and stucco are missing.

It%26rsquo;s been the family home for how long?
In 1921, my grandfather, Will R. Harris, and grandmother, Minnie Bookhout Harris, their children %26mdash; my mother, Dorothy Harris Savage, and my uncle, W. R. %26ldquo;Billy%26rdquo; Harris Jr. %26mdash; and Will%26rsquo;s two unmarried sisters, Clara Harris and Mattie Harris, all moved in. When my grandparents died, %26ldquo;Uncle Billy,%26rdquo; as everyone in the neighborhood called him, lived here with my parents, my sister Dotsy and I. Now I live here with my sister. There have been many combinations of extended family living here over the years.

Indeed, a house with stories to tell.
One of my mother%26rsquo;s fondest memories was of the cow, Bessie, who was kept at the house when she was a child. Bessie was walked up past Skillman Avenue every day %26mdash; that part of the Swiss Avenue area was not yet opened for development %26mdash; and put out to pasture. There was a large chicken yard up until I was a child. I found the catching, the neck-wringing and the feather-plucking to prepare the chicken for Sunday dinner an oddly fascinating ritual.

Image: The back of the painting says this is Mrs. Pyne from St. Louis. %26ldquo;She is an orphan portrait that I adopted from a Dallas Museum of Art auction when no one else wanted her,%26rdquo; McAlester says. Mrs. Pyne, though, %26ldquo;is a reminder,%26rdquo; says McAlester, %26ldquo;of the many, many centuries when there were not photographs, and to preserve a visual reminder of a relative, you had to have a portrait painted.%26rdquo;

You are inextricably linked with the Munger Place area, especially Swiss Avenue. Why is one street so important?
It is one of the finest and best-preserved early-20th-century boulevards in the United States. For Dallasites, it provides a focal point for a visit to Old East Dallas and its surrounding neighborhoods. It was curiosity about this great variety of closely located neighborhoods that led to my writing A Field Guide to American Houses years ago.

Preservation in any city: Why is it so utterly crucial?
It is visual history. Buildings and the built environment tell us why a city is there, what was important, its aspirations, its economy. The older portions are the ones unique to a city: Most areas built by the 1960s are pretty much interchangeable across the U.S.

Image: The dining-room table and chairs, McAlester%26rsquo;s grandmother%26rsquo;s, are 1910s Jacobean oak. %26ldquo;Fried chicken was the usual Sunday dinner,%26rdquo; says McAlester, %26ldquo;and the chickens came from the chicken yard that was in the backyard up until the 1950s.%26rdquo; The fireplace tile is likely Rookwood, from Cincinnati. The chandelier, believed English, once held candles; McAlester%26rsquo;s mother bought it in the 1960s. The rug was bought by her mother, too %26mdash; new, in the 1940s.

You%26rsquo;ve been revising and updating your Field Guide. That%26rsquo;s a project: The book is loaded with design details. When can we get the new edition?
Next spring, I hope.

If you ever take a day off, what%26rsquo;s a perfect one?
Exploring a city or town that is new to me. [That] is how I discovered that both Berlin and Shanghai had historic houses that looked like they could be on Swiss Avenue. Shanghai%26rsquo;s were museum houses with the same stair, molding and light-fixture details on the inside as in my neighborhood. And there are Queen Anne cottage neighborhoods in New Zealand and Craftsman bungalow neighborhoods in Australia. I even discovered that there are 1840s Greek Revival houses in Greece, with detailing so very similar to their American cousins. These are not things generally written up in architecture books yet.

What%26rsquo;s one thing people don%26rsquo;t realize about you?
Most people don%26rsquo;t know how much I love high-quality new development. One of my proudest achievements is the role I played in working on a zoning plan for the new part of the State-Thomas area. A group of us created a Planned Development District that re-created an old-fashioned, walking-scale neighborhood. We introduced the concept of %26ldquo;build-to%26rdquo; lines rather than setbacks. We were pretty farsighted in not allowing surface parking along the street fronts, and in eliminating the required 20-foot alley-line setback [required] in the rest of the city. The principles we developed there have now been used in many places across the country. Preserving the old is not at all incompatible with building the new %26mdash; one just has to be thoughtful in solving the adjacency issues, such as building scale, sound, shadows, odors. Dallas needs and deserves the best of the old and the best of the new.

What%26rsquo;s an area or two of Dallas that you%26rsquo;re especially impressed with, regarding preservation or upkeep of character?
Old Parkland hospital and the Nurses Quarters. [The main hospital] building was endangered for many, many years. Crow Holdings adaptively reused both the hospital and the adjacent Nurses Quarters. They are creating a campus of buildings of a related style and scale. They even carefully maintained a grove of old-growth oak trees. It is such a treat to drive by and see that abandoned building with a wonderful new life. And Fair Park has had great preservation and restoration. And [this summer] there will be a new [historical-]signage program there.

What%26rsquo;s a Dallas neighborhood you%26rsquo;re especially concerned about %26mdash; where buildings may be in danger, or where the character is threatened?
The Bishop Arts District, a wonderful and beloved destination. It is a conservation district where great parking incentives [small parking lots shared by multiple businesses] have been providing a strong impetus for saving the original buildings. This incentive was changed in the recent Bishop/Davis rezoning [passed in August] and is no longer a preservation incentive for the district%26rsquo;s contributing buildings. I do not believe that those who passed this ordinance even understood the role that parking incentives were playing in keeping the district%26rsquo;s old buildings intact. This is cause for great concern. We can all see what were once intact streetscapes in Deep Ellum gradually becoming pockmarked with surface parking lots. This is something that happens very gradually, and then, one day, the wonderful, intact, walking streetscape just isn%26rsquo;t as intact or walkable anymore. Bishop Arts is small enough and intact enough that even one or two demolitions would severely impact it.

Is it true you%26rsquo;re never without your digital camera?
I have learned to shoot photos on the run. An inspiration for this was photographer Nan Coulter%26rsquo;s show at [the former] Iris [restaurant], called %26ldquo;By%26rdquo; %26mdash; photos she took just on her way by things, rather than the traditional set-up-and-study shots. I think of Texas skeet shooters who practice %26ldquo;instinct shooting%26rdquo; and try to do the same. It is great to have three or four views of a house as you drive by, not just one %26mdash; and then to get a few details as well. Streetscapes fascinate me. I have shots of boulevards, curbs and gutters, bike lanes and bike racks, streetlights and street signs from many parts of the world. And to be able to further recall the experience on Google Earth with the push of a digital button on a geo-tagged photo still blows my mind.

Back in Dallas, what are some favorite haunts?
Fair Park is my favorite Dallas destination. It is internationally important. The art and sculpture and buildings are easier to appreciate and see when the State Fair is not underway, but the State Fair is a must. Destinations where you can walk to a lot of different restaurants and shops%26mdash; such as Knox-Henderson, Snider Plaza, West Village, Bishop-Davis and NorthPark Center %26mdash; are also favorites.

%26nbsp;What%26rsquo;s the museum to which you%26rsquo;re most drawn?
The Nasher Sculpture Center. It is nearby, is a wonderful scale, has beautiful gardens filled with great sculpture, attracts interesting exhibits, serves enjoyable food, and has an excellent museum shop.%26nbsp;

Speaking of food, what are some favorite hometown restaurants?
Iron Cactus Mexican Grill %26amp; Margarita Bar downtown, overlooking Pegasus Plaza. I get the tortilla soup and the lobster taco appetizer. Also, Lemongrass, at 2711 Elm Street in Deep Ellum. I usually order grilled catfish and vegetables, and then wait for the dessert that comes with the meal %26mdash; removing any guilt from actually ordering dessert. %26nbsp;

%26nbsp;

Reading Virginia
A terribly brief primer to our stack of well-thumbed books by Virginia McAlester

%26bull; A Field Guide to American Houses (1984, Knopf): With Lee McAlester. 500-plus pages of straightforward photographs and drawings, demystifying everything from Queen Anne to Adam, Mission to Modern. Roof styles, window shapes and details are covered in-depth.
%26bull; Great American Houses and Their Architectural Styles (1994, Abbeville Press). With Lee McAlester. Incredibly rich photographs, plus line drawings and plans, covering landmark homes and mansions in Newport, San Antonio, Asheville and Pasadena.
%26bull; Great American Suburbs: The Homes Of The Parks Cities, Dallas (2008, Abbeville Press): With Willis Cecil Winters and Prudence Mackintosh. A thorough survey of HP and UP homes, by architects Dahl, Dilbeck, Williams, Welch, all of them. The who-designed-it guide in the back, listed by address, is invaluable while street snooping.

Image below: Author and preservationist Virginia McAlester at home.

Mixed Company

Fri, 01 Apr 2011 12:13:13 GMT

Produced by Brooke Hortenstine. Styling and floral design Mike Thompson.

Mingling taxidermy with a mirrored cocktail table? Blue-and-white with Basquiat? Oh yes, says decorator Mersina Stubbs, who transformed a once-heavy Mediterranean into an airy %26mdash; and dare we say a bit rebellious %26mdash; villa for her own familia. (Special appearance by Madame Curie.)

On any given day, you can find Mersina Stubbs hard at work in her kitchen. A dash of salt here, a pinch of pepper there %26mdash; and suddenly you%26rsquo;re surrounded by heavenly smells of homemade delicacies: hand-kneaded meatloaf, green beans almondine, a batch of freshly baked chocolate chip cookies. (Those, you should know, she whipped up from scratch, moments before son Pete took off on a road trip.) Clearly, Ms. Mersina has no trouble navigating a recipe.

The energetic Stubbs, daughter of Helen Lucas and the late restaurateur Pete Harris Pappas (Pappasito%26rsquo;s and Pappadeaux should be ringing bells), is a woman who%26rsquo;s constantly astir. She%26rsquo;s raising a family. She%26rsquo;s raising funds for charities. She%26rsquo;s hosting parties. She%26rsquo;s on the board of the St. Paul Medical Foundation. A quick peek at the ribboned French memo board tacked to her kitchen wall reveals countless, enviable invitations: Cattle Baron%26rsquo;s Ball Casino Night; an Escada brunch; The Ronald McDonald House Moonlight Ball; and %26ldquo;a cocktail buffet honoring Mary %26amp; Ben.%26rdquo; All this and we haven%26rsquo;t even touched on her incredible eye for d%26eacute;cor. Yes, this same furiously active socialite is the decorator responsible for turning this once richly hued Mediterranean-style manse into a fresh, clean white villa, punctuated with colorful curios, found furniture, inherited accessories and edgy art.%26nbsp;

When Mersina and her husband Phin found the University Park home, she fell head over proverbial heels. %26ldquo;I loved that it was on a corner lot with an upstairs balcony overlooking a park,%26rdquo; she says, of ingredients not often stirred together on UP%26rsquo;s gridded streets. %26ldquo;The house was architecturally authentic and pretty on all sides.%26rdquo; Outside, at least, it was already blinding white, but Stubbs changed the window frames from dark rust-red to pale dusty blue %26mdash; nods to the Mediterranean houses she loves in La Jolla and Beverly Hills %26mdash;%26nbsp;then tackled the front door, slicking it in a near-black navy: Farrow %26amp; Ball%26rsquo;s Drawing Room Blue. As for the interior? Stubbs whitewashed everything %26mdash; the walls, the woodwork, even the notched and knurled dark wooden beams on the ceiling. %26ldquo;My plan was to lighten them up,%26rdquo; she says. %26ldquo;I came in one day and the painters had sprayed them with Kilz. It was the best mistake ever. They%26rsquo;re chalky-white and fabulous.%26rdquo; Over two years, she hauled in a jumble of furnishings, from chairs slipcovered in crunchy linen to chrome pharmacy lamps to an ethereal, caned chair, number 13 in a set that belonged to Marie Curie. There%26rsquo;s no shortage of quirky d%26eacute;cor: a mounted boar%26rsquo;s head over the bookcase in Phin%26rsquo;s office (a housewarming gift from his brother); large coral pieces collected in Greece that Stubbs%26rsquo; late aunt shipped to Dallas in the %26rsquo;70s (long before coral was so cool); a jumbo can of Tab by California artist Karen Shapiro (Stubbs still drinks the stuff); and a bowl full of matchbooks, all collected at places the family has traveled. But on the walls, Stubbs displays an unexpected blend of powerful art. The first floor%26rsquo;s sweeping, arched gallery is home to Mersina%26rsquo;s 40th-birthday present from her husband: an oil painting of a hunting dog tearing into a boar, believed to have belonged to the owner of the legendary Mortimer%26rsquo;s restaurant in New York and photographed in the book Parish-Hadley: Sixty Years of American Design. (%26ldquo;I love
the reaction the painting evokes,%26rdquo; Stubbs says. %26ldquo;It%26rsquo;s just a hunt scene, but some people find it rather disturbing. I like that.%26rdquo;) In the living room, you%26rsquo;ll find two Wolfe von Lenkiewicz stunners, large-scale charcoal-and-gouache works purchased at The Dallas Art Fair, from the Kristy Stubbs Gallery. Two David Bates paintings live in the family room. And the Jean-Michel Basquiats? One hangs not far from the boar in Phin%26rsquo;s office; the other is in the family room, centered over Stubbs%26rsquo; antique Belgian farm table. %26ldquo;Both artists%26rsquo; works are visually intriguing,%26rdquo; she says, %26ldquo;with contemporary cultural relevance. And I can%26rsquo;t lie. I%26rsquo;m partial since Bates went to my alma mater, SMU.%26rdquo;

Indeed, the house is a tasty mix. Seems that meatloaf and chocolate-chip cookies aren%26rsquo;t the only delicious things happening here %26mdash; and, for now, the decorator seems quite content with her work. But, she%26rsquo;s not propping her feet up on any Barcelona stools just yet. Before she takes on another client, there%26rsquo;s a pressing project on her agenda: The family%26rsquo;s new lake house.

For more of Mersina Stubbs%26rsquo; villa, click on 'launch slideshow' above.

Steel Magnolia

Fri, 01 Apr 2011 12:09:29 GMT

This is a story about evolution %26mdash;%26nbsp;not Charles Darwin%26rsquo;s controversial theory, but the often winding journey of an artist, from whence his or her inspiration evolves.

Joanie Herring, a jewelry designer and painter who balances the roles of wife and mother with her art, is a delicate blonde who lives in this light-filled house with husband, Lafayette (a renewable energy specialist), and their 10-year-old son, who inherited his father%26rsquo;s regal-sounding name. Like many creative types, this forward-thinking couple seized the opportunity more than a decade ago to acquire property in a changing Houston neighborhood, one whose industrial-inspired constructs were fronted with galvanized steel and floored with raw cement.

Their version of that particular vernacular is a four-bedroom vision created by architect Cameron Armstrong (also a neighbor), with second-floor ceilings that hover more than 20 feet above the floor. %26ldquo;The whole house really flows well,%26rdquo; Herring says. %26ldquo;Downstairs, there are passageways to cut through from the kitchen to the dining and living rooms, all of which open onto the deck in back.%26rdquo; That expansive deck gives way to rose bushes and an herb and vegetable garden, which is currently home to one gigantic grapefruit on a precariously bowed branch.

The daughter of lauded Houston interior designer Beverly Jacomini, Joanie has decorating in her DNA. %26ldquo;When I was three years old, I was moving furniture around the room,%26rdquo; she recalls. Her aesthetic, however, soon began to stray from the influence of her mother%26rsquo;s classic/Southern look. Shortly after she and Lafayette married 16 years ago, they headed to Beijing for an extended work commitment of his that lasted 2 %26frac12; years. It was there that Joanie cultivated her desire for Asian contemporary art, such as a Vermeer-esque portrait rendered in the 20th century and large-scale chinoiserie pieces, including the two mighty armoires in their present-day dining room.

At the same time, she cast her eyes upon the famed South Sea pearls. %26ldquo;When I was in Beijing, I started designing jewelry, and then the pearls came into play %26mdash; pearls were accessible,%26rdquo; she says. After their sojourn in Beijing, the duo packed their valises and headed Down Under to live in Australia. %26ldquo;That%26rsquo;s when I really got into South Sea pearls and saw the depth and range of colors you could find, from pinks to yellows to a purple shade,%26rdquo; she says.

As time passed and her collection evolved, she felt the pull of sparkling vintage jewelry and sought out quirky paste pieces spanning every era. Today she%26rsquo;s mixing pearls with vintage trappings %26mdash; a spherical rhinestone-encrusted hatpin re-engineered as a bracelet, a cluster of old chains made more luminous with a handful of pearls. %26ldquo;Many of my pieces are big statement jewels,%26rdquo; she says. %26ldquo;They started getting more dramatic as my tastes evolved in a more modern way.%26rdquo;

As her vision in the world of jewelry %26mdash; real and faux %26mdash; widened, so did the variety of art and furniture in the Herring home. Joanie gravitated back to mid-century classics such as vintage Saarinen chairs, Jean-Michel Frank stools and Knoll cocktail tables, combined with contemporary Kartell stools by Philippe Stark and European and Asian antiques. She also embraced pure, saturated colors such as red, orange and purple with abandon.

And speaking of palettes %26hellip; While she hasn%26rsquo;t totally abandoned the trappings of her past, Joanie the artist has developed a way to reinvent tradition through her paintings. %26ldquo;I find the frame first,%26rdquo; she says. %26ldquo;Usually it%26rsquo;s an old frame with gold leaf that I paint on, and then I envision what I%26rsquo;d like to place inside it.%26rdquo; She forages flea markets and estate sales for such inspirations and has even acquired glass-front frames that once held works on paper. Using the reverse side of the glass, she creates a translucent canvas for her abstractions, many of which %26ldquo;bleed%26rdquo; onto the frame. %26ldquo;It connects the work to the frame in a sense,%26rdquo; she says.

As her work in both paint and pearls continues to evolve, so will the house you see before you. All three are tied as inexorably to one another as they are to the woman who creates them.

For more of Joanie Herring%26rsquo;s vibrant living, click on 'launch slideshow' above.

The New Exoticism

Thu, 31 Mar 2011 06:38:41 GMT

Images: Dransfield %26amp; Ross; Herm%26egrave;s

Anglo-Indian antiques, updated and recolored chinoiserie wallpaper, Persian murals, vivid Turkish embroideries and graphic traditional Moroccan patterns are among the most exciting New Exoticism introductions to classical decor this year.

Images: de Gournay wallpaper; Safavieh Couture rug by David Easton

When Paris designer Andrew Gn moved his private couture salon to an elegant 18th-century limestone building in the Marais late last year, he could easily have gone for full French decor and decked it out with Louis-Louis furnishings and gallons of gilt. Boring. Instead, Gn %26mdash; a highly knowledgeable interior designer, as well as fashion designer %26mdash; took an exotic approach, installing a pair of massive 18th-century Venetian chandeliers, commissioning a sinuous gilded mural painted by a Persian artist and embellishing another wall with an Anglo-Japanese lacquered panel inspired by James Whistler%26rsquo;s Peacock Room. %26ldquo;Legendary Paris couturiers like Jeanne Lanvin in the %26rsquo;20s and Paul Poiret at the turn of the century were inspired by Orientalism for their studio decor and in their fashion,%26rdquo; Gn says. %26ldquo;In Lanvin%26rsquo;s own apartment, decorated by Armand Albert Rateau (now installed at the Mus%26eacute;e des Arts Decoratifs), she had handsome bronze chandeliers and torch%26egrave;res inspired by ancient Rome. It was very exotic for that period. She was my inspiration. Exoticism personified.%26rdquo;

Image: Andrew Gn

Paris-based Alberto Pinto, one of the most influential and cosmopolitan designers working today, is a genius at interpreting an exotic and vibrant Orientalist spirit in decor. Decorating palaces in North Africa, skyscraper apartments in New York or Syrian townhouse bedrooms for European clients, he dips into rich and exotic design history, and mixes it up.

Images: Hollywood Recency chair in Plum ikat at Madeline Weinrib; Alberto Pinto room

In the design book Alberto Pinto: Orientalism (Rizzoli), Pinto notes that the key to this new approach to Orientalism and exoticism is to create a dialogue between different and contrasting cultures. Pointed Ottoman arches open onto a Chinese drawing room with Coromandel screens, while a Persian bedroom with exquisite antique embroidered bedcovers is adjacent to a pale-blue Moroccan-style bathroom with handcrafted wall tiles. A sedate entry hall with cool gray plaster walls outlined in a fine black stripe contrasts with the ebullient red luster of a Moroccan-Napoleon III drawing room evoking the romance of Delacroix.

Image: Andrew Gn%26rsquo;s Paris atelier. Credit: Dominique Maitre

Pinto%26rsquo;s key is to mix with bravado. He hangs European paintings in Moorish alcoves or adds Indian touches %26mdash; Ghandaran stone busts, a modern bronze sculpture %26mdash; to a glass-walled New York residence. In the exotic spirit, he positions elegant Anglo-Indian antiques with mother-of-pearl inlays in a classical apartment in Paris. In Pinto%26rsquo;s richly imagined rooms, Chinese wallpaper backs up a sofa ornamented with Abyssinian-inspired embroidered pillows, or a modern pair of chrome chairs gains traction with bold ikat-patterned fabric in rich brown and cream.

Images: Oly Beijing vases; Ann Getty%26rsquo;s Badminton chair

New York textiles and carpet designer Madeline Weinrib began designing her own modern takes on Orientalist textiles and weavings a decade ago, with ultra-modern colors for centuries-old ikat weaves and graphic rugs. %26ldquo;Ikats bring a touch of exoticism, but I updated them in unexpected hues like shocking pink, black and white, celery and white, chocolate and cream, lavender, espresso, navy and magenta,%26rdquo; says Weinrib, whose newest textiles feature bold ikat stripes inspired by textiles that decorated Marie Antoinette%26rsquo;s Versailles digs, now produced in fizzy, shocking pink and indigo. Traditional Turkish tribal Suzani-inspired textiles also bring a hand-woven texture to an interior, Weinrib says. She uses authentic embroidered textiles but simplifies the graphic designs to make them more gestural, more contemporary.

Image: de Gournay wallpaper

In the meantime, Andrew Gn, a world-class collector, recently added early-20th-century Egyptian-inspired chairs and curvy antique tufted settees from Liberty of London to the boudoir of his couture salon. The juxtaposition is very Lord Leighton and seductive. He covered the walls in an intricate gold-and-black Arts and Crafts%26ndash;style fabric custom-woven by a centuries-old silk-weaving company in Lyon. %26ldquo;I love arriving at the new salon every day,%26rdquo; says Gn. %26ldquo;Exoticism is so romantic %26hellip; I%26rsquo;m so inspired.%26rdquo;
Image at top: Alberto Pinto room

The Threads That Bind Us

Thu, 31 Mar 2011 02:52:34 GMT

The most memorable objects have a thread attached to another object, shaking up the memory cells to relate to a movie, a book, a painting. Here, some of the most unforgettable runway looks and accessories for spring.

Images: YSL; Fendi; Marc Jacobs; Etro
Inspired by %26hellip; %26lsquo;70s boho bonhomie! Even Yves Saint Laurent dipped into its archives to highlight the iconic style. Yves Saint Laurent cotton bustier dress with silk-toile ruffles $6,325, at Neiman Marcus. Marc Jacobs cotton peasant blouse $1,200, gathered skirt $1,100, at Saks Fifth Avenue. Fendi silk
linen peasant dress $1,980, Neiman Marcus. Etro peasant gown $2,646, at Neiman Marcus, Stanley Korshak.

Love! %26hellip; A kiss from a Fendi girl would leave a mark on your cheek in vivid coral. M-A-C Sheen Supreme Lipstick in Gotta Dash $14.50, at the M-A-C boutique.

Reminds us of%26nbsp; %26hellip; fabulous Cher in %26ldquo;Half-Breed.%26rdquo; Roberto Cavalli fringed trousers and vest, price on request, at the Roberto Cavalli boutique, Neiman Marcus, Stanley Korshak, Tootsies.

Love! %26hellip; For him, D%26amp;G%26rsquo;s chic canvas sueded moccasin $215, at store.dolcegabbana.com.

Inspired by %26hellip; the monochromatic garden scene from the arch film Last Year at Marienbad. Chanel black-and-ecru guipure tulle blouse $8,865, and black-and-yellow worked-denim jeans $1,580, at the Chanel boutique and Neiman Marcus. Chanel hair part, right, drawn with Chanel Automatic Liquid Eyeliner.

Love! %26hellip; Bulgari Leoni %26amp; Gemma chevron canvas bag with colorful calf-leather-trim handles $1,550 and $1,900, at the Bulgari boutique.

Reminds us of %26hellip; Pauline de Rothschild%26rsquo;s bedroom in Paris covered in 18th-century Chinese wallpaper. Alexis Mabille couture gown, price on request, inquiries through Gregory%26rsquo;s.

Love! ... Louis Vuitton Giraffe ankle-strap sandal $1,575, at the Louis Vuitton boutique.

Love! %26hellip; Ermenegildo Zegna silk seersucker suit $2,695, and cotton dress shirt $325, at the Ermenegildo Zegna boutique, Neiman Marcus, Stanley Korshak.

Reminds us of %26hellip; country-club waiters. Tommy Hilfiger white cotton Newport tux $898, at tommy.com.

Inspired by %26hellip; Victoria %26amp; Albert Museum%26rsquo;s recent exhibition %26ldquo;Diaghilev and the Golden Age of the Ballets Russes, 1909-1929.%26rdquo; Erdem shows lots of loveliness and no end of florals in his ethereal ballet-inspired dresses, at Neiman Marcus.

Images: Pucci; Andrew Gn; Pucci
Reminds us of %26hellip; Sicilian women. Andrew Gn silk knit dress with trumpet sleeves $3,160, turban $320, tie $280, at Neiman Marcus. Pucci black embroidered georgette caftan $9,995, chiffon dress with halter neckline $9,995, at the Pucci boutique, Neiman Marcus, Tootsies.

Love! %26hellip; Kara Ross faceted coral and pav%26eacute; white sapphire ring from her new Gemstone II collection $595, at Neiman Marcus.

Reminds us of ... %26ldquo;The Hudson River School: Nature and the American Vision%26rdquo; at the Amon Carter Museum of American Art (through June 19). Carolina Herrera floral impressionist jacquard cocoon dress, price on request, at the Carolina Herrera boutique, Neiman Marcus, Saks Fifth Avenue, Stanley Korshak.

Love! %26hellip; Unstructured linen suits in dark, moody blues are all the rage for best-dressed gentlemen. Ermenegildo Zegna blue linen suit $2,695, at the Ermenegildo Zegna%26nbsp; boutique, Neiman Marcus.

Love! %26hellip; Fendi%26rsquo;s singed voile dress $4,440, at Neiman Marcus.

Inspired by %26hellip; redwood trees. Rodarte leaf-like lace top, bark-patterned skirt, price on request, at Neiman Marcus.

Love!%26nbsp; %26hellip; Santiago Gonzalez, the offspring of luxe lady-bag designer Nancy Gonzalez, has launched a chic collection of gentleman bags and accoutrements, starting at $125, available in June exclusively at Neiman Marcus. Pictured: Crocodile duffle $6,450, by special order at Neiman Marcus.

Inspired by %26hellip; stucco at Le Petit Trianon and marbled floors at Versailles. Giambattista Valli organza tunic with coral Versailles print $1,840; organza shift dress with gray stucco print $3,340, at Barneys New York, Saks Fifth Avenue, Stanley Korshak.

Always love! %26hellip; shoes. Gianmarco Lorenzi limited-edition, numbered, Swarovski Crystal wedge $3,395, at Gregory%26rsquo;s. Reed Krakoff boar-hair sandals in silver python/pewter leather, $850, at Neiman Marcus NorthPark Center.

Love! %26hellip; Lanvin%26rsquo;s stretch washed gabardine dress in blue and dark brown $3,440, at Barneys New York, Neiman Marcus, Stanley Korshak.

Reminds us of %26hellip; Sharon Stone in Basic Instinct.Reed Krakoff double-face linen coat vest $1,290, cotton matte jersey shift dress $840, and asymmetric gray-painted-alligator mules $3,525, at Neiman Marcus NorthPark Center.

Reminds us of %26hellip; the spunky and adorable Doris Day as Calamity Jane.Ralph Lauren stitched leather Jameson jacket $3,998, and pants $3,498. Satin jacket $3,998, and suede embroidered and fringed Shannon pants $7,498, at the Ralph Lauren boutique.

Images: Pucci; Giambattista Valli; Prada; Diane von Furstenberg
Reminds us of %26hellip; the book Baroque Baroque. Pucci blazer $2,190, voile top $2,350, and Greek bleached shantung trousers $1,945, at the Pucci boutique, Neiman Marcus, Tootsies. Giambattista Valli silk organza tank with Versailles print $1,315, and skirt $3,185, at Barneys New York, Saks Fifth Avenue, Stanley Korshak. Prada striped skirt $650, and top with embroidery $1,535, at Neiman Marcus. Diane von Furstenberg top $225, and skirt $285, at the Diane von Furstenberg boutique.

Reminds us of %26hellip; Harry Belafonte in Island in the Sun.Herm%26egrave;s poplin and cotton pique honeycomb shirt $720, cotton poplin pajama trousers $850, Chypre espadrilles $375, Complice bridle-leather belt $1,300, at the Herm%26egrave;s boutique.

Love! ... Modern multifunctional totes at Tiffany %26amp; Co. One side is a subtle suede that reverses to a statement-making metallic. $395 to $595, at Tiffany %26amp; Co.

Images: Frida Kahlo%26rsquo;s "Demolished," surrealist self portrait; Herm%26egrave;s; Reed Krakoff; Burberry Prorsum; Alexis Mabille; Chanel
Reminds us of %26hellip; harnesses and Frida Kahlo bondage. Herm%26egrave;s cotton shirt $970, leather cardigan $7,200, crepe viscose high-waisted black pants $1,950, Catalogne leather hat $2,775, at the Herm%26egrave;s boutique. Reed Krakoff halter crossback chiffon jersey gown with leather straps $2,990, through Neiman Marcus NorthPark Center. Chanel silk-and-tulle dress, price on request, at the Chanel boutique and Neiman Marcus. Alexis Mabille couture gown, price on request, through Gregory%26rsquo;s. Burberry dress with leather, price on request, at the Burberry boutique.

Reminds us of %26hellip; Joan Jett. Jean Paul Gaultier cr%26eacute;pon pliss%26eacute; dress $2,215, jersey leggings $2,335, at Forty Five Ten, Neiman Marcus.

Reminds us of %26hellip; Peggy Guggenheim%26rsquo;s glasses. Prada sunglasses $390, at prada.com.

Love! %26hellip; Valentino front-tie blouse $1,150, long gilet with leather ruffle and belt $3,980, and shorts $790, at Neiman Marcus, Saks Fifth Avenue, Stanley Korshak.

Love! %26hellip; that Olivier Theyskens (Rochas, Balenciaga) is at the helm of luxe basics brand Theory this season. What to look for? Beautifully cut blazers, impeccably tailored trousers and torso-lengthening silhouettes. Theyskens%26rsquo; Theory Cola/Fiola tee $100, and Powa/Waspy pants $250, at Barneys New York.

Reminds us of %26hellip; Nasher Sculpture Center%26rsquo;s %26ldquo;Statuesque%26rdquo; exhibition, through April 21. Alexis Bittar cuff $250, at Neiman Marcus.

Inspired by %26hellip; early motorbike adopters. Her Burberry Prorsum dark-honey cotton crochet contrast biker sleeve and peplum jacket $2,795, and pale-barley scuba jersey mesh-panel leggings $895; his Burberry tumbled-leather studded biker vest $4,795, and slim-fit jersey military trousers $395, at the Burberry boutique.

Inspired by %26hellip; vintage wood-patterned paneling. Rodarte dress, price on request, at Neiman Marcus.

Images: Brian Atwood; Diane von Furstenberg; Prada; Prada; Dolce %26amp; Gabbana; Versace
Reminds us of %26hellip; tourists in 1950s Mexico. Brian Atwood cork pumps with multicolored heels $903, at Forty Five Ten. Diane von Furstenberg embellished top $496, jacket $425, and sarong pants $345, at the Diane von Furstenberg boutique. Prada tropical top $885, banana-print skirt
$995, and embroidered dress $2,325, at Neiman Marcus. Dolce %26amp; Gabbana raffia handbag $1,675, at dolcegabbana.com. Versace tribal cropped top $1,450, and pencil skirt $795, at the Versace boutique.

Love! %26hellip; Versace cropped top with patent-leather detail $1,025, and pencil skirt $1,250, at the Versace boutique.

Images: Ermenegildo Zegna; Gucci; Pucci
Reminds us of %26hellip; Eden Roc. Ermenegildo Zegna knit shirt $325, linen trousers $695, at the Ermenegildo Zegna boutique, Neiman Marcus, Stanley Korshak. Gucci cardigan with python, and pencil pants, at the Gucci boutique. Pucci knit dress, price on request, at the Pucci boutique, Neiman Marcus, Tootsies.

Reminds us of %26hellip; the famed bullfighter from C%26oacute;rdoba, Manolete.Herm%26egrave;s black cotton shirt $970, black leather jumpsuit $6,300, Catalogne felt hat $$1,550, Camelia shoes $1,100, and black leather harness $3,900, at the Herm%26egrave;s boutique.

Love! %26hellip; Tommy Hilfiger docksiders with heels $298, at tommy.com.

Image: Men%26rsquo;s wares from Mr Porter; Moda Operandi%26rsquo;s Aslaug Magnusdottir, Lauren Santo Domingo
Love! %26hellip; This spring, two online-shopping havens make their debut. Mr Porter, the brother site of Net-A-Porter, fuses a weekly online men-only fashion mag filled with trends and style tips, while a Wardrobe Manager edits and melds your lists of must-have essentials with the latest collections from Lanvin, Bottega Veneta, Valextra and more. Go to mrporter.com %26hellip; Girls, click to the ingenious members-only site Moda Operandi%26rsquo;s Aslaug Magnusdottir and Lauren Santo Domingo. How it works? Site members have access to flash sales of designer collections within 48 hours of the runway presentation, finally making it possible to snatch up wildly editorial pieces rarely carried in stores. For-sale Fall 2011 collections came from Prabal Gurung, Proenza Schouler and more. And this month, we%26rsquo;re anticipating a capsule collection from a yet-to-be-named designer. Apply for membership at modaoperandi.com.

Images: Rochas; Pucci; J. Crew; Pucci; Rodarte
Reminds us of %26hellip; a Ming vase. Rochas silk ball gown $4,800, at Barneys New York. Pucci Greek bleached chiffon gown with embroidered neckline $6,595, and cotton voile dress with embroidery detail $3,795, at the Pucci boutique, Neiman Marcus, Tootsies. J. Crew Campbell oxfords in Liberty floral, $298, at J. Crew. Rodarte chiffon dress with embroidered top, price upon request, at Neiman Marcus.

Corky’s Lab for Living

Tue, 01 Mar 2011 05:22:13 GMT

Nuts, bolts, clamps, cords, screws, beams, joists and joints %26mdash; all expressed, all exposed. A lumber warehouse? A hardware store? To the contrary, you%26rsquo;re about to enter architect Gary %26ldquo;Corky%26rdquo; Cunningham%26rsquo;s transformable, nonconformist lair. (We suspect some rather unresolved issues with his childhood Erector sets.)

At any moment, on any given day, something could whiz right through the dining room here %26mdash; and we%26rsquo;re not talking teacarts. You%26rsquo;d be advised to watch out for bicycles. You may even have to coax one out of the way to get to your knife and fork, for the man of the house has been known to lean one of his carbon-fiber bikes directly against the table. Then again, that %26ldquo;table%26rdquo; is a sheet of thick plywood affixed to a hydraulic lift that was designed for hoisting Toyota engines, not Royal Doulton. Oh dear. And if the dining space is this unconventional, what%26rsquo;s going on in the living room? Well, that%26rsquo;s where the forklift goes. Of course.

Welcome to Gary Cunningham%26rsquo;s place, a 40-by-40-foot shoebox that the Dallas architect calls home %26mdash; a one-story laboratory where he can test design ideas and try eccentric solutions to common conundrums. The kitchen? Rather than the usual up-down cityscape of refrigerators, ovens and cabinets, Cunningham pushed his entire cucina under a 30-foot counter of stainless steel %26mdash; welded into a single piece %26mdash; that cuts through the main space. The one and only bathroom? That%26rsquo;s what Cunningham calls %26ldquo;an inserted glass box,%26rdquo; floating within the building%26rsquo;s confines, tethered only to a freestanding wall of glossy yellow tiles. (The bathroom%26rsquo;s opaque walls don%26rsquo;t even come close to reaching the building%26rsquo;s high ceiling; they%26rsquo;re capped with an internal roof of even more frosted glass.) Here, if a concept doesn%26rsquo;t work, Cunningham abandons it. If a space feels too large, he shrinks it. He rationalizes all this changeability thusly: %26ldquo;Everything is an experiment. That%26rsquo;s how I do all my jobs.%26rdquo; And jobs he has: Since 1981, Cunningham Architects has authored some heady projects, from two just-completed buildings for The da Vinci School to Marlene and Morton Meyerson%26rsquo;s boundary-blurring Power House, a 1923 electrical substation that Cunningham turned into an edgy home, infusing it with limestone-aggregate concrete block, steel pipe and wire glass. For art collectors Deedie and Rusty Rose, he transformed a 1915 pump house into a private art and event space, floating a steel-and-glass floor over the myriad original pipes and valves. He is also the local architect in charge of another boundary-breaker of a project, Philip Johnson%26rsquo;s warp-walled Interfaith Peace Chapel %26mdash; in fact, Cunningham%26rsquo;s own 1992 cut-stone sanctuary for Cistercian Abbey in Irving moved Dallas Morning News architecture critic David Dillon to write, %26ldquo;The exterior creates such a powerful impression of weightiness and strength that the lightness of the interior comes as a surprise %26hellip; a space of unexpected exuberance and grace.%26rdquo;

All this from a man who thinks nothing of driving a forklift through his living room. Seems the steel cabinet he designed and built to house his beloved audio equipment got a little weighty. %26ldquo;It%26rsquo;s good to have a forklift,%26rdquo; he says. %26ldquo;I drive it right up a ramp and right into the house.%26rdquo; Indeed, Cunningham isn%26rsquo;t just the architect-as-alchemist, he%26rsquo;s the head contractor, too, building his own contraptions, heaving the ceiling%26rsquo;s steel crossbeams into place, even fabricating the front panels for the aforementioned audio cabinet out of perforated steel left over from a job. He detests wasting material. For the epic, 28-foot bookcase that he built using surplus Baltic birch, Cunningham calculated the thickness of the saw%26rsquo;s blade into his measurements. That madman thinking turns up everywhere in this converted 1983 commercial space %26mdash; and, in effect, becomes Exhibit A for what Cunningham can do with residences, schools, churches, you name it.

%26ldquo;I bring clients in here to show them how things work,%26rdquo; he says. If he has his way, they%26rsquo;ll see even more: He plans to overtake a wood shop next door and turn it into a massive living room/gallery. He also wants to blow through the dwelling%26rsquo;s back wall and make more bedrooms (currently, there is just one %26mdash; his). Perhaps you should know the origins of Cunningham%26rsquo;s nickname. Seems little Gary used to bob around like a cork, zigging and zagging and never sitting still. Someone called him %26ldquo;Corky%26rdquo; and the name stuck. Funny, adult Gary doesn%26rsquo;t stay in place for long, either. He bounds about his abode, light on his feet, swift like a deer in his movements. In fact, if you blink, he can slip behind the glossy yellow wall that anchors the bathroom and disappear into the long, long closet he designed behind it. Perhaps that%26rsquo;s where he keeps the keys to that forklift.

For more of Gary Cunningham%26rsquo;s experiment in living, click on 'launch slideshow' above.

Staub’s Social Style

Mon, 28 Feb 2011 06:16:43 GMT

Known for his elegant creations of the single family house, John Fanz Staub (1892 %26ndash;%26nbsp;1981) contributed far more than a wealth of designs to this architectural genre: He brought family legend, history, prestige and glamour to the Houston elite of the 1920s to the %26rsquo;60s.

Image: Harry Wiess%26rsquo; stables in Houston, 1930

Following his New York mentor Harrie T. Lindeberg%26rsquo;s example %26mdash; and, in fact, on his Shadyside coattails %26mdash; Staub brought sumptuous European-style country houses to Houston suburbs, as Lindeberg had done for the Manhattan social set. Staub%26rsquo;s designs were sought by clients such as the Hoggs, Mastersons, Cullens, Neals and Cullinans. And, while merging a rich knowledge of architectural history with the aspirations of the city%26rsquo;s economic and social leaders, Staub accomplished what Stephen Fox described in The Country Houses of John F. Staub (2007) as the %26ldquo;social construction through architecture of upper-class-ness.%26rdquo;

A Tennessean born at the end of the 19th century, Staub studied at the University of Tennessee and M.I.T. He graduated in 1916 then took a job with Lindeberg, who sent him to Houston in 1921 to supervise three houses in the Shadyside subdivision. Staub never looked back. By 1923, he had established his own Houston firm, but it was Staub%26rsquo;s first independent commission in 1923 for the River Oaks Country Club (demolished in the 1960s) that kept him from returning home %26mdash; especially after he was retained to design two model homes for the new 1,100-acre River Oaks subdivision bought by William Clifford Hogg, Michael Hogg and Hugh Potter. This was followed by Will and Mike Hogg asking Staub to build a house for their sister, Ima, to be known as Bayou Bend.

Miss Hogg delighted in working with Staub to create her %26ldquo;Latin Colonial%26rdquo;%26ndash;style home, merging early-19th%26ndash;century American Federal, English Regency and Louisiana Creole elements. Designed along with Birdsall P. Briscoe and completed in 1928, Bayou Bend (2945 Lazy Lane) became the first and most classical of this Latin-Colonial style. At the sequestered end of a drive on a 14-acre site, it has preserved since 1966 Ima Hogg%26rsquo;s legacy and her American decorative art collection as part of the Museum of Fine Arts, Houston.

Image: Ima Hogg portrait in the Bayou Bend living room. Credit: Cond%26eacute; Nast; photograph by Joffe

Over the next three and a half decades, Staub%26rsquo;s reputation would be intertwined with River Oaks, where he built numerous houses, as well as several in Broadacres and Shadyside. As part of the clubby social set, Staub knew just what was wanted for their ideal depictions, not only for the colonial River Oaks Country Club, but for the Forum of Civics Building, now the River Oaks Garden Club, at 2503 Westheimer Road (1927), designed as a New England town hall to please Will Hogg%26rsquo;s civic ideals. In 1929, Staub created the Junior League at 3300 Smith Street) as an L-planned building in the gracious Creole style of New Orleans, with double-level galleries and open-air corridors facing into the courtyard. Staub%26rsquo;s own studio was once located in the building, which was transformed in the %26rsquo;60s into Brennan%26rsquo;s restaurant. A Louisiana style was also Staub%26rsquo;s choice for the 1940 plantation-style Bayou Club %26mdash; perfect for the wooded bayou setting with upper terraces lazily overlooking the pool.

Staub created more fanciful retreats for individual clients including the Bullock Bay Cottage (1928) at Bay Ridge near Morgan%26rsquo;s Point, which is in a relaxed Victorian-New England style, and the delightful Wiess Stables (party) house on North Post Oak Lane in Memorial (1930), which has Northern European forms with steep roofs and Roman brickwork detail. For W.T. Carter Jr.%26rsquo;s Lodge at 331 West Friar Tuck Lane (1929), Staub created an adorable Colonial cottage with rustic simplicity, set on 100 acres along Buffalo Bayou and Post Oak Road. The grandest of his retreats, however, is the 1938 country house for Ella Rice and James O. Winston Jr., bordering Buffalo Bayou at 100 Carnarvon Drive in Memorial. It was designed as a patrician estate every bit the equal to a celebrated English country house with a range of formal rooms, forecourt and extensive grounds.

Image: Garden facade of Hugh Roy Cullen%26rsquo;s house in River Oaks, 1933-1935

In 1942, Staub partnered with John T. Rather Jr., then added Albert Howze in 1952. The partners applied ranch-house planning to Rienzi (1406 Kirby Drive), which they completed in 1954 for Carroll Sterling and Harris Masterson III, magnificently combining a Palladian villa with the comforts of a contemporary American house. A time capsule of %26lsquo;50s taste, the house, its collection and terraced gardens are now part of the Museum of Fine Arts, Houston. Rienzi was followed by the most modern of Staub%26rsquo;s designs: the Elkins House in River Oaks on Meadow Lake Lane, completed in 1958 with Greek-key fretwork trim at its stone-and-steel pavilion-style entrance door. The residents%26rsquo; collection of abstract expressionist and color-field paintings, as well as the interiors by renowned designer T.H. Robsjohn-Gibbings, made this house an exceptional tribute to the period-revivalist architect%26rsquo;s ability to stay au courant. Nonetheless, he chose to retire in 1963 to enjoy his own social life.

As a creator of mythic identities, along with the Hoggs and their coterie of friends socially, esthetically and financially invested in River Oaks, Staub contributed to the architectural vision of a special community better than any that had gone before %26mdash; Shadyside, Broadacres or Courtlandt Place. Much like Madison Avenue advertisers utilizing imagery, they projected civic duty, idealism, privileged status and exclusivity into the planning, landscape and architecture. River Oaks was not merely expensive European- or New England%26ndash;style houses and a lush suburban neighborhood; it was the Way of Life. The mythic roots and strong social values captured in Staub%26rsquo;s houses were exemplified in his embrace of River Oaks%26rsquo; Kirby and Shepherd entrance piers, which architect and Staub biographer Howard Barnstone aptly described as the %26ldquo;gates of paradise.%26rdquo; Within those celestial gates lived city fathers who brought values and economic stability to Houston %26mdash; a point brought home when Hugh Roy Cullen built his Staub-designed house at 1620 River Oaks Boulevard. The regal limestone-clad Regency villa, completed in 1935, was purposefully timed to provide much-needed jobs during the Depression. The same could be said about the slightly earlier house of Maxwell House Coffee heir J. Robert Neal at 2960 Lazy Lane, which Staub designed as a Louis XV ch%26acirc;teau with an Olmsted Brothers landscape.

John Staub%26rsquo;s built legacy is about elegant proportions, fine detail and materials combined with his artful ventilation and practical planning.
While his idyllic creations for River Oaks and his indubitable handling of a range of styles have made him a legend among American historicists and period-revival architects, Staub%26rsquo;s 1958 Elkins House shows that his subjective version of modernism and his uncanny ability to reflect the cultural taste of the fashionable elite would have made him a star in the Modernist 2000s as well.

Image: Rienzi, Harris Masterson III%26rsquo;s house in River Oaks, 1952 %26ndash; 1954, designed by Staub, Rather and Howze. Credit: House museum of Houston%26rsquo;s Museum of Fine Arts Decorative Arts Collection

Staub Trivia

%26bull; Immersed in the Texas culture, Staub also showed respect for local building traditions. In 1936, he based the Scurry house at 1912 Larchmont Road in Houston on the oldest house in the city, the Kellum-Noble House in Sam Houston Park, applying the unusual backside and asymmetrical face to his design. At 3904 South MacGregor Way, also in 1936, he dabbled in Texas rural regional style with ranch-style porticoes, inspired by Dallas architect David R. Williams. Staub based the Fleming summer house, located along the Guadalupe River in Hunt, Texas (1938), on the rustic limestone Sunday houses of Fredericksburg with their late 19th-century, German-Texas style.

%26bull; The respected architect was asked repeatedly to design public buildings. Staub%26rsquo;s educational and university buildings %26mdash; for which he shared design credit with the architects %26mdash; include Mirabeau B. Lamar Senior High School near River Oaks (1937) and buildings on the campuses of the University of Houston and the University of Texas. At Rice University, Staub worked with Rather on the Abercrombie Laboratory (1948) and M.D. Anderson Hall (1947) %26mdash; both as restrained versions of Cram, Goodhue %26amp; Ferguson%26rsquo;s 1912 original Gothic Revival designs.

%26bull; Staub was also called outside Houston to work on several Galveston-area vacation homes, as well as four of his largest and grandest houses in Fort Worth and Dallas in the 1930s and %26rsquo;40s %26mdash; properties for the Bewley, King, Gartner and Camp families %26mdash; and the Wilson house (1937) in Beaumont.

Image: Stephen Fox%26rsquo;s exhaustive study of Staub%26rsquo;s country houses, 2007

Stalking Staub

River Oaks

After his first River Oaks residential commission, John Staub went on to design numerous other River Oaks homes, including his own at 3511 Del Monte Drive (1926), a New England colonial reminiscent of his wife%26rsquo;s native Massachusetts%26rsquo; styles. Farther up the block at 3452 Del Monte Drive is his Mellinger House (1931), an American colonial with a formal front and a picturesque facade facing the rear motor court.

He built Dogwoods at 2950 Lazy Lane (1928) as a Norman manor house for the Hoggs%26rsquo; friend Frederick C. Proctor; it was later owned by Mike Hogg. Nearby at 2960 Lazy Lane is the J. Robert Neal house (1933) %26mdash; one of Staub%26lsquo;s grandest River Oaks houses built for the Maxwell House Coffee heir and designed in Louis XV ch%26acirc;teau style with limestone cladding and an Olmsted Brothers landscape. At 2995 Lazy Lane is Ravenna, the Farish house (1935) with an English Georgian front and a Deep South via Tuscan portico on the back. For the Harrison house at 2975 Lazy Lane, he recreated a Natchez-style plantation house%26nbsp; (1939).

Inwood Drive touts four Staub designs: The Bruton house at 2929, a 1934 Colonial; the Heyer house at 2909, a 1936 neo-Georgian; the Chew house at 3335, a 1926 picturesque English manor%26ndash;style house; and yet another austere Staub version of the Georgian house at 3637, this one dating from 1940.

In 1957, Staub, with partners Rather and Howze, completed 3740 Willowick Road, the Anderson house, as a one-story ranch-house pavilion, still wrapped in historicism as a Greek revival cottage.

Shadyside

Staub first impressed Houston%26rsquo;s upper crust with his work in the Shadyside area. In 1926, he designed #17 Shadowlawn Circle as an austere French Breton%26ndash;style house with a rear entrance through arched loggias, a steep shingled roof and stark walls. Ten-plus years later, at 3 Remington Lane in Shadyside, he designed the Wray house, which follows the curve of the street and combines 19th-century English Regency with Louisiana Creole elements in his signature Latin Colonial style for the daughter of J.S. Cullinan, the Texaco founder who originally developed Shadyside in 1916.

Broadacres

For Broadacres, begun in 1922 and landscaped with rows of live oaks, Staub designed six houses. At 1405 North Boulevard is the Hutcheson house, a 1924 Connecticut Valley Colonial style %26mdash; the first Staub house designed and completed in Houston. It is one room wide to alleviate the heat (before air-conditioning) and capture the breezes. At 1324 North Boulevard, the Cochran house is a 1926 English manor house with a front door on the west side and an archway entrance inspired by British country house architect E.L. Lutyens.

Farther down the street at 1505 is the Tennant house, a 1927 neo-Georgian that combines symmetry and asymmetry, with all reception rooms focused on the rear garden. At 1317 North Boulevard, the Dargan house is a 1930 French manor with triple-hung windows, its integrated public spaces also focused on the rear garden. At 1400 South Boulevard, the Kuldell house is a 1929 English manor house with patterned brickwork, molded brick and terracotta shingle tiles, oversized window bays and windows with exquisite leaded-glass casements.

Post Oak, Memorial and Buffalo Bayou

The remote woods of the Buffalo Bayou region inspired not only the glory of Bayou Bend (1928), Ima Hogg%26rsquo;s house at 2940 Lazy Lane in River Oaks, but also Staub%26rsquo;s W.T. Carter, Jr. Lodge (1929) at 331 West Friar Tuck Lane, built on Newman Branch, a waterway flowing into Buffalo Bayou, and Lake Carter. Now disfigured by additions, the brick-, stone- and timber-beamed lodging with wide-planked floors was a rustic setting for the Carters%26rsquo; collection of American 18th-century antiques.

In Memorial, the high gables, tall chimney stacks and intricate brickwork of Staub%26rsquo;s Harry C. Wiess Stables (1930) on North Post Oak Lane provided a convivial woodland setting for a compound of timber-braced entertaining spaces.

Along the south side of Buffalo Bayou, near the north end of what is now South Post Oak Lane, is the Raymond H. Goodrich house (1932) at 300 Pinewold Drive. Here, Staub indulged in a relaxed vision of a vernacular American style, the Connecticut Country Colonial. Also along the bayou, the Ernest Bel Fay house (1937) at 105 North Post Oak Lane (now the main building of The Fay School) is modeled on a Louisiana Creole planter house %26mdash; a style that also inspired the nearby Bayou Club (1940) at 8550 Memorial Drive.

Most dramatic of Staub%26rsquo;s country-style estates, however, is the James O. Winston Jr.%26nbsp;house (1938) at 101 Carnarvon Drive in Memorial, which Staub designed as a formal, red-brick estate in the English-country-house manner. The property faces Buffalo Bayou and is adjacent to the Wiess Stables.

All color photos by Richard Cheek from Stephen Barnstone%26rsquo;s "The Country Houses of John F. Staub" (Texas A%26amp;M University Press, 2007)
Image at top: Entrance to James A. Elkins Jr.%26rsquo;s Houston house, 1958-1961, designed by Staub, Rather and Howze
Image below: John F. Staub, 19939

PaperCity-sponsored HADA Preview Party

Mon, 21 Feb 2011 02:11:18 GMT

Attend the PaperCity-sponsored Preview Party, Thursday, February 24, 6:30 to 9 pm, and be the first to peruse 150 booths stocked with finds grand and small, as well as top national and international dealers. Gratis, space limited, reservations 713.524.0606, ext. 240, or rsvp@papercitymag.com.

Sparkling, Fabulous Finds … A Collecting Experience

Mon, 21 Feb 2011 11:50:06 GMT

Your Complete Guide to HADA. Thursday, February 24 - Sunday, February 27.

3 Days of Coveted Antiquing

When:
Thursday, February 24
PaperCity-Sponsored
Preview Party, 6:30 to 9 pm
Friday, February 25
11 am to 7 pm
Saturday, February 26
11 am to 7 pm%26nbsp;
Sunday, February 27
11 am to 5 pm

Where: George R. Brown Convention Center, Hall A3

Tariff: Ticket $10, includes admission for all three days; children under 12 admitted free; Preview Party free

Contact: hadaantiques.com

Image: 19th-century French gilt-wood vessel with liturgical scene in oval cartouche at Aardvark Antiques

ANTIQUES %26mdash; The Ultimate Green Choice

Celebrate America%26rsquo;s Oldest Association of Antiques Dealers, Established 1964. %26bull; Shop One of the Most Venerated Antique Shows in the Country. %26bull; Support a Beloved Houston Tradition That Gives Back to the Community. %26bull; Attend the Show Where Miss Hogg and the Mastersons Shopped. %26bull; Toast HADA%26rsquo;s Approaching Golden Anniversary. %26bull; Explore Booths of 150 Sparkling International, National and Hometown Dealers. %26bull; Discover Extraordinary Vetted Treasures from Museum-Worthy Furniture to Scintillating Objects of Art.

Decades Before Antiques Roadshow, There Was HADA

The Country Gentleman%26rsquo;s Larry N. Bahn, HADA president and exhibiting dealer, reflects upon the show%26rsquo;s venerable 47-year history: %26ldquo;Established 1964, HADA is one of the oldest antiques associations in America. The first HADA show was held at the old Shamrock Hotel, then it moved to the Albert Thomas Convention Center and finally to the George R. Brown when it opened. It started out as a national show only and, in later years, added international dealers and grew from a spring show to a fall and spring show. It was founded by dealers and collectors Helen York, Carolyn Thompson, Jessie Matthews and William Peyton. Noted Houston antiquarians Miss Ima Hogg and the Mastersons all attended the HADA Show in years past. Furniture, paintings and objects of art acquired at HADA have gone into important private collections and museums including Bayou Bend and Rienzi. What has remained the same throughout nearly 50 years? The quality of the offerings, the integrity of the dealers and the tireless efforts of the organization and its members to encourage collecting and interest in antiques.%26rdquo;

Under $200 Objects

Many unique finds can be acquired for under $200. Watch for signs in the booths of participating dealers for objects and furnishings offered in this attractive price range.

PaperCity Book Boutique

The PaperCity book boutique, Curate, returns this season, brimming with the must-have and latest releases from the worlds of design, antiques, interiors and art, plus coveted vintage volumes by design meisters Billy Baldwin, David Hicks, C.Z. Guest and more.

Image: Mary Michael Townsend, Kate McConnico, Susanna Moldawer, Bobby McAlpine, Jan Showers, Hutton Wilkinson, Stephen Newton, Betty Newton

Posh, Polished (and Free!)Preview PARTY

Attend the PAPERCITY-SPONSORED Preview Party, Thursday, February 24, 6:30 to 9 pm, and be the first to peruse 150 booths stocked with finds grand and small, as well as top national and international dealers. Gratis, space limited, reservations 713.524.0606, ext. 240, or rsvp@papercitymag.com.

NEW: PaperCity Aisle of Style
New for the Spring 2011 HADA Antiques Show %26amp; Sale %26mdash; PaperCity Aisle of Style, featuring pop-up curated shops filled with antiques, collectibles, design objects and more. Fascinating offerings from some of Houston%26rsquo;s most original retailers and purveyors.

HADA at the MFAH The Jewels of the Victorians

For 29 years, HADA has sponsored an engaging lecture series at the Museum of Fine Arts, Houston. The program got off to an auspicious start in 1983 with Simon Jervis, the curator of London%26rsquo;s Victoria and Albert Museum. In the ensuing decades, august guests have ranged from the former surveyor of the Queen%26rsquo;s Pictures, also in from Great Britain, to the director of the Pulitzer Foundation for the Arts in St. Louis. This spring%26rsquo;s speaker is Judy Rudoe, the venerated British Museum%26rsquo;s curator of post-Renaissance jewelry, who dishes about Victorian-era bijoux as a window on the British Empire during this heralded epoch, answers queries and signs her latest book, the just-released volume, Jewellery in the Age of Queen Victoria: A Mirror to the World (British Museum, London, 2010). Thursday, February 24, 2 pm and 6:30 pm, at the MFAH; free and open to the public.

Image: 19th-century Chinese export figure at Leonard Eureka

What Was Your Fabulous HADA Find?

%26ldquo;Four Chinese late-19th-/early-20th-century wooden puppets in handmade, elaborate costumes, from Larry N. Bahn, The Country Gentleman, purchased at the Spring 2010 HADA Show. My sister was along and also admired them, so I gave her a pair.%26rdquo; %26mdash;%26nbsp;Janice Culp, antiquarian and collector%26nbsp;
%26ldquo;A%26nbsp;late-Victorian%26nbsp;sterling-silver bangle with engraved scrolls and flowers.%26nbsp;The owner of Past Era Antique Jewelry, Marion Glober, is known for her fabulous collection of stacked silver bracelets, which she often wears, and I was inspired to build a collection like Marion%26rsquo;s. %26mdash;%26nbsp;a savvy bauble maven
%26ldquo;I discovered a miniature English Hackwood porcelain complete set in the Kite Flyer pattern that dates to the 1820s at H. Karl Scharold Antiques.%26rdquo; %26mdash;%26nbsp;Houston private collector
%26ldquo;A rare Dutch tall case clock with burled walnut case, over nine feet tall, from the mid-18th century, at Chappell Jordan Clock Galleries. %26ldquo; %26mdash;%26nbsp;a clock aficionado
%26ldquo;A one-of-a- kind exposition display cabinet for my Louisiana plantation, from Sandra and Philip Smith of Sandra%26rsquo;s Treasures.%26rdquo; %26mdash;%26nbsp;Dr. Marion Rundel

Image: Austrian 19th-century sterling-silver miniature figural mantel clock, enameled and jeweled, at Pickers Choice

What makes the HADA Show unique?

%26ldquo;Our show is small compared to others, but we offer the maximum of service. Our quality is excellent, and we have something for everyone and at a variety of price ranges ... Because we are a volunteer organization, not paid, we do not make money, but give it away to charities. This in turn makes us a unique organization as well.%26rdquo;

Giving Back

Proceeds from the 2011 HADA Spring Show %26amp; Sale benefit important Houston nonprofits including The Heritage Society, Houston Junior Forum and the Museum of Fine Arts, Houston.

Image: Art Nouveau green tourmaline and diamond openwork ring at Past Era Antique Jewelry

The Jewels of HADA %26mdash; Spring 2011 Roster

Chappell Jordan Clock Galleries: The largest clock shop in Texas specializing in antique clock sales and restoration since 1965; owner Ralph Pokluda.
Charlotte Nail Interiors: Home to the most elegant selection of European antique furniture in Houston; owner Charlotte Nail.
Clifton House Antiques: English decorative accessories and silver, including old Sheffield plates, Victorian silver plate and Georgian silver by Paul Storr and Hester Bateman; owner Jan Leach.
David Lackey Antiques %26amp; Art: 18th-, 19th- and 20th-century furniture, paintings, silver, ceramics, glass and decorative arts from Texas estates; owner David Lackey.
English Surrey Antiques %26amp; Interiors: Specializing in unique European oak furniture and bric-a-brac; owner Reggie Yannuzzi.
Golden Chances Antiques: Personally selected English smalls including wooden boxes, Victorian silver-plate pieces, sterling napkin rings and other unusual pieces; owner Gale Sigloch.
H. Karl Scharold Antiques: Fine 18th- and 19th-century American antique accessories, clocks, furniture, lighting and miniatures; owner Harry K. Scharold.
Jerry %26amp; Chutie Getz Antiques: Silver, china, crystal and small furniture items; owner Jerry Getz. 
Larry N. Bahn %26mdash; The Country Gentleman: Antiques, decorative arts, architectural elements and religious artifacts; owner Larry N. Bahn.
LR Antiques: The finest in European antiques and collectibles. Also furniture restoration and refinishing; owners Lora and Larry Levin, Rachel Bley.
Past Era Antique Jewelry: Antique, vintage and retro jewelry, diamond and gemstone engagement rings, wedding bands and cocktail rings; owner Marion Glober.
Pride of Persia: Specializing in older and unusual genuine Persian rugs; owners Mehdi Abedi and Lisa Slappey.
Roger Howard Antiques %26amp; Appraisals: American and European fine antiques, decorative arts and collectibles; owner Roger Howard.
Sandra%26rsquo;s Treasures: Specializing in highly carved furniture, art glass and Victorian silver; owner Sandra P. Smith.
The Antique Company: Antiques and collectibles; owner Marilyn Barfoot.
The Blue Saffron Company: Exotic antiques and home furnishings from around the world; owner Karim Bousfiha.
The Brass Ring: Antiques and linen; owner Diane Joplin.
Town and Country Antiques: Decorative boxes, tea caddies, writing slopes, inkwells and more; owners Anne and Joe Bielstein.

Image: Mid-19th century French portico clock in mahogany with gold d%26rsquo;ore mounts at Chappell Jordan Clock Galleries

Why We%26rsquo;re Going to HADA

Aardvark Antiques, Arroyo Grande, CA
Agostino%26rsquo;s Antiques %26amp; Fine Arts, Miami Beach, FL
Albion Antiques, Marietta, GA
Antique Cupboard, Waukesha, WI
Antique Legacy, Upland, CA
Antique Maps %26amp; Works on Paper, Santa Fe, NM
Artifacts Antiques, Palm City, FL
ATL%26rsquo;antiques, Marietta, GA
B%26amp;C Victorian Antiques, Brenham, TX
Baldwin%26rsquo;s Jewelers, Ruston, LA
Bay House Antiques, Newnan, GA
Berry %26amp; Co., San Jose, CA
Blue Diamond Antiques, Dearborn, MI
Bond Street Antiques, Venice, FL
Bruce D. Horton, Bridgeport, PA
Butler %26amp; Butler Gallery, Bradenton, FL
CARA Antiques, Langhorne, PA
Carolyn%26rsquo;s Antiques, San Antonio, TX
Chappell Jordan Clock Galleries, Houston, TX
Charlotte Nail Interiors, Houston, TX
Clarke %26amp; Farley Antiques, Merriam, KS
Clifton House Antiques, Houston, TX
Coliseum Antiques, Los Alamitos, CA
Colonial Antiques, Tulsa, OK
Cosulich Interiors %26amp; Antiques, New York, NY
Countryside Antiques, Waveland, MS
Daniels Antiques, Hallandale, FL
David %26amp; Sheila Stallings Antiques, Austin, TX
David Herndon Antiques, Atlanta, GA
David Lackey Antiques %26amp; Art, Houston, TX
Donald Storrar Bethune, Macon, GA
Douglas W. Morse Antiques %26amp; Fine Art, Pasadena, CA
Eileen Kirkwood, Eastville, VA
Elegant Reflections, Northfield, IL
English Surrey Antiques %26amp; Interiors, Houston, TX
F %26amp; S Design, Tulsa, OK
Far Horizons Gallery LLC, Covington, LA
Franya Waide, Atlanta, GA
Georgian House, Baton Rouge, LA
Golden Chances Antiques, Houston, TX
Griffon%26rsquo;s Medieval Manuscripts, Inc., St. Petersburg, FL
H. Karl Scharold Antiques, Houston, TX
Hayden %26amp; Fandetta Rare Books, New York, NY
Hobstar.com, Gretna, LA
House of Lamps %26amp; Antiques, Austin, TX
Howard I. Price II Fine Art, Lake Worth, FL
International Antique Galleria, Centennial, CO
J. Holley Antiques, St. Petersburg, FL
Janart, Inc., Sarasota, FL
Jerry L. Wood, DeQuincy, LA
Jesse Davis, London, UK
Joseph Konrad, Atlanta, GA
Just Bookends, Gainsville, FL
Kathy Tobler Antiques, Granbury, TX
Kay J. Wilbanks, Knoxville, TN
Kent Washburn Antiques, San Antonio, TX
King Art LLC, Milwaukee, WI
Kolender Antiques, Hallandale, FL
Larry N. Bahn/The Country Gentleman, Houston, TX
Leonard Eureka, Fort Worth, TX
Lina%26rsquo;s Interiors, Inc., Greenville, MS
Linen Merchant, Walnut Creek, CA
LR Antiques, Houston, TX
Lucyanne Robinson, Little Rock, AR
Luis Artavia Antiques, Tampa, FL
Lush Life Antiques, Dallas, TX
Lynne Brody Antiques, Austin, TX
LZ Antique and Estate Jewelers, Farmington Hills, MI
Made in Russia, Palm Beach, FL
Manor House, Knoxville, TN
Mark Foks Antiques, Studio City, CA
Martin Kay/Bill Yellen LLC, Aurora, CO
McGee%26rsquo;s Antiques, Norman, OK
McHale Silverwares and Fine China, Camarillo, CA
Memories %26amp; Stuff, Castle Rock, CO
Michael %26amp; Claire Higgins Antiques, Atlanta, GA
Michele%26rsquo;s Antiques, Austin, TX
Monique%26rsquo;s Antiques, Dunkirk, MD
Mr. Toads, San Francisco, CA
Now %26amp; Then Antiques, New Berlin, IL
Pandora de Balthazar, European Luxury Bedding, Gulf Breeze, FL
Paradise Regain%26rsquo;d, Clarksville, AR
Past Era Antique Jewelry, Houston, TX
Patricia Cohn Unique Jewels, Beverly Hills, CA
Pickers Choice, Anaheim, CA
R. A. Dabney Antiques, New Orleans, LA
Rabideau and McKerrow, Fort Lauderdale, FL
Richard Theiss, Dallas, TX
Richard W. Bell Antiques, Orange, CA
Rick Kaplan Antiques, Pasadena, CA
Roger Howard Antiques %26amp; Appraisals, Houston, TX
Romance with Silver, Ft. Lauderdale, FL
Rue Auber Antiques, Stonington, CT
Sandra%26rsquo;s Treasures, Houston, TX
Seekers Antiques, Columbus, OH
Silver Lane, San Leandro, CA
Stonehouse Antiques and Design, Wayne, PA
The Antiquary Ltd., Tulsa, OK
The Dresser Drawer LLC, Plano, TX
The Englishman Fine Art, Inc., Vail, CO
The Ensinger Collection, Surfside Beach, SC
The French Corner, Borrego Springs, CA
The Heritage Society, Houston, TX
The Main Event, Eustis, FL
The Pearl Antiques Ltd., Las Vegas, NV
Tim Ters, Orange, CA
Tippecanoe Antiques Trader, Otto, NC
Tristate Antiques, Prospect Park, PA
Two Birds Antiques, Cincinnati, OH
Victoriana, Rocky Point, NC
Vimax Antiques, Brooksville, FL
Virgil R. Mitchell Antiques, Denton, TX
When the Usual Doesn%26rsquo;t Do, Decatur, AL
Whitley Collection/Seaway China, Doral, FL
William E. Johnson Fine Art, Dallas, TX
Woods Antiques %26amp; Collectibles, Tyler, TX
WorldRarities, Meridian, MS
Worldwide Gallery Antiques, Fredericksburg, VA
Zane Moss Antiques Ltd., New York City, NY

HADA spring Antiques Show %26amp; Sale %26bull; february 25 through 27, 2011
George R. Brown Convention Center %26bull; hadaantiques.com

Liz Spradling Antiques

Mon, 28 Feb 2011 12:39:49 GMT

Keys to the Door: Owner Liz Spradling.
Stocked Goods: Antiquarian Liz Spradling has moved from Memorial Antiques and Interiors (MAI) to a new storefront on Bartlett %26mdash; and no matter how often you visit, Liz Spradling Antiques is bound to look quite different each time. It seems boldfaced designers sweep through to fetch inheritance-worthy statement pieces from her inventory of largely 18th- and 19th-century French, German and Spanish furniture and collectibles. The French- and Spanish-speaking Spradling trolls the continent several times a year for antiques and vintage pieces with clean lines and a sense of classicism that meld seamlessly with modern lives. Quirky collectibles such as wooden Dutch tobacco jars and folk-art brass and metal knives with handles fashioned like animal tails commingle with marvelous mirrors, some with their original mercury glass, and trumeaux found in South and Central France. The elaborate carvings on the latter often reveal something of their original owners: A beloved puppy may be enshrined above one glass, while elsewhere two lovebirds nestle over a pair of crossed rifles %26mdash; evidence of a soldier newly betrothed. And the rest is, well, history. 2422 Bartlett St., 713.526.1400; lizspradling.com.

Image: Photo by Jenny Antill.

The Princess in Private: Behind the Seens at Our January House Shoot

Thu, 30 Dec 2010 05:01:39 GMT

A princess, a pooch, a perfect day. Click on 'launch slideshow,' above, to see what Rob Brinkley saw as we shot the Bill and Jessica Jesse house for our January issue...

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Our feature story: click here

Treasured Bits of Past %26 Present

Thu, 30 Dec 2010 02:35:11 GMT

As any woman with a penchant for bangles or statement-worthy rings knows, accessorizing head to toe %26mdash; or in this case, first floor to third %26mdash; isn%26rsquo;t easy. It%26rsquo;s all about amassing, then judiciously pairing back one%26rsquo;s ornamentation. Whether you%26rsquo;re displaying treasures from far-flung journeys or gems uncovered in your own backyard, such detailing makes a look layered, intriguing and yours.

As store director of Area for the past 15 years, Daniel Cuellar has culled an ever-changing collection of accessories, lighting, furniture and antiques for his Kirby Drive work domain. Not surprisingly, a few of these have followed him home to his River Oaks townhouse. %26ldquo;Area is full of things we love,%26rdquo; he says. %26ldquo;There is no particular look. Don [Connelly, the store%26rsquo;s owner] buys things he loves, and I buy the things I love, and you just hope they come together. But we sell tons of accessories. It adds that extra bit of oomph %26mdash; like jewelry for a room.%26rdquo;

Cuellar%26rsquo;s job is to keep the store surrounds constantly evolving by procuring new must-haves on a daily basis. Therefore, it%26rsquo;s no surprise that his own house articulates collecting at its most refined. And, of course, collecting takes up square footage %26mdash; quite a bit of it. %26ldquo;The impetus to move was space,%26rdquo; says Cuellar, whose former home %26mdash;%26nbsp;a 900-square-foot, nearly 100-year-old bungalow in the Heights %26mdash; was published in PaperCity in 2001. %26ldquo;I needed more of it, and I wanted to be closer to work.%26rdquo;

His collections include skulls (from stone to ceramic), boxes of every size and material, vintage lamps, gleaming acrylic pieces, lavish design and art books, Buddhas and items of Catholic pageantry. All have been purchased slowly and carefully over the last two decades and lend a sense of history to a house whose bones haven%26rsquo;t yet taken on the patina of age. But Cuellar%26rsquo;s contemporary art collection, consisting mostly of emerging Texas-based artists, is his primary passion.

%26ldquo;Randy Powers got me started about 16 years ago. He took me to a place in the Heights called The Weekend Gallery. I bought my first two pieces there,%26rdquo; recalls Cuellar, who now counts works by Howard Sherman and Michael Collins among his favorites. %26ldquo;I collect things I love %26mdash; and, really, you can only collect so much, but I will always collect art. Even if I don%26rsquo;t have the wall space, I%26rsquo;ll store it under the bed, in my closet, and rotate it around.%26rdquo;

To set the stage for the layers he merchandises as deftly at home as at the store, Cuellar bought his townhouse when it was about 70 percent complete. Then he changed out stone surfaces, flooring and lighting (adding sconces and art-illuminating lights), streamlined the moldings, painted the surrounds in a palette of smoky neutral grays and replaced the wood bookshelves with sleek glass ones that quietly recede. Of course, not every surface is covered with the objects of his desire; one%26rsquo;s eye must have a place to rest now and then. When you do come upon a styled vignette, it%26rsquo;s like a story that slowly unfolds.

Perhaps, as in the cocktail-table tableau in his living room, you might spy a sterling-silver beetle resting atop Eduardo Garza%26rsquo;s hefty malachite-covered Lucite box, accompanied by wooden antique Chinese figures and a zebra-hide-covered box. Or, in the bedroom, where the parchment desk that serves as a nightstand holds 20th-century charcoal-on-paper works and an artful black-and-white photo (their provenances less important than their aesthetic and sentimental appeal). In the bathroom, boxes cloaked in shagreen and snakeskin are topped with tiny brass feet strapped into sandals.

Like his visual displays at the store, Cuellar%26rsquo;s tablescapes at home are ever-changing %26mdash; renewed, de-acquisitioned, replenished and always resplendent.

For more images and details, click on 'launch slideshow' above.

Inside the Head of Brad Wyatt

Thu, 23 Dec 2010 03:02:12 GMT

The youngest son of wildcatter-turned-oil tycoon Oscar Wyatt and the glamorous Lynn Wyatt (socialite, philanthropist and fixture on the international best-dressed list for decades), this 45-year-old elected to follow quite a different career path. Soulful and sensitive, he%26rsquo;s anything but an entitled-acting heir: This empathetic gentleman serves as vice president and chief operating officer at Geo. H. Lewis %26amp; Sons, a Dignity Memorial funeral provider owned by the largest funeral conglomerate, Service Corporation International. Having attended too many funerals in his former line of work %26mdash; law enforcement %26mdash; Wyatt was determined to bring an entirely new level of personal rapport and refinement to the services he directed. Literally on call 24/7, he%26rsquo;s the man you, ultimately, want to know.

Image: Lynn and Oscar Wyatt with Brad at Allington, late 1960s

Q: You%26rsquo;re the son of luminaries Lynn and Oscar Wyatt. What did they teach you?
Both my parents told me that regardless of what station you are in life, strive to be the best you can be. Our parents wanted us to find our own career path and give it 100 percent.

Q: How did they not spoil you and your brothers?
The first job I had, I was 13, and I worked the full-service aisle at the Texaco station on River Oaks Boulevard. It was during the energy crisis, because I had to remember odd- and even-numbered plates. During the summers, our dad wanted us to go to work. I went to Camp Olympia and Camp La Junta, but when camp ended, we had to get a job. It was just something we did every summer. If we didn%26rsquo;t find a job in the city, we would go to the ranch and build fences.

Q: How did you find yourself working for a funeral home?
I had been to quite a few funerals for police officers and associates of my father and felt there wasn%26rsquo;t enough attention to detail. I thought this might be something where I could find a niche.

Image: State Trooper Brad Wyatt, 1994

Q: Your career path prior to Geo. H. Lewis.
My brother Trey, who now lives in Aruba, was involved in law enforcement when I was growing up, and he would tell me stories %26hellip; My first job was working as a dispatcher with the sheriff%26rsquo;s department in Harris County. I was getting ready to go to college, and I told my dad I wanted to take off a year. He said, %26ldquo;That%26rsquo;s fine, get your stuff, an apartment someplace and then, when you go back to school, you can live here.%26rdquo; The next day I was northbound on State Highway 6, headed to College Station to see the registrar at Texas A%26amp;M. Since I procrastinated getting on-campus housing, I had to pay $185 a month rent, and my dad told me I needed to get a job to supplement my $300 monthly allowance. I went to work for the Harris County Sheriff%26rsquo;s Department. I worked four 10-hour shifts each week %26mdash; I worked like that the entire time. After college, I stayed in law enforcement for 13 years. I was accepted to the Texas Highway patrol and graduated first in my class.

Q: Do you have a mentor?
Billy Wells, my best friend and the president and CEO of Geo. H. Lewis %26amp; Sons.

Q: Lessons from Mother
Attention to detail. When my mother would go to a hotel, she%26rsquo;d comment about the staff%26rsquo;s ability to anticipate your needs. This profession is very linked to the hospitality profession. We tell our stewards, %26ldquo;If someone is getting out of a car carrying something, don%26rsquo;t ask them if you can help them. Just help them.%26rdquo; Another time a driver told mom, %26ldquo;Now, I%26rsquo;ll be right outside. You look for me.%26rdquo; And my mom said, %26ldquo;I kind of thought he should have been looking for me.%26rdquo; So I advise our coachman to always be looking for the family. I%26rsquo;ve learned things like that from her.

Q: What%26rsquo;s the most lavish funeral you%26rsquo;ve planned?
One%26rsquo;s lifestyle should be reflected in one%26rsquo;s farewell. With my grandmother, my uncle wanted to have a champagne toast to her at the end of the funeral since she was always referred to as %26ldquo;Champagne Annie.%26rdquo; Here, we%26rsquo;ve arranged for New Orleans jazz bands, helicopter charters to disperse ashes %26hellip; Some people will even repeat a loved one%26rsquo;s favorite meal. Other times, we%26rsquo;ve arranged to bring in the singing cadets from Texas A%26amp;M and a horse-drawn funeral coach at a family%26rsquo;s ranch.

Q: What was it like growing up in Allington on River Oaks Boulevard?
I was born and raised there and the last child to leave. It was built in 1932 by John Staub and was the first house in Houston to have central air conditioning, complete with an engine room that looked like it belonged on the Titanic. I remember my parents entertaining there. They had a lot of big parties, and each one was done differently. We learned that about five hours prior to a party, you don%26rsquo;t hang around. You get out of Dodge %26mdash; it%26rsquo;s a stress area, and you need to give mom her space.

Image: John Staub%26rsquo;s Cullen House, called Allington by the Wyatt family. Credit: "The Country Houses of John F. Staub, Texas A%26amp;M University Press, 2007. Photo Richard Creek.

Q: Why didn%26rsquo;t you go into the family business?
For a while I worked overseeing my father%26rsquo;s properties in Texas, which I still do now. Mostly ranching properties %26mdash; we have three ranching divisions in Texas and one in Mexico. We have ranches in Utah, Colorado and Oklahoma. My brother Douglas helps out with the one in Colorado; we%26rsquo;re all indentured servants.

Q: Biggest misconceptions about what you do?
One misconception is that people think making funeral arrangements is not that difficult. But there is so much to be done. The family has to consider the timing, transporting guests to and from, logistics, scripture readings, music, eulogists, the obituary, invites, flowers, acknowledgment cards, benefitting charities and who will call them. That%26rsquo;s before we%26rsquo;ve even thought about the funeral merchandise. There is so much to do that many times people will compare it to planning a wedding. But instead of months, we just have hours %26hellip; The other misconception is that it can be a very macabre environment. There are a lot of families who want to celebrate a life well lived. They want us to assist them in capturing the essence of their mother or their father, that they lived a full life, and they%26rsquo;re not here to grieve but celebrate that.

Q: What is the greatest compliment one can achieve in your profession?
When families ask for a funeral director by name. It is so deeply touching to me personally, and I am humbled when families ask for me.%26nbsp;It%26rsquo;s a sacred trust. You drop whatever executive duty you have and completely devote yourself to that family.

Image at top: Portrait by Jack Thompson

Felix %26 Oscar, Fine %26 Dandy

Thu, 28 Oct 2010 05:50:35 GMT

Shelby came with a trove of inherited antiques and a thing for tasteful neutrals. Niven came with folk art and a passion for rock-and-roll hues. How was this going to work? Forget therapy: This deliciously odd couple needed the deft hand that can only come from decorators skilled in the art of mixing and mastering.

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Oh, to be a fly on the silk-papered wall during moving day at this house. Imagine truck after truck coughing up the following: a pair of fetching Art Deco barrel chairs shuffled with a saturated contemporary painting of a Cajun bride and groom. A curvy Louis chair that would%26#8217;ve been at home in Versailles followed by a chunky Lucite side table that would%26#8217;ve been at home in Old Hollywood. An oil painting of a lovely lass clutching a bouquet of flowers, then a depiction of a longhorn steer made by scorching paper with a blowtorch. A blowtorch? And you thought Felix and Oscar were a combustible twosome.%26nbsp;%26nbsp;%26nbsp;

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Welcome to the domicile of Shelby Wagner and Niven Morgan, two gentlemen who should be one of those tiny black-and-white photos in The Merriam-Webster Dictionary next to %26#8220;opposites attract.%26#8221; Wagner is the refined, reserved type. He hails from Amarillo, where his ancestors were prominent in the town. He moves calmly and elegantly, like a principal dancer. His speech: measured and precise. Morgan? Well, he%26#8217;s the good-time Louisiana boy, all nuclear energy and beaming smile and sparkling eyes and honey-drippin%26#8217; drawl. He will slap you on the back, offer you a drink and kick off his Gucci loafers before you even process what happened.%26nbsp;%26nbsp;%26nbsp;

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Oh, to be that fly at the Wagner-Morgan house. As a permanent residence, a fly could do worse. This delightfully odd couple has settled on 75225 as their zip code of choice %26#8212; yes, University Park, where the elegant Amarilloan and the boisterous Louisianan are not the norm, and where they found the one house that could satisfy them both. Oddly, when it comes to dwellings, Wagner and Morgan flip-flop: Wagner, whose furnishings lean toward the classical, loves a clean, contemporary shell (his last place was a minimalist Bud Oglesby town house), while Morgan, the modern-day dandy, gravitates toward traditional architecture. Built in 1992 by architect Wilson Fuqua, this house walks the line. %26#8220;It has the non-gooped-up feel that I like,%26#8221; says Wagner, %26#8220;and the New Orleans feel that Niven likes, with all the courtyards, the nooks, the crannies.%26#8221; The hunt took two years and, in fact, almost didn%26#8217;t include this house. %26#8220;We had the paperwork ready on another house,%26#8221; says Wagner, %26#8220;but our Realtor said, %26#8216;I want to show you one more %26#8230; .%26#8217; %26#8221; One look at its clean lines, lofty ceilings and gracious outdoor spaces and it was theirs. Well, that and one touch of southern hospitality: %26#8220;When I saw the swing on that upstairs porch,%26#8221; says Morgan, %26#8220;that did it.%26#8221;%26nbsp;%26nbsp;%26nbsp;

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But move-in-ready it was not. The living room? Sunshine yellow. The dining room? Sunkist orange. Even for the color-loving Morgan, that was too much. To get to the proverbial clean sheet of paper, %26#8220;we refinished and repainted every square inch,%26#8221; says Wagner, working almost two years with builder Joe Jackson of The Newport Group. The kitchen was replaced entirely, and the master bath was expanded greatly, until, at last, it was time to furnish. Morgan hauled in his contemporary Louisiana art and few precious pieces. Wagner brought in bits from his Oglesby town house and something far more important: his decorators. Enter Christopher Ridolfi and Ty Burks, proprietors of William-Christopher Design and the chic shop of the same name, on Henderson Avenue. %26#8220;Make it all work,%26#8221; said Wagner and Morgan, so Ridolfi and Burks set about making this former family house appropriate for two young businessmen %26#8212; at the time, Wagner was a project manager at IBM, while Morgan oversees his Niven Morgan line of candles, lotions, fragrances and soaps. Ridolfi and Burks recast furnishings for almost every room, from lacquering a set of 1950s dining chairs white to topping antique lamps with contemporary new shades. Coats and coats of peacock-blue paint went up in the library (score one for Morgan), while texture was added to walls elsewhere by way of earthy silks and nubby hemps (score one for Wagner). Upstairs, crunchy sea grass went down (calm); inky blue zebra-print fabric went up (wild). The house started taking on the personality of both men, and the result is a happy %26#8212; and rather dapper %26#8212; medium, equal parts formal and casual, where you could take an elegant tea in the dining room then slide into that peacock-blue library for some Scotches and bawdy talk. (Not that we were listening.) The house has even affected a career change: Wagner has turned in his IBM credentials for a designing life, working on new houses with The Newport Group and decorating existing houses for his own clientele. As for Morgan? He loves coming home to a traditional manse that now, thanks to William-Christopher Design, is infused with some bon-vivant edge. But he%26#8217;s slipping. He sighs out loud as he waxes rhapsodic about the house%26#8217;s elegant outdoor spaces, even its magnolia trees on the lawn. Those sparkling eyes roll back a bit as he slumps into a Wassily chair. %26#8220;Yes, even I sometimes need a %26#8216;quiet moment%26#8217; %26#8230; .%26#8221;

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For more photos and details, click on 'launch slideshow,' above!

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To see what editor Rob Brinkley saw behind the scenes, click here.

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Two Men and a Manse: Behind the Seens

Thu, 28 Oct 2010 05:00:01 GMT

A day spent at the elegant University Park manor of Shelby Wagner and Niven Morgan? A guy could do worse. Here, an alligator with some bite, getting the portrait just right and what editor Rob Brinkley saw during the all-day photo shoot.

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Click 'launch slideshow,' above, to go behind the seens.

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For the full story on the house (and Niven and Shelby!), click here.

A Life by Design

Wed, 27 Oct 2010 04:22:18 GMT

Elaine Turner is dressed in a violet silk gown, long limbs dangling over a raffia-covered chair in her living room. With the conviction and verve of editrix Diana Vreeland, she declares, %26#8220;Your home and your space are truly a reflection of you, just like what you wear.%26#8221; This is a woman who obviously understands not only her namesake brand%26#8217;s identity and core customer but also the fact that designers often bring the same aesthetic home with them.%26nbsp;%26nbsp;%26nbsp; The Houston-based handbag and shoe creator is celebrating 10 years in business. Turner currently has an atelier in Rice Village, as well as a shop-in-shop at Tootsies (which was her very first account), with another Elaine Turner boutique opening next month in CityCentre, and sells her wares to such recognized names as Neiman Marcus, Nordstrom and Saks Fifth Avenue. Born and raised in Sugar Land, she started her fashion career on New York%26#8217;s 7th Avenue with several different private-label companies. %26#8220;I would basically work with product-development teams from big retailers like Ann Taylor, Marshall Field's and Talbots,%26#8221; she recalls. %26#8220;I received a broad perspective on the mass American woman %26#8230; It taught me a lot about marketability and how to be successful in business. It%26#8217;s not all about %26#8216;I%26#8217;m an artist and I%26#8217;m hidden behind that front door over there.%26#8217; It%26#8217;s really about how you can communicate a message and make people understand that message, then ultimately own and wear it.%26#8221;%26nbsp;%26nbsp;%26nbsp;

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She met her husband, Jim, in New York. They courted, married, moved back home to Texas and started a family in short order. While expecting her first child, she also gave birth to Elaine Turner designs %26#8212; launching her stylish brand with what some might call less-than-ideal timing. While she was seven months pregnant, she flew around the country to trade shows, researching the void she%26#8217;d fill in the market. %26#8220;Looking back,%26#8221; she says, %26#8220;I do think I went a little loony. I was creating life and thought I%26#8217;d create a business, too.%26#8221; From the start, Turner aimed to position her products firmly in the middle, where she perceived a lapse across the board. %26#8220;At the time, I was doing very architectural, nostalgic handbags with things like top handles %26#8212; almost like new interpretations of Kelly bags, very luncheon focused,%26#8221; she says. %26#8220;As I started growing and designing things seasonally, I started interpreting more materials. That%26#8217;s when I came up with that first flowerpot-shaped bag called Jackie, which was straw.%26#8221;%26nbsp;%26nbsp;%26nbsp;

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A couple of seasons into her collection, Turner was inspired by the wall covering she%26#8217;d chosen for a bathroom. %26#8220;I literally wrapped the bags in raffia wallpaper, put these really cute nickel, tortoise and horn handles on them and took them to market. When Neiman%26#8217;s wanted 150 of them, I thought, %26#8216;We can do this.%26#8217;%26#8221; That material %26#8212; which she now calls %26#8220;our bread and butter%26#8221; %26#8212; informed her choice of handbag materials for Elaine Turner%26#8217;s annual resort, spring and summer collections. Interpreted in dozens of varieties annually, it%26#8217;s also become a full-blown obsession for Turner, both at work and at home.%26nbsp;%26nbsp;%26nbsp; In her mid-century modern ranch house %26#8212; one of the first of its kind in Memorial %26#8212; Turner%26#8217;s design discipline informs her workaday world. For instance, her flagship store in Rice Village is a color-soaked jewel box that brings a smile to one%26#8217;s face. The store walls are splashed with True Pink 2003-4, a happy pop of hot pink %26#8212; the same Benjamin Moore hue that cloaks the inside of her walk-in closet at home. At work and at home, color and pattern are key. %26nbsp;%26nbsp;%26nbsp;

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As the third owners of the house, the Turners spent the first couple of years toiling with tedious renovations, from the roof to the floors, all in an effort to shore up the house's structural integrity. Only recently did they turn to designer Ashley Goforth to help design the space inside. Turner sought out Goforth not only to repurpose the pieces she already owned but to strategically acquire others that matched her penchant for a little glamour in a space that is home to two small children and two little dogs. Also, %26#8220;I wanted more sitting spaces,%26#8221; Turner recalls.%26nbsp;%26nbsp;%26nbsp; Goforth added glamour, care of mirrors, sleek Jonathan Adler pottery, Lucite and enameled contemporary furnishings coupled with brightly colored upholstery, such as her fuchsia sofa embellished with jewelry-like stud trim. It seems Goforth picked up on Turner%26#8217;s penchant for a bit of glamour, too %26#8212; all of which made this shoe- and handbag-loving girl feel very much at home.

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For more photos and details, click on 'launch slideshow' above.

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Greetings from Gingham Farms

Wed, 29 Sep 2010 12:03:35 GMT

There are chickens and mud boots and hay bales and tools. There is a hen house, a laundry line and a nicked-up green Jeep. Queen Elizabeth%26#8217;s Balmoral? Marie-Antoinette%26#8217;s Hameau? Au contraire: It%26#8217;s a quarter-acre patch somewhere you will not believe. Meet the man who lives a very rural life in a very urban neighborhood:%26nbsp;Jimmie Henslee, gentleman farmer. %26nbsp; %26nbsp;

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At any moment, on any day of the week, a hunter-green Jeep Cherokee will come jostling up to a charming little country house, all Hansel and Gretel and board and brick. Its driver will alight, shod in something dandy, by way of Devonshire %26#8212; corduroy trousers tucked into green-rubber wellies, or perhaps seersucker shorts and a rumpled linen shirt. Said driver will lift up the Jeep%26#8217;s tailgate to reveal a bounty of scavenger%26#8217;d oddities: a deer mount, two pieces of blue-and-white china, a Victorian diorama of taxidermy crows under glass, a wayward bolt of Bennison fabric and some chicken feed.

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Chicken feed?

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Welcome to Jimmie Henslee%26#8217;s world,%26nbsp;a world away from its actual longitude and latitude. For you see, Mr. Henslee lives as if he%26#8217;s at Ashcombe or Chatsworth or Monticello or any of the great country houses you can think of %26#8212; but he happens to reside in bustling Oak Cliff. As in, three minutes from downtown Dallas. He calls it Gingham Farms, this little patch, and should you ever visit it, you, too, will need a moment to sort it all out. It measures just 50 by 150 feet, on which is centered a 1,200-square-foot cottage, circa 1935, by all indications one of architect Charles Dilbeck%26#8217;s tiny handiworks. (Henslee is still researching; there are Dilbecks big and small all over the area.) The fa%26#231;ade is being overtaken by a zealous wisteria vine, and almost everywhere else fig ivy runs rampant. But it%26#8217;s the %26#8220;back 40%26#8221; of Gingham Farms that throws one for an utter loop: Where many an urban dwelling boast an above-ground pool and an ersatz Dutch Colonial tool shed, this particular plot is home to an elegant, handmade, whitewashed hen house %26#8212; inspired by one at Williamsburg %26#8212;%26nbsp;a vintage laundry line and the aforementioned chickens. Their names? Evie Jo, Duchess, Lamballe and Marie. There%26#8217;s Maypearl, too, named for a town in Ellis County. And instead of mower-perfect grass, Henslee and his partner Kurt Rowe have laid gravel walks and hay, and put up white-lattice fencing to contain %26#8220;the girls,%26#8221; as Henslee calls them. No roosters here: Oak Cliff%26#8217;s ordinances don%26#8217;t allow for cock-a-doodle-doodling.

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Now, all of this might come off a little too %26#8220;Ralph%26#8221; or %26#8220;Martha%26#8221; to some %26#8212; and Henslee is a professional stylist by trade, and has created fantasy settings for Mr. Lauren, Neiman Marcus, Horchow, et al %26#8212; but this is no affectation: He lives the life. Both parents grew up in the country, and Little Jimmie always loved animals. When he was two, Dad gave him a Bantam hen. And, he says, %26#8220;I remember the premiere of Doctor Doolittle. My mom took me to see it.%26#8221; After staring wide-eyed at the 1967 film, the future country squire announced, %26#8220;I%26#8217;m going to have a house with peacocks and chickens!%26#8221; A certain Christmas gift sealed the deal: %26#8220;My favorite thing I ever got was a metal barn with animals %26#8212; forget the race tracks.%26#8221; Adult Jimmie hasn%26#8217;t changed a bit: He has a thing for pigs and cows, is an expert on English country and is obsessed with Marie Antoinette%26#8217;s Hameau, her 1780s farm and folly at Versailles. For his own folly back in Oak Cliff, Henslee was greatly inspired by the orderly lawns and gardens of Williamsburg, Virginia, where he repeatedly goes to walk alongside the miles of whitewashed fencing and to gaze at the boxwood shrubs that zig and zag about. The inveterate collector also trawls country flea markets, Round Top, Brimfield, Clignancourt, Canton, antiques shops, feed stores and five-and-dimes, dragging home all manner of weathered detritus %26#8212; some with pedigree, some without. Over here, a rusty wheelbarrow heaped with seashells. Over there, a pile of moose and deer horns that are far more Balmoral than big-city. Inside the house, Henslee has crammed his own baby Balmoral with antique poultry trophies, bovine engravings and faded fair ribbons %26#8212; after setting the scene inside, 10 years ago, by unfurling wall-to-wall seagrass matting everywhere (%26#8220;it reminds me of hay and wheat%26#8221;); tearing out a ho-hum kitchen and installing a hodge-podge of cabinets; and chipping the plaster off the fireplace%26#8217;s brick face and setting down a hearth of rocks. (Hello, English hunting lodge.) The driveway has been given over to a garden of flox, coneflowers, viburnum, Turk%26#8217;s Cap and salvia, a genus of mint. %26#8220;That,%26#8221; says Henslee, %26#8220;attracts bees and butterflies.%26#8221; But Gingham Farms, like the best country estates, is an evolving thing, so up next, says the lord of this miniscule manor, is a gravel drive and a gravel path to the front door. %26#8220;Maybe a master-bedroom wing, or an art studio. I really want a boxwood garden. Oh, and a goldfish pond.%26#8221; Another vision dancing about is a front gate at the curb, %26#8220;all made out of twigs and branches, like one I saw at the Hameau %26#8230; .%26#8221; Quack! Quack! Quack! Henslee%26#8217;s reverie is interrupted by the squawk of a duck, though there%26#8217;s not a mallard nor a pintail in sight (though you%26#8217;d be forgiven, here, for looking toward the sky). Instead, it%26#8217;s his iPhone, its agrarian ringtone unassailable proof that Lord Henslee, indeed, lives the life.

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For more pictures and details, click on 'launch slideshow' at top of story.

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To go behind the 'seens' at our photo shoot, click here!

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Behind the Seens at Gingham Farms

Wed, 29 Sep 2010 12:30:17 GMT

While most of you were lounging about on Labor Day, PaperCity was down on the farm %26#8212; Gingham Farms, that is, stylist Jimmie Henslee's little patch of country heaven in urban Oak Cliff. Editor Rob Brinkley turns in a visual diary of what he saw that day...

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Click on "launch slideshow," above, to see it all.

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For the full story on Gingham Farms, as seen in our October issue, click here.

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Something's Gotta Give

Wed, 29 Sep 2010 12:51:10 GMT

Interior design Martha Baxter Finger with Michael Landrum. Portrait photography Karen Sachar. Styled by Michael Rodriguez. Hair and makeup Victoria Callaway.

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Successful relationships of every sort require not only compromise but some serious negotiating skills. No one knows this better than designer Martha Baxter Finger, mother of one teenage son, who four years ago married private investor Richard Finger, father of three young daughters, and, in the process, created a family of six.%26nbsp; The couple resides in a 1960s house on a winding private drive in River Oaks %26#8212; an inlet undiscovered by most unless they veer off Willowick, past the Frenchified manses and sprawling estates, then roll up the narrow passage, curious about what lies beyond. Richard Finger had called the unassuming space home for eight years, and he wasn%26#8217;t anxious to leave, even though he and his new bride now needed much more space to blend their brood.

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%26#8220;I think Richard had a sentimental attachment to this house and to the lot and the view %26#8230; Not everyone in Houston has this view,%26#8221; Martha says, referring to the bayou-backed greenscape. %26#8220;Every time we went to look for another house in Houston, he%26#8217;d drive home and get really quiet. He just loved it back here.%26#8221;

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After months of looking, it was settled: They would stay in the house Richard couldn%26#8217;t part with but expand it carefully and respectfully %26#8212;%26nbsp;a task easier said than done. %26#8220;Initially we were going to expand off the back of the house, but the city wouldn%26#8217;t let us,%26#8221; Martha says. There was also the matter of a big tree alongside the house %26#8230; Richard was determined not to take down the massive sweet gum %26#8212; %26#8220;never, never, never%26#8221; were his exact words %26#8212;%26nbsp;even though it would have afforded them the space they desperately needed to build an addition.%26nbsp;

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Martha and her architect, frequent collaborator and friend Michael Landrum, walked the property for four days, studiously contemplating their dilemma and sketching out a plan. Before revealing their proposal, Martha told her husband, %26#8220;If you want to stay in this house, you have to give to get.%26#8221; Turns out he was willing to give enough to take down the tree that impeded their progress %26#8212; but now it was Martha%26#8217;s turn to reciprocate.

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Up to this point, she had preferred to play it safe in her own homes, leaving them awash in easy-to-live-with neutrals. But her new husband craved color %26#8212; the bolder the better. %26#8220;I came from a very muted, tone-on-tone design in my own home,%26#8221; Martha says. %26#8220;My husband told me, %26#8216;I don%26#8217;t want to build this house if you don%26#8217;t give me color. You can%26#8217;t give me a beige house.%26#8217; He really inspired me to step out of my box.%26#8221;

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She gleaned inspiration from every corner of the globe. There was the trip to Paris, for instance, when she found herself on the Left Bank with her mother-in-law, wandered into a paint store and, on a whim, started mixing moss and loden, cobblestone and charcoal %26#8212; hues that would eventually cover the living-room walls and Richard%26#8217;s library.%26nbsp;

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Then there was the journey to South America %26#8230; One of the modern Philippe Starck hotels where they stayed featured an ornate silver swan-neck faucet in its otherwise contemporary bath. Martha snapped pics of the piece with her iPhone and showed them to a surprised Landrum and her contractor, Dave Black. Recalling the photo months later, Black gave Martha the famed gold Sherle Wagner fixture that another client was replacing. She promptly silver-plated it and installed it in the mirrored powder room downstairs.

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In New York, Martha and Landrum stopped for drinks at the Gramercy Park Hotel designed by artist Julian Schnabel. The vision of those massive bronze front doors remained in their collective consciousness. Back home on Texas terra firma, they decided to scale down the Gramercy Park doors and recreate them in painted steel.

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Other visions swirling in her mind were realized via chunky, statement-making moldings, un-lacquered hardware (some, like the sculptural bronze banister designed by Landrum, have only a %26#8220;living%26#8221; finish that, over time, reveals a warm patina) and wall coverings with a textured hand, such as burlap and washed cypress. Longing to create the feel of a pre-war Manhattan apartment, where the tony rooms seem intimate despite spanning more than 10,000 square feet, Martha frequently shopped in New York for items unattainable here. As a dichotomy, she wanted the exterior of the property to go practically unnoticed. %26#8220;My idea, in talking to Michael, was to create a very urban space,%26#8221; she says. %26#8220;From the front, I didn%26#8217;t want it to appear large or pretentious, so when you walked in, you were surprised.%26#8221;

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Eighteen months later, the newlyweds and their four children moved back into the now-generous house. Each child has a bedroom and lots of space to play %26#8212; in the media room, exercise area or communal living areas on each floor. %26#8220;It%26#8217;s funny,%26#8221; says Martha, %26#8220;I built this house, and I think now it%26#8217;s influenced my other designs. I%26#8217;ve always used my home as a laboratory %26#8230; and done my own thing that%26#8217;s sometimes been a little shocking to people.%26#8221; Despite all her hard work here, she admits, %26#8220;If it was just me, in three to five years, I could sell this house and start all over again %26#8230; I would love that because I love that process %26#8230; But I think I%26#8217;d have to pry Richard out of here.%26#8221;

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For more pictures and details, click on 'launch slideshow' above.

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Round about with the Duchess of Devonshire

Tue, 28 Sep 2010 06:32:30 GMT

She%26#8217;s resolute, charming and forward-thinking %26#8212; and has been known to feed her chickens while wearing a ball gown. (Our kind of girl.) Meet The Dowager Duchess of Devonshire, overseer for 50-plus years of the grandest estate in all of England, Chatsworth %26#8212; which is just about to play host to the yard sale of all yard sales. Here%26#8217;s all you need to know, plain and fancy, about the gal who inspired the myriad feathered features in this issue.

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Images: A Drawing of "Debo," up for auction; The Duchess and her friends, 1995, by Bruce Weber%26nbsp;

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The Woman

%26#8226; She is Deborah %26#8220;Debo%26#8221; Vivien Cavendish, Dowager Duchess of Devonshire. She turned 90 years old on March 31.%26nbsp;

%26#8226; The youngest of the seven children of the second Lord Redesdale, her siblings include the famous writers and social swells Nancy Mitford, Jessica Mitford and Diana Mosely. She is the last surviving Mitford sister.

%26#8226; She%26#8217;s the widow of the 11th Duke of Devonshire, Lord Andrew Cavendish. His family settled Chatsworth in 1549.

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Images: Chatsworth house and grounds; Hunting Tower, built circa 1582

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The Estate

%26#8226; The Duchess puts it best: %26#8220;Of course, the House and garden are what people come to see. But Chatsworth is responsible for 450 other human habitations across the 35,000 acres of the Derbyshire estate %26#8230; plus an untold number of shelters for cows, sheep, horses, pigs, goats, dogs, chickens, pheasants, plants, cars, tractors, mowing machines, harvested crops and cricket teams. So there are also pigsties, privies, pubs, a pound and a pavilion. Look again and you will see an aqueduct, arches, barns, bridges, bungalows, barrows, byres and a bower; cottages, chapels and churches; drains and a deer barn; gate posts, glasshouses and a game larder; milestones, millstones, mills and a mortuary. There are shearing sheds, sheep dips, steps, stables, stiles, sculptures that are horse trial fences, and a Swiss cottage; troughs, tunnels, weirs, wells, and windows of curious sizes,%26#8221; she writes, in Round About Chatsworth.

%26#8226; The features of the 461-year-old estate boast enchanting names, among them Blue Doors Lodge (an 1835 Tudor), Teapot Row (four 1912 houses, named for the %26#8220;endless cups of tea drunk by the workmen,%26#8221; writes the duchess), and Pig Lane, %26#8220;the old road to Chatsworth.%26#8221;

%26#8226; Chatsworth is a vital, thriving country town unto itself, complete with working farms and two hotels. %26#8220;Nothing has remained static,%26#8221; writes our girl. %26#8220;Every two or three generations of Cavendishes have undone or added to what they found %26#8230; There has always been something new to see, something going on. It has never stood still %26#8230; .%26#8221;

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Images: Attic goodies, all for auction%26nbsp;

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The Sale

%26#8226; Even a duchess can over-collect %26#8212; so on three whirlwind days this month, Sotheby%26#8217;s will slam its gavels at %26#8220;Chatsworth: The Attic Sale,%26#8221; about 20,000 treasures, %26#8220;discovered,%26#8221; they say, %26#8220;beneath layers of dust.%26#8221; The lots range from doors, shutters and fireplaces to luggage, chairs, even a Russian sleigh. The trove traces back to Chatsworth House and to the Cavendish%26#8217;s other homes: Chiswick House, Hardwick Hall, Lismore Castle, Compton Place, Bolton Abbey and the grandest of them all, the now-demolished Devonshire House, the family%26#8217;s lavish London residence, %26#8220;for centuries,%26#8221; says Sotheby%26#8217;s, %26#8220;the centre of London%26#8217;s social, political and cultural elite.%26#8221;

%26#8226; If you have to ask: Teacups are estimated to fetch 20 pounds. A carved, white-marble chimneypiece from the ballroom of Devonshire House should bring 200,000 to 300,000 pounds. Curious? Book your flight now, or click sothebys.com. The sale is October 5, 6 and 7 at Chatsworth House itself.

%26#8226; What we%26#8217;re after: Debo%26#8217;s own walnut-veneered record player, the 1912 Humber touring car, and as many steamer trunks and valises %26#8212; some slapped with %26#8220;Chatsworth%26#8221; stickers %26#8212; that we can fit in the overhead.

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Images: Chatsworth's famous chickens; Chatsworth's State Dining Room

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The Bibliography

Required reading, all by our girl The Dowager Duchess of Devonshire. Of her many books, don%26#8217;t miss: Counting My Chickens%26#8230;: And Other Home Thoughts %26#8226; Chatsworth: The House %26#8226; The Duchess of Devonshire%26#8217;s Chatsworth Cookery Book %26#8226; Round About Chatsworth. %26#8226; Home to Roost: And Other Peckings. And yes, the estate has its own site, chatsworth.org, even a blog: chatsworthblog.org. %26nbsp;%26nbsp;

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PaperCity Book Boutique and Style Salon

Wed, 15 Sep 2010 05:22:25 GMT

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For more information on HADA Fall 2010 Antiques Show %26amp; Sale, click here.

It’s Time ... for Timeless Treasures

Wed, 15 Sep 2010 05:11:50 GMT

Your Complete Guide: What You Need to Know About Houston Antiques Dealers Association%26#8217;s (HADA) Fall 2010 Antiques Show %26amp; Sale %26#8212; September 17 %26#8211; 19 at the George R. Brown Convention Center%26nbsp;

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The Ultimate Green Choice
%26#8226; Celebrate America%26#8217;s Oldest Association of Antique Dealers, Established 1964.
%26#8226; Shop One of the Most Venerated Antique Shows in the Country.
%26#8226; Support a Beloved Houston Tradition That Gives Back to the Community.
%26#8226; Attend the Show Where Miss Hogg and the Mastersons Shopped.
%26#8226; Toast the Approaching Half-Century of HADA.
%26#8226; Peruse Booths of 150 Top International, National and Hometown Dealers.
%26#8226; Discover Extraordinary Vetted Treasures from Museum-Worthy Furniture to Scintillating Objects of Art.%26nbsp;%26nbsp;

3 Days of Nonstop Antiquing
When: Friday, September 17. 11 am to 7 pm
Saturday, September 18, 11 am to 7 pm%26nbsp;
Sunday, September 19, 11 am to 5 pm
Where: George R. Brown Convention Center, Hall B
Tariff: Ticket $10, includes admission for all three days, children under 12 admitted free
Contact: hadaantiques.com

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Decades Before Antiques Roadshow, There Was HADA
The Country Gentleman%26#8217;s Larry N. Bahn, HADA president and exhibiting dealer, reflects upon the show%26#8217;s venerable 46-year history: %26#8220;Established 1964, HADA is the oldest antiques association in America. The first HADA show was held at the old Shamrock Hotel, then it moved to the Albert Thomas Convention Center and finally to the George R. Brown. It was founded by dealer/collectors Helen York, Carolyn Thompson, Jessie Matthews and William Peyton. Noted Houston antiquarians Miss Ima Hogg and the Mastersons all attended. Furniture, paintings and objects of art acquired at HADA have gone into important private collections and museums including Bayou Bend and Rienzi. What has remained the same throughout nearly 50 years? The quality of the offerings, the integrity of the dealers and the tireless efforts of HADA members to encourage collecting and interest in antiques.%26#8221;

%26nbsp;

Image: Bobby McAlpine

%26nbsp;

New This Season: PaperCity Style Salon %26amp; Book Boutique
Relax in our nest, have a shot of water (periodically there will be something stronger) and browse the hundreds of new design books from top publishers Rizzoli, Abrams, Assouline and more, as well as collectible and rare vintage design tomes by such greats as Billy Baldwin, David Hicks, C.Z. Guest and Dorothy Rodgers.%26nbsp;%26nbsp;

Opening night, Thursday, September 16, meet:%26nbsp;
%26#8226; Architect and designer Bobby McAlpine, author of The Home Within Us
%26#8226; Designer Jan Showers, author of Glamorous Rooms
%26#8226; Hutton Wilkinson, legendary artist and designer Tony Duquette%26#8217;s prot%26#233;g%26#233; and business partner for 30 years; author of Tony Duquette and More is More: Tony Duquette
%26#8226; All three designers will sign books and do presentations the next day in the Style Salon.%26nbsp;

%26nbsp;

Speakers schedule Friday, September 17 in the PaperCity Book Boutique %26amp; Style Salon at HADA.

%26nbsp;

11:00 HADA%26#8217;s doors open

%26nbsp;
11:30 Jan Showers, Glamorous Rooms, followed by her book signing.
%26nbsp;
1:00 Bobby McAlpine, The Home Within Us, followed by his book signing.
%26nbsp;
2:30 Hutton Wlkinson, Tony Duquette, followed by his book signing.
%26nbsp;
Limited seating, please rsvp for the speaking engagements, to holly@papercitymag.com, or call Seth at 713.524-0606 x 239.
%26nbsp;%26nbsp;

%26nbsp;

Image: PaperCity%26#8217;s Catherine D. Anspon

%26nbsp;

Get first crack at the new art tome, Texas Contemporary Artists, the first comprehensive book covering Texas artists and their works in 10 years. Written by PaperCity fine arts editor Catherine D. Anspon, this compendium was 11 years in the making. Each of the 3,000 crafted copies is hand-numbered and signed. Reserve yours at the Book Boutique at HADA.

What are the high points of the HADA Fall 2010 Antiques Show?

%26#8220;The surprises and treasures to be exhibited. This is always the most thrilling thing because you never know what is coming and there is always a lot of oooohh and aaaahhh guaranteed.%26#8221;%26nbsp;%26#8212; Larry N. Bahn, HADA president%26nbsp;

%26nbsp;

Image: Jan Showers

New:%26nbsp;Salon %26amp; Book Boutique
Don%26#8217;t Miss Three Days Brimming with Lectures, Receptions, Personal Appearances, Book Signings and the All-New PaperCity Style Salon %26amp; Book Boutique.

A Posh Preview Party
Thursday, September 16, 6:30 to 9 pm
Gratis, space limited, reservationsevents@theladaygroup.com

Image: Hutton Wilkinson

%26nbsp;

Don%26#8217;t Miss!: The Under $200 New Collectors Nook%26nbsp;%26nbsp;
Objects and furnishings brought in specifically for the Nook by HADA%26#8217;s exhibitors.%26nbsp;

Giving Back
Proceeds from the 2010 HADA Fall Show %26amp; Sale benefit important Houston nonprofits including The Heritage Society, Houston Junior Forum and the Museum of Fine Arts, Houston, with HADA gifting the MFAH a munificent $50,000 donation.

%26nbsp;

Image: Art Nouveau coral cameo pin/pendant with pearls at Past Era Antique Jewelry

%26nbsp;

Why We%26#8217;re Going to HADA
Aardvark Antiques, Arroyo Grande, CA
Agostino%26#8217;s Antiques %26amp; Fine Arts, Miami Beach, FL
Albion Antiques, Marietta, GA
Antique Cupboard, Waukesha, WI
Antique Legacy, Upland, CA
Antique Maps %26amp; Works on Paper, Santa Fe, NM
Antiques on the Main, West Point, MS
Artifacts Antiques, Palm City, FL
B%26amp;C Victorian Antiques, Brenham, TX
Baldwin%26#8217;s Jewelers, Ruston, LA
Bay House Antiques, Newnan, GA
Bond Street Antiques, Venice, FL
Bruce D. Horton, Bridgeport, PA
Butler %26amp; Butler Gallery, Bradenton, FL
CARA Antiques, Langhorne, PA
Carolyn%26#8217;s Antiques, San Antonio, TX
Chalice Antiques, Mt. Olive, IL
Charlotte Nail Interiors, Houston, TX
Clarke %26amp; Farley Antiques, Merriam, KS
Clifton House Antiques, Houston, TX
Coliseum Antiques, Los Alamitos, CA
Colonial Antiques, Tulsa, OK
Cosulich Interiors %26amp; Antiques, New York, NY
Countryside Antiques, Waveland, MS
Crow %26amp; Company, Houston, TX
Daniels Antiques, Hallandale, FL
David %26amp; Sheila Stallings Antiques, Austin, TX
David Herndon Antiques, Atlanta, GA
David Lackey Antiques %26amp; Art, Houston, TX
Donald Storrar Bethune, Macon, GA
Douglas W. Morse Antiques %26amp; Fine Art, Pasadena, CA
Eileen Kirkwood, Eastville, VA
Elegant Reflections, Northfield, IL
English Surrey Antiques, Houston, TX
F %26amp; S Design, Tulsa, OK
Far Horizons Gallery LLC, Covington, LA
Blue Diamond Antiques, Dearborn, MI
Franya Waide, Atlanta, GA
Georgian House, Baton Rouge, LA
Golden Chances Antiques, Houston, TX
Griffon%26#8217;s Medieval Manuscripts, Inc., St. Petersburg, FL
H. Karl Scharold Antiques, Houston, TX
Hayden %26amp; Fandetta Rare Books, New York, NY
Hobstar.com, Gretna, LA
House of Lamps %26amp; Antiques, Austin, TX
Howard I. Price II Fine Art, Lake Worth, FL
International Antique Galleria, Centennial, CO
J. Holley Antiques, St. Petersburg, FL
Janart, Inc., Sarasota, FL
Jerry L. Wood, DeQuincy, LA
Jesse Davis, London, UK
Just Bookends, Gainsville, FL
Kathy Tobler Antiques, Granbury, TX
Kay J. Wilbanks, Knoxville, TN
Kent Washburn Antiques, San Antonio, TX
King Art, Milwaukee, WI
Kolender Antiques, Hallandale, FL
Larry N. Bahn The Country Gentleman, Houston, TX
Leonard Eureka, Fort Worth, TX
Lina%26#8217;s Interiors, Inc., Greenville, MS
Linen Merchant, Walnut Creek, CA
LR Antiques, Houston, TX
Lucyanne Robinson, Little Rock, AR
Luis Artavia Antiques, Largo, FL
Lush Life Antiques, Dallas, TX
Lynne Brody Antiques, Austin, TX
LZ Antique and Estate Jewelers, Farmington Hills, MI
Made in Russia, Palm Beach, FL
Majolica, LLC, Paris, France
Manor House, Knoxville, TN
Marita%26#8217;s Antiques, Bethany, OK
Martin Kay/Bill Yellen LLC, Aurora, CO
McGee%26#8217;s Antiques, Norman, OK
McHale Silverwares and Fine China, Camarillo, CA
Memories %26amp; Stuff, Castle Rock, CO
Michael %26amp; Claire Higgins Antiques, Atlanta, GA
Michele%26#8217;s, Austin, TX
Monique%26#8217;s Antiques, Dunkirk, MD
Mr. Toads, San Francisco, CA
Now %26amp; Then Antiques, New Berlin, IL
Pandora de Balthazar, European Luxury Bedding, Gulf Breeze, FL
Paradise Regain%26#8217;d, Clarksville, AR
Past Era Antique Jewelry, Houston, TX
Patricia Cohn Unique Jewels, Beverly Hills, CA
Pickers Choice, Anaheim, CA
R. A. Dabney Antiques, New Orleans, LA
Rabideau/McKerrow, Ft. Lauderdale, FL
Richard Theiss, Dallas, TX
Richard W. Bell Antiques, Orange, CA
Rick Kaplan Antiques, Pasadena, CA
Romance with Silver, Ft. Lauderdale, FL
Rue Auber Antiques, Stonington, CT
Sandra%26#8217;s Treasures, Houston, TX
Seekers Antiques, Columbus, OH
Silver Lane, San Leandro, CA
Stonehouse Antiques and Design, Wayne, PA
The Antiquary Ltd., Tulsa, OK
The Dresser Drawer LLC, Plano, TX
The Englishman Fine Art, Inc., Vail, CO, and Naples, FL
The Ensinger Collection, Surfside Beach, SC
The French Corner, Borrego Springs, CA
The Heritage Society, Houston, TX
The Main Event, Eustis, FL
The Pearl Antiques Ltd., Las Vegas, NV
Tim Ters, Orange, CA
Tippecanoe Antiques Trader, Otto, NC
Tristate Antiques, Prospect Park, PA
Two Birds Antiques, Cincinnati, OH
Victoriana, Rocky Point, NC
Vimax Antiques, Brooksville, FL
Virgil R. Mitchell Antiques, Denton, TX
Whitley Collection/Seaway China, Doral, FL
Woods Antiques %26amp; Collectibles, Tyler, TX
WorldRarities, Meridian, MS
Worldwide Gallery Antiques, Fredericksburg, VA
Zane Moss Antiques Ltd., New York City, NY

%26nbsp;

Image: 18th-century Belgian tapestry from the estate of W.A. Criswell, former head of the Southern Baptist Convention, at Charlotte Nail Antiques

%26nbsp;

HADA 2010 Roster

Chappell Jordan Clock Galleries: The largest clock shop in Texas specializing in antique clock sales and restoration since 1965; owner Ralph Pokluda.

Charlotte Nail Interiors: Home to the most elegant selection of European antique furniture in Houston;%26nbsp; owner Charlotte Nail.

Clifton House Antiques: English decorative accessories and silver, including old Sheffield plates, Victorian silver plate and Georgian silver by Paul Storr and Hester Bateman; owner Jan Leach.

Crow %26amp; Company: Direct importer of English antiques for gentlemen and gentry; owner Kathleen Crow.%26#8232;

David Lackey Antiques %26amp; Art: 18th-, 19th- and 20th-century furniture, paintings, silver, ceramics, glass and decorative arts from Texas estates; owner David Lackey.

English Surrey Antiques %26amp; Interiors: Specializing in unique European oak furniture and bric-a-brac; owner Reggie Yannuzzi.

Golden Chances Antiques: Personally selected English smalls including wooden boxes, Victorian silver-plate pieces, sterling napkin rings and other unusual pieces; owner Gale Sigloch.

H. Karl Scharold Antiques: Fine 18th- and 19th-century American antique accessories, clocks, furniture, lighting and miniatures; owner Harry K. Scharold.

Jerry %26amp; Chutie Getz Antiques: Silver, china, crystal and small furniture items; owner Jerry Getz.%26#8232;

Larry N. Bahn %26#8212; The Country Gentleman: Antiques, decorative arts, architectural elements and religious artifacts; owner Larry N. Bahn.

LR Antiques: The finest in European antiques and collectibles. Also furniture restoration and refinishing; owners Lora and Larry Levin, Rachel Bley.

Past Era Antique Jewelry: Antique, vintage and retro jewelry, diamond and gemstone engagement rings, wedding bands and cocktail rings; owner Marion Glober.

Pride of Persia: Specializing in older and unusual genuine Persian rugs; owners Mehdi Abedi and
Lisa Slappey.

Roger Howard Antiques %26amp; Appraisals: American and European fine antiques, decorative arts and collectibles; owner Roger Howard.

Sandra%26#8217;s Treasures: Specializing in highly carved furniture, art glass and Victorian silver; owner
Sandra P. Smith.

The Antique Company: Antiques and collectibles; owner Marilyn Barfoot.

The Blue Saffron Company: Exotic antiques and home furnishings from around the world; owner Karim Bousfiha.

The Brass Ring: Antiques and linen; owner Diane Joplin.

Town and Country Antiques: Decorative boxes, tea caddies, writing slopes, inkwells and more; owners Anne and Joe Bielstein.

%26nbsp;

Image: Galle cameo glass vases at LR Antiques

%26nbsp;

Antiques %26#8212; The Ultimate Green Choice %26#8226; HADA Fall Antiques Show %26amp; Sale %26#8226; September 17 through 19, 2010 George R. Brown Convention Center %26#8226; hadaantiques.com

%26nbsp;

Image below: Sally Chandler%26#8217;s Samuel Pepys%26#8217; "Library," 2008

Well Groomed

Mon, 30 Aug 2010 05:33:41 GMT

He traded a lab coat for landscape design %26#8212; and never looked back. (Toying with destiny, case #4468.) Meet Jason Pautz, ex-scientist, masterful grower of all things green and gorgeous and, yes, male model. Was that part obvious?%26nbsp;

%26nbsp;

What would you normally wear to work in?%26#8221; I ask landscape designer Jason Pautz, as we discuss what clothes he might bring to the photo shoot for this story. Mere days later, the morning of said shoot, Pautz jumps down out of his enormous white Chevy pickup truck with two answers to my question: 1) the linen shirt and Rock %26amp; Republic jeans that he is already wearing and 2) a dandy, creamy-white suit on a hanger, a suit that makes me think of a modern-day Tom Wolfe.

%26nbsp;

I had forgotten that I was dealing with a fashion model.

%26nbsp;

Welcome to Pautz%26#8217;s world %26#8212; a dichotomy, indeed. It%26#8217;s part outdoor adventure, part solving puzzles and part, well, very attractive clothes. How many landscape designers pack a bachelor%26#8217;s degree in science? How many know about variegated yuccas and John Varvatos? And how many wear Rock %26amp; Republic jeans while they rake Mexican beach pebbles into place? I rest my case.

%26nbsp;

Pautz (pronounced %26#8220;pouts%26#8221;) was almost bound for life inside a lab. From 2001 to 2003, and with that new degree from Texas Tech University, he found himself under fluorescent lights, running tests on lotions and shampoos. But, he says, %26#8220;I was not real happy about being inside.%26#8221; He ruminated about chasing one of his passions, wildlife biology, but realized the remote locations would be too remote from friends and family. Something else began to tug at him %26#8212; something that would get him back outside. %26#8220;I always had a love for gardening.%26#8221; He got that via pedigree: In the mid-1980s, his mother and stepfather started an organic farm in Forestburg, Texas, north of Denton, where they raised culinary herbs, selling them to a fledgling chain of grocery stores called Whole Foods. (Being ahead of one%26#8217;s time, case #432.) From age 10, little Jason got pressed into annual summer duty. %26#8220;We%26#8217;d wake up in the mornings,%26#8221; he says, %26#8220;and start harvesting the fields.%26#8221;

%26nbsp;

Fast forward to the lab coat. A friend, knowing Pautz%26#8217; penchant for all things agrarian, asked for help with his garden at White Rock Lake. %26#8220;Then I got the neighbor across the street %26#8212; then it built from there.%26#8221; He had been modeling in Dallas, too, out of college, after friends told him he should try it. He sent in a picture, and the Kim Dawson Agency signed him on the spot. He went to New York in 2001 %26#8212; where he promptly was signed by the famous Ford Agency. But big-city go-sees were not his thing, and, after living in a models%26#8217; apartment %26#8220;for, oh, about a minute,%26#8221; he says, laughing, he came back. By 2003, with more and more garden projects coming his way, he put away the test tubes and turned to landscape design full-time. Quietly. That%26#8217;s another dichotomy about Pautz: For all of his obvious intelligence and obvious good looks, he%26#8217;s terribly unassuming. Speaks softly. Blushes readily. Never makes a fuss. What has that gotten him? Some rather high-profile projects. Enter Ken Downing, the ebullient fashion director of Neiman Marcus, and his partner Sam Saladino, beloved menswear sales associate for same. Pautz was modeling at Neiman Marcus when Josh Goldfarb, his booker at the Kim Dawson Agency, connected him with Downing and Saladino, who happened to be ready to pump up their property. Now, for four years and counting, Pautz has coaxed their Kessler Park lawn into a luxe, lush riff on an Asian garden, by way of Auntie Mame. He stirred in gurgling fountains, blue-gray cedar trees and maples whose barks glow coral-red in the winters and springs. For Sugar Film Production at the highly visible corner of McKinney Avenue and Bowen Street in Uptown, Pautz tapped into his minimalist side, designing massive CorTen steel planter boxes packed with horsetail reed, then planting vibrant red Japanese maples and deep-green Austrian pines to soften the building%26#8217;s sleek aluminum cladding. Pautz is also the %26#8220;garden%26#8221; in the red-hot Park Restaurant, Bar %26amp; Garden on Henderson Avenue, where he devised a dining patio out front that boasts enormous wood-slab benches and tables hewn from one fallen cottonwood tree, and Park%26#8217;s famous bocce-ball court out back, complete with a wall of Mexican feather grass and a series of modernist little cabanas along its length, for canoodling and imbibing.

%26nbsp;

As of this minute, Pautz is the CEO of Pautz Landscapes, a tiny firm where he curates %26#8220;a small group of guys, real artisan types%26#8221; for all manner of projects, from xeriscaping and site plans to designing outdoor structures, lighting systems, even choosing sculptures. Coming up? %26#8220;A little beautification%26#8221; of the mid-century Pettigrew Associates complex in the Design District, about to get a renovation, if not a bit of reinvention. Another reinvention %26#8212; a famous Henderson Avenue eatery and its grounds %26#8212; is being bandied about. He%26#8217;s about to start work on a residential project with architect Mark Domiteaux and meanwhile, an hour outside of town, he%26#8217;s been transforming the grounds of a 1970s vacation house at Cedar Creek Lake into a stone-walled, stone-staired natural fantasy. That little project has involved eight 18-wheelers hauling in 150 tons of native Texas rock. The clients? A certain ebullient fashion director and beloved menswear sales associate who need a head-clearing little break from the big city.

%26nbsp;

For all the photos and details, click 'launch slideshow' at the top of the story.

To go behind the seens of this story, click here. %26nbsp;

The Pitter Patter of Patina

Mon, 30 Aug 2010 04:22:50 GMT

People love their houses for all kinds of reasons. For interior designer Hilary Crady, it all began with sentimentality. The original owner, an architect at the Houston firm Northrop and Northrop, built this 1,600-square-foot mid-century modern house in the 1950s for his own family, but when he and his wife divorced a year later, Crady%26#8217;s grandparents bought it and lived there happily throughout their golden years. The Memorial Drive property then passed down to her mother and uncle. Just before the birth of their first child, Crady and her husband, Ned, decided this little one-story, one-bathroom, two-bedroom house had to be theirs.

%26nbsp;

The house is obscured from the busy road by a hedgerow of untamed greenery and a charming winding gravel drive. Seclusion extends to the surrounding land, much of which is deemed unsuitable for building because of a flood-control drainage corridor feeding into a neighboring bayou, so privacy has never been an issue. After their second son was born,%26nbsp; the Cradys realized they needed more room for their growing family. They modestly added 450 square feet to create a new bedroom and bath. A few years later, with baby girl Rimmele on the way,%26nbsp; Crady rang up an old friend, architect Gary Garcia of Garcia Design Associates, to add, she thought, one additional bedroom. %26#8220;I sketched up a little something %26#8230; and knowing Gary was on his own and we worked well together %26#8212; and hoping and praying he wouldn%26#8217;t charge me too much because we were friends %26#8212; I said, %26#8216;Take a look at this and tell me what you think,%26#8217;%26#8221; Crady says. %26#8220;Plus, he liked the architecture of the house. Not everybody gets it.%26#8221;%26nbsp;%26nbsp;%26nbsp;

%26nbsp;

He didn%26#8217;t like her drawing, Crady recalls, because she%26#8217;d left the kitchen exactly where it was. %26#8220;I%26#8217;m frugal,%26#8221; she says. %26#8220;I hate to spend money. And he said, %26#8216;If you%26#8217;re going to be here forever%26#8217; %26#8212; which we intended to be because we liked the location and we liked that the house is small %26#8212; %26#8216;move the kitchen,%26#8217;%26#8221;

%26nbsp;

Garcia also cordoned off a wing for the children. %26#8220;When the kids grow up and become teenagers,%26#8221; he says, %26#8220;they%26#8217;ll have their space on the opposite side of the house, separate from the grownups.%26#8221; He then cleverly expanded the width of the hallway, added pocket doors, removed rows of closet doors and created a long expanse bordered on one side by concealed floor-to-ceiling storage %26#8212; a catch-all space for the children%26#8217;s backpacks, shoes and sporting equipment.

%26nbsp;

Underfoot, the duo forged a cohesive environment linked by two flooring surfaces: stained concrete and brown brick that matches the house%26#8217;s original brick installation. With the footprint expanded to 4,800 square feet, Crady%26#8217;s husband finally got the cozy study he desired, while the entry was relocated to the side of the house, making way for a graceful foyer. From that vantage, one can peer down another hall toward the pool, just outside a set of sliding glass doors. Beyond the threshold to the left stands a small sitting area. Its shallow, eight-foot ceilings soaring to 12 1/2 feet as you step into the vaulted dining room.

%26nbsp;

And what did they do with that controversial kitchen? %26#8220;Once we relocated it, it completely changed the scheme of things,%26#8221; Crady says. %26#8220;It%26#8217;s now four times the size of the former,%26#8221; Garcia adds. Crady counters that the relocated space is actually not much bigger than the original, but it%26#8217;s more open. Contrary to what you might find back in the day it was built, the expansive kitchen now opens onto a large family-room area overlooking the pool %26#8212; ideal for entertaining.

%26nbsp;

%26#8220;We entertain a lot,%26#8221; says Crady. %26#8220;And the kids love the house. I want them to be proud of where they live and be able to have friends over.%26#8221; The Cradys%26#8217; house is not in a traditional neighborhood where kids can wander from house to house. %26#8220;When you%26#8217;re here, you have to stay here,%26#8221; says the designer, %26#8220;so the pool is a great draw. The stereo system, the trampoline in the back %26#8230; There%26#8217;s enough to occupy them %26#8212; for now.%26#8221;

%26nbsp;

Garcia has nothing but praise for Crady%26#8217;s input. %26#8220;The thing about Hilary,%26#8221; he says, %26#8220;is that she can design like she%26#8217;s on a ship: Every inch is important to her.%26#8221; Crady got her start in interior design at John Saladino%26#8217;s famed studio in New York. Straight out of college, she was a design assistant in charge of keeping the sample room tidy, as well as a gopher. She worked diligently for Saladino for five years until she moved back to Houston, her hometown, and married. %26#8220;I learned everything from him,%26#8221; she says. %26#8220;I think his color sense is incredible; I love how eclectic he is. His work [looks] contemporary, but it%26#8217;s not. It never feels dated. He mixes the old with the new, and it always feels good.%26#8221; His masterful, unpredictable play of proportions is evident in his former assistant%26#8217;s home today, where Hilary flanks a tall, worn leather screen with a smaller one behind her prized gunmetal-gray velvet-upholstered Saladino Shelter sofa.

%26nbsp;

Saladino%26#8217;s influence, however, is just a jumping-off point for this design pro, who%26#8217;s carved her own niche while working alongside her mother, Gloria Frame, who is also a designer. And while the budgets of her clients may be smaller than the ones Saladino worked with in New York, she still insists on authenticity at every turn. %26#8220;I don%26#8217;t like doing reproduction furniture,%26#8221; she says. %26#8220;If it%26#8217;s going to look old, I want it to be old. It has to be authentic Americana or Mexican or something that doesn%26#8217;t cost a lot of money, but it needs to have a nice hand to it, texture and honesty, as opposed to a traditional piece that%26#8217;s new and has no patina.%26#8221;

%26nbsp;

Within her own home, she%26#8217;s created vignettes that include carefully curated antique and vintage furnishings with the much-loved patina, and she plays with paint beautifully, adding punch to rich, saturated hues with high gloss. The presence of family and the warmth of old mixed with new is felt in every room, making this place a truly sentimental project, rich personal history.

%26nbsp;

For more pictures and details, click 'launch slideshow' above.

Indian Summer

Tue, 27 Jul 2010 11:24:39 GMT

The quintessential %26#8212; and original %26#8212; American dwelling, the teepee, is a sublime guest room, party hut or dinner den. Be brave.%26nbsp;

%26nbsp;

Monique Pean naturally shed buffalo-horn bangle with cruelty-free white diamonds, $2,730, and gold feather pendant $1,700, at Grange Hall

%26nbsp;

Chanel

%26nbsp;

Herm%26#232;s Pointe Madras silk scarf, $410, at Herm%26#232;s

%26nbsp;

1970s Cher Half Breed album, $9, at itunes.com

%26nbsp;

Tee Pee Motel in Wharton, Texas; double $67, teepeemotel.net

%26nbsp;

Multicolored tourmaline limited-edition necklace, price upon request, at David Yurman

%26nbsp;

John Galliano Homme

%26nbsp;

Vintage Navajo textile rug, 79 x 47 inches, $4,200, at Anteks Home Furnishings

%26nbsp;

Polo Ralph Lauren

%26nbsp;

Nineteenth-century Louis XVI settee in vintage Suzani upholstery, with brass nail-head trim, $4,800, at Ceylon et Cie

%26nbsp;

Dunton Hot Springs in Dolores, Colorado; teepee summer occupancy only, price upon request, duntonhotsprings.com

%26nbsp;

Fallow-deer chandelier in custom sizes $4,799 (as shown), at Anteks Home Furnishings

%26nbsp;

Wigwam Village #6, along Historic Route 66, Holbrook, Arizona; double $58, 928.524.3048. Image: "Route 66 Remembered, Motorbooks International" %26#169; Michael Witzel, 199

%26nbsp;

J Hill%26#8217;s Hideouts, 2008, price upon request, through jhillprojects@gmail.com

%26nbsp;

Charles Russell%26#8217;s Indian Hunters%26#8217; Return, 1900, in %26#8220;The Masterworks of Charles M. Russell: A Retrospective of Paintings and Sculpture,%26#8221; at the Museum of Fine Arts, Houston, through August 29

%26nbsp;

Spencer lantern in brass and leather, $750, at Ralph Lauren

%26nbsp;

Water-repellent and mildew-resistant teepee, $2,200, at Design Within Reach

%26nbsp;

Order a custom teepee like Bruce Weber%26#8217;s (shown here at his ranch) from White Buffalo Lodges, adult tents from $1,195 (poles included), whitebuffalolodges.com. Image: %26#169; Bruce Weber, "Vogue Living: Houses, Gardens, People"

%26nbsp;

Knob Creek Kentucky straight bourbon, at liquor retailers

%26nbsp;

Allison V. Smith%26#8217;s Teepee. Marfa, Texas, 2010, edition of three, $3,500, through Barry Whistler Gallery

Behind the Seens: Our July Feature House

Mon, 28 Jun 2010 04:14:01 GMT

Just a few of Rob's own observances on the day we photographed the Cary and Kent Smith house, decorated by the one and only Michelle Nussbaumer.

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Click "launch slideshow," above, to take a peek...

%26nbsp;

(To see the original feature story, click here.)

%26nbsp;

Prop Mastery

Fri, 25 Jun 2010 12:59:44 GMT

Grandma %26#8212; excuse me, %26#8220;Suki,%26#8221; her %26#8220;grandma name,%26#8221; which means fondness and love in Japanese %26#8212; has just come in the back door of daughter Cary Smith%26#8217;s house, two grandsons trailing behind. She plops her bag %26#8212; a bright-orange Goyard %26#8212; onto the all-white island in the all-white kitchen. In just seconds, something else orange flies into the room. It%26#8217;s four-year-old Paxton Smith, who has already changed into the astronaut suit that Suki just bought him. Paxton circles the island, circles Suki, then blasts back out of the kitchen, whooping all the while. Big brother Weller, almost seven, has found his way to the den just around the corner, and is dumping the pieces of an intricate puzzle all over the floor.

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Above: The first-floor den %26#8212; which Nussbaumer calls the %26#8220;Palm Desert room%26#8221; because of its casual chic %26#8212; complete with reupholstered vintage furniture and a heady mix of found and inherited art. Nussbaumer covered the pair of vintage swivel chairs in a flame-stitch fabric of her own design; the cocktail table is 1940s %26#8220;American Chinese modern,%26#8221; says Nussbaumer, from Ceylon et Cie. Smith found the pair of lamps at Pottery Barn; the pair of yellow garden stools is from Ceylon et Cie.

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Welcome to the Smith house, where whooping and puzzle-dumping go on round the clock. Cary Smith has her hands full, hence Suki visiting from Amarillo, where she lives and where Cary was born and raised. When not chasing after astronauts and puzzle-solvers, Smith represents Etcetera, a line of modern fashion sold only via trunk shows. Cary%26#8217;s husband, Kent, has his hands full, too: He%26#8217;s incredibly busy at work, just days into a new job in finance. The Smith manse may be quietly unassuming on the outside, but there%26#8217;s nothing quiet about what%26#8217;s going on inside.

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Above: The large, luxurious living room, where contemporary and classic coexist. The chairs at foreground left are vintage, from Ceylon et Cie, reupholstered in fabric by Kelly Wearstler for Schumacher. The Lucite table is from Allan Knight; the B%26amp;B Italia chaise longue came from Mody %26amp; Mody. Nussbaumer had the smoked-mirror panel installed above the fireplace.

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Part of that has zero to do with Weller and Paxton. Enter Michelle Nussbaumer, a woman who decorates like she lives: big, bold, colorful. This globe-trotter %26#8212; and owner of the jam-packed furniture and accessories showroom Ceylon et Cie %26#8212; has a penchant for ikat fabrics, India, Bentleys and botanicals. Oh, and Morocco and Marrakech and Cecil Beaton and Tony Duquette. She once quipped to Elle Decor magazine, %26#8220;More is more. Less is never more. Less is obviously less. Who wants less?%26#8221; That is Nussbaumer in a nutshell %26#8212; so you might get the impression that cost had better not be an object if you call her. Au contraire, as Cary Smith learned, after recognizing Nussbaumer at a doctor%26#8217;s office. %26#8220;I%26#8217;m just clueless,%26#8221; Smith confessed to the decorator, %26#8220;and I have a hodgepodge of things.%26#8221; Nussbaumer didn%26#8217;t bat an eye: %26#8220;I%26#8217;ll come over!%26#8221; That touched off a two-and-a-half year odyssey of shopping, styling, refreshing and remixing, often using furnishings that the Smiths already had but augmenting them with investment pieces, too. %26#8220;It is very important to have high-quality things mixed with %26#8216;things of style,%26#8217;%26#8221; Nussbaumer says, smiling at her own term for the more affordable and changeable pieces in a room. As a backdrop for her myriad sleights of hand %26#8212; breaking a four-panel screen into a pair of two-panel screens; lacquering a pair of mid-century end tables black; framing fragments of patterned wallpaper to extend its graphic punch %26#8212; Nussbaumer injected color. One hue is the unforgettable citron in the entry hall, now a core of energy that defines the mood for the whole house. To the hall%26#8217;s right is the formal dining room, zinged with yellow chair cushions, yellow curtains and a painted ceiling %26#8212; a %26#8220;fun trick%26#8221; Nussbaumer loves, in this case, lemon yellow. To the hall%26#8217;s left is the large living room, elegantly cool with its celadon walls and spearmint-hued curtains. A cozy den beyond sports darker gray-green walls and jolts of yellow via garden stools and jumbo pillows. %26#8220;A defined color palette,%26#8221; says Nussbaumer, %26#8220;is key,%26#8221; referencing the continuity now coursing through the disparate rooms %26#8212; rooms that, at any given minute, could have a whole lot of whooping and zooming going on. %26#8220;It%26#8217;s just a very happy, eclectic, comfortable and useful place now,%26#8221; says Smith of the invigorated house where her boys are free to run and where she and her husband can recharge after a day of numbers and percentages. No sweat for Nussbaumer, who reminds me that she used to create stage sets in her L.A. days. %26#8220;Honey, I%26#8217;m a set designer,%26#8221; she says, with a wink. %26#8220;I can do anything.%26#8221;

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For more photographs of this beautiful home, click 'launch slideshow' above.

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What did editor Rob Brinkey see? Go behind the scenes by clicking here.

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Image at top of story: The living room, with its vintage chairs from Ceylon et Cie, re-covered in Schumacher fabric by Kelly Wearstler. Nussbaumer designed the pair of console tables, background, and the stools beneath them, those covered in zebra hide that was once a rug belonging to Smith%26#8217;s father. The pair of rosewood mirrors above the consoles is from Ceylon et Cie; the pair of large vases on the tables is Chang dynasty, also from Ceylon et Cie. Smith found the gold horse, foreground right, at the legendary antiques fair in Round Top, Texas. %26#8220;Cary will text me photos of things she finds,%26#8221; says Nussbaumer, laughing, %26#8220;and say, %26#8216;Can I have this?%26#8217;%26#8221;

Image below: Decorator Michelle Nussbaumer, left, and homeowner Cary Smith, in a top by Etcetera, the fashion line for which Smith is the Dallas representative. The sconce behind Nussbaumer is 1940s French, one of a pair from her showroom, Ceylon et Cie.%26nbsp;

Rowe House

Fri, 25 Jun 2010 12:35:46 GMT

If there%26#8217;s one thing that sold interior designer Lisa Rowe on her two-story mid-century house in Memorial, it was probably the downstairs wall of floor-to-ceiling windows that span the entire back length of the house. Or maybe it was the view of lush grounds with a ravine that empties into the nearby bayou. Most likely, though, it was the quirky juxtaposition of a fa%26#231;ade that telegraphs %26#8220;I%26#8217;m a traditional brick-front house%26#8221; with a back that%26#8217;s unapologetically modern.

Rowe is the third owner of the house, which was built as a custom home for the Alder family by Houston architect Ben Brewer (the late husband of Sunset Settings owner Carolyn Brewer) in 1961. The 3,600-square-foot house was the only residential project in the commercial architect%26#8217;s career.

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Image: In the living room, seating by Lisa Rowe Design includes a sofa covered in durable, commercial-grade cotton velvet by Pindler %26amp; Pindler. Parsons cocktail table and white urns from West Elm. Mirror custom-made by Bobbitt Glass. Silk-taffeta curtains in F. Schumacher %26amp; Co. fabric, created by Japhet Design. Flowers Bergner and Johnson Design.

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Rowe has lived here for more than three years now, but her love for modern mid-century structures goes back decades. When she was growing up, her mother worked with The Menil Collection, in the early days when Dominique de Menil converted the garage of her Philip Johnson home in River Oaks to the curator%26#8217;s office. %26#8220;I spent many summers and afternoons after school in that art-filled house,%26#8221; Rowe says. %26#8220;The exposure had a huge impact on me and my design aesthetic.%26#8221;

The Johnson-designed Menil house, too, has enormous windows along the back, which allow for an unobstructed view of the garden and its priceless sculptures. %26#8220;I also loved the mixture of modern furnishings and period pieces in the interior,%26#8221; Rowe recalls. %26#8220;That house was so simple and functional, yet elegant all at once.%26#8221;

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Image: In the sitting room, the custom slipcovered sofa is covered in white linen made by Inman %26amp; Company Upholstery Shop. Rowe inherited the painting by artist Gary Ramey from her mother.

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While she favors mid-century French and Italian furniture arranged in a room with period English antiques, she%26#8217;s also attracted to clean lines and the very simple design of things. %26#8220;Yet I like the unexpected, too %26#8212; a little whimsy, a pop of something interesting,%26#8221; she says.

When the designer and her family first moved in, she plied her trade and brought some drama into the space: ball-skirt-like silk-taffeta curtains in the living and dining rooms, fun Rose Cummings%26#8211;designed navy zebra-patterned wallpaper in the half bath and a David Hicks pink-patterned geometric wall covering upstairs in her children%26#8217;s bath. And did we mention those glossy Benjamin Moore black-painted doors? Everywhere there%26#8217;s an entry or an exit, you%26#8217;ll find one.

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Image: In the dining room, a Parsons dining table from West Elm holds court with a set of 1940s French
Louis XV%26#8211;style dining chairs from Tara Shaw Antiques. Seventies-era Sciolari chrome-and-brass chandelier from Paris Underground in Aspen. Flowers Bergner %26amp; Johnson. Silk-taffeta curtains with Clarence House Greek-key trim, by Japhet Design.

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Upstairs, past the bedrooms of her children (ages 6, 11 and 13), is the master suite, where a gracious sitting room beckons just off the bath. Through the double doors on the opposite side of the room is a calming gray, lavender and white bedroom. Just beyond, Rowe enclosed a screened porch in glass and converted it into her light-filled office. This addition by Dillon Kyle Architecture is a continuation of the outdoor porch that runs the length of the house %26#8212; a feature original to the mid-century structure. %26#8220;People would come over and say, %26#8216;That%26#8217;s so nice you have a screened-in porch,%26#8217; but I never used it,%26#8221; Rowe says. But once she enclosed the space with floor-to-ceiling glass walls like those she admires downstairs, she never looked back. %26#8220;It%26#8217;s one of my most favorite things I%26#8217;ve done to the house.%26#8221; She%26#8217;s scheming next to tent the dramatic space with solid fabric and scalloped valences for %26#8220;a touch of 1960s glam.%26#8221;

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Image: The entry hall of this mid-century house features a cantilevered staircase with sisal matting from Creative Flooring Resources. Beneath the stairs, a French Louis XVI settee with a Clarence House leopard velvet pillow. Dorothy Hood painting from Meredith Long %26amp; Company. The brick flooring is original to the house. Eighteenth-century Italian lantern from Tara Shaw Antiques.

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But her evolving vision for the house might have to wait awhile as she readies for the launch of her newest venture, Row by Rowe (rowxrowe.com). She spent the better part of the last 12 months working with Deuce Creative to build an identity for this new interior concept. The catchy name evolved in part to incorporate her own surname and aesthetic, and in part because people often tackle a design project room by room. Through Row by Rowe, she aims to do something that few have ventured to do before. %26#8220;When I first started out, I would take any job that came my way, but now that I%26#8217;m more project-based for economic reasons, I still get asked to do small jobs, and I hate to turn them down,%26#8221; Rowe says. %26#8220;This new business is a way I can accommodate smaller jobs, because not everyone has a big budget.%26#8221;

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Image: In the master bedroom, the custom headboard is covered in commercial-grade cotton velvet by Pindler %26amp; Pindler. Bed linens by Sferra Bros. at Longoria Collection. A pair of mirrored chests from Z Gallerie serve as night tables. Opaque Murano glass lamps from Jan Showers %26amp; Associates. Gilded French 1940s sunburst mirror from Jean-Marc Fray in Austin.

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Created as a do-it-yourself online design service, Row by Rowe makes efficient use of everyone%26#8217;s time. Clients upload photos of their house, the specific room they want to redo, its dimensions and floor plan (if there is one), then fill out a questionnaire to give Rowe an idea about how they want to live and the environs in which they%26#8217;re most comfortable. After four to six weeks, a linen-wrapped keepsake box arrives by mail, filled with a design board, floor plan, color palettes and a list of local and Internet resources, among other goodies %26#8212; everything necessary to walk homeowners through updating their space.

Based on a set price per room, everything is completed virtually. Given the potential of doing retail and restaurant spaces, gardens and beyond, Rowe is excited about the myriad design possibilities, both professionally and here at home %26#8212; taking everything, of course, Row by Rowe.

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For more beautiful pictures and details, click on 'launch slideshow' above.

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Image at top: The sitting room, just off the living room, offers up a lush view of the expansive grounds. French 1940s brass cocktail table and Waylande Gregory grid bowl. A pair of French Louis XVI berg%26#232;re chairs and French 1930s cigarette table. White cowhide rugs from Creative Flooring Resources. Jan Showers %26amp; Associates amber Murano glass lamp. Pair of Fu dogs from Mecox.

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Image below: Owner and designer Lisa Rowe at home in her kitchen%26#8217;s breakfast area.

Domestic Goddess

Wed, 28 Apr 2010 12:49:23 GMT

Our domestic goddess, Laurann Claridge, readies for a mean spring-clean with an arsenal of scrubbers and specialized housekeeping advice.

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The Title Says It All
Wanted, a Young Woman to Do Housework (Applewood Books, $11.95; originally published in 1917). Forward-thinking author Clara Helene Barker deftly applied basic business principles to the running of an early 20th-century household, back when there were a Jeeves, a Nigel and a host of live-in staff to manage. Think of it: Today, Ms. Barker could be running a multinational corporation %26#8212; or possibly a franchise of Merry Maids.

Who says household chores have to be drudgery? Not Alice Supply Co., which kicks in some fun by retooling broom handles ($26), dust pans ($22) and brushes ($20), buckets ($36), garden hoses ($42) and toolboxes ($66) with cool camouflage, bright lime, faux wood grain and jaunty multicolored and nautical stripes. At alicesupplyco.com.

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Spic-%26amp;-Span
Talk about a multitasker. We hear The Original Bee%26#8217;s Wax ($11, at beeswaxpolish.com) shines up granite like a dream, making its surface acid resistant, too. This aerosol wax prevents bathroom mirrors from fogging and cleans stainless steel to a fingerprint-free shine. And we haven%26#8217;t even mentioned its ability to clean, protect and moisturize wood furniture without a waxy buildup %26#8230; Goddard%26#8217;s Granite %26amp; Marble Polish ($6, at Elliott%26#8217;s Hardware) also does the trick on granite and marble. And it can take on porcelain, Corian, Formica, tile and natural stone, sealing and protecting their surfaces %26#8230; Girl, don%26#8217;t chip your Chanel polish. Protect that fresh mani with Casabella Water Stop Gloves ($6, at The Container Store), then dive those pink paws into your sink of soiled stemware %26#8230; One drop of Restaurant Crystal Clean ($20, at Sur La Table), and a soft sponge is all you%26#8217;ll need to remove butter, olive oil, fingerprints and lipstick marks from your Baccarat glasses without etching, clouding or pitting their surfaces. For every wine connoisseur who insists he or she can detect the slightest scent of Dawn, this was made for you %26#8230; What on earth did I do before Mr. Clean Magic Eraser Original (two for $4, at supermarkets) was invented? Touch up paint constantly, that%26#8217;s what! This miraculous white eraser, which literally disintegrates like an artist%26#8217;s eraser, can remove stubborn black marks from walls, doors, glass and baseboard surfaces. Try it on marred white leather tennis shoes, too %26#8230; Every week, I faithfully pull a couple of Pledge Dust %26amp; Allergen Unscented Dry Cloths ($6, at supermarkets) from beneath my kitchen sink to dust every surface I can find %26#8212; even electronics. This disposable quilted cloth (Why would you want to keep a dust cloth, pray tell?) traps dust and allergens within its mesh surface. Use in conjunction with your Swiffer duster to get up high or down low, too %26#8230; While I%26#8217;m environmentally aware (of course I recycle), I admit I%26#8217;m all about the disposable wipe. Panic sets in when I%26#8217;m running low on Clorox or Lysol branded disinfecting wipes. I use them on everything from kitchen counters to outdoor furniture. So it makes sense I%26#8217;d flip for Weiman Stainless Steel Wipes ($6.50, at Target), a quick fix when my stainless-steel appliances are smeared with butter, flour or olive-oil fingerprints %26#8230; Drip a little chocolate on your slipcover? Did the dog mess up the duvet? Take out stubborn spots with our favorite: Incredible Stain Remover ($6, at supermarkets), Locally made, this nontoxic wonder works on clothing, upholstery, and synthetic carpets and rugs to lift stains including blood, latex paint, grass and coffee %26#8230; We have a Lucite habit at this magazine. Not sure how to clean this mod surface? Try one of the three formulas from Novus: a cleaner and light and heavy scratch removers ($10 for the trio, at The Container Store).

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The Kitchen and the W.C.
My clean-freak friends keep urging me to let go of my blue Oxo sponge mop and bucket of sudsy water. I tend to vacuum my kitchen and bathroom floors then go old school with lavender-scented Fabuloso Multi-Purpose Cleaner ($4, at supermarkets), but my friends swear by the spray-bottle version spritzed on a Bona Microfiber Floor Cleaning Cloth (two for $7, at Bed, Bath and Beyond), pinched on the end of Bona%26#8217;s floor-sweeper tool. It%26#8217;s strange that I resist, really, because I%26#8217;m completely sold on the Bona Hardwood Cleaner ($9, at Bed, Bath and Beyond, Target) for my polyurethane-coated parquet hardwoods, and I employ that very method: squirting it across the floor from one corner of the room to the other, working my way backwards with a damp microfiber cloth adhered to the sweeper tool. I guess old cleaning habits are hard to break %26#8230; Sprayway World%26#8217;s Best Glass Cleaner ($6, at Restoration Hardware) is a great way to keep mirrors and glass tops streak-free. Just don%26#8217;t use cheap paper towels then complain there%26#8217;s lint all over the surface. That would be the paper towels, my dear. Get some microfiber cloths and a good washing machine, and do a load with just your dish towels, sponges and microfiber cloths. (The Container Store carries Casabella%26#8217;s window-shining microfiber cloths for $5, as well as others specially suited for other cleaning tasks.) %26#8230; If you%26#8217;re guilty of letting things go in the W.C. (or live part-time in a home and don%26#8217;t frequently run the plumbing), trust KRC-7 Bathroom Cleaner Restorer ($9, at berings.com) to remove stubborn hard-water stains and soap scum %26#8230; Loathe those porous lime deposits and rust stains that ring your toilet bowl? Pick up a bottle of Professional Vani-Sol High Acid Bowl Cleanse ($10, at berings.com) %26#8230; Week to week, I clean my bathroom counters, tub and tile surround with foaming Scrubbing Bubbles, but when I want a mean clean, I spray on Weiman Soap Scum Remover for Bathrooms ($5.50, at Tom Thumb) and tackle it with a scrub brush %26#8230; Once in a while, I%26#8217;m ambitious enough to pour some thick Clorox Plus Splash-less Bleach onto the countertops, let it seep into the grout and rub it in with a stiff brush (or an old toothbrush, if I%26#8217;m feeling really meticulous). Or I pull out the heavy-duty artillery: Marc Tile %26amp; Grout Cleaner ($13, at berings.com). This drip-less gel is great for vertical jobs such as shower walls made of tile, fiberglass, concrete and glazed surfaces.

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Housekeeping Haunt
Restoration Hardware is one of our newfangled troves for old-school housekeeping. Everyone should have a basic all-purpose bristle brush ($15). And did you realize that potpourri-looking %26#8220;sponge%26#8221; is actually designed to clean lampshades? Yup.%26nbsp; Meanwhile, those with sensitivities should try Restoration%26#8217;s nontoxic Porcelain Sink Cleaner ($12) and Commode %26amp; Bathtub Cleaner ($12). Leather cleans up well with R.H%26#8217;s cream-formula Leather CPR Cleaner %26amp; Conditioner ($15). For those tough cleaning jobs that require more than rubber-glove protection, tie on this vintage striped apron (suitable for either sex, $49) to keep splatters from your clothes. And keep plenty of microfiber cloths at the ready %26#8212; these three in cool, steely gray are excellent specifically for natural and synthetic stone counters and tiles ($20). All at Restoration Hardware.

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The Closet
Fortunate enough to have a cedar closet? Giles %26amp; Kendall Cedar Oil ($19, at amazon.com) %26#8212; extracted from 100 percent natural oil of eastern red cedar wood %26#8212; restores that outdoorsy, critter-repellent scent that evaporates over time. Lightly sand your cedar surface, then wipe it down with a cloth dampened with this oil. Or, bomb-blast them with SLA Reefer-Galler Cedar Scented Spray ($8, at kilianhardware.com) and fake out moths, ants, silverfish and other unmentionables with its cedar scent. It%26#8217;s non-staining, too, so you don%26#8217;t have to worry about your Galliano dresses %26#8230; Holding your nose? The Gonzo Closet Odor Eliminator ($5, at berings.com) is a plastic mesh pouch filled with tiny volcanic minerals that suck dry-cleaning chemical odors, smoke and musty scents from the recesses of your boudoir for eight to 10 months. To restore its effectiveness, simply remove it from the closet and let dry in direct sunlight for six hours.

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Sparkly Silver
Fine antique silver collectors tend to agree that any good polish probably will not harm your prized silver pieces. But many of them rely on Hagerty products because they%26#8217;re gentle and have an inoffensive smell. Collectors are especially mad for Hagerty Silversmiths%26#8217; Wipes ($7, at Westlake Hardware, nancysilver.com), which are great spot cleaners. Some other dos and don%26#8217;ts:
%26#8226; Never use anything but a soft cotton cloth to polish or dry silver. Don%26#8217;t use paper towels (they scratch) or brushes except on very ornate silver %26#8212; and then, as little as possible.
%26#8226; Tarnish is caused by sulfides from food, contact with rubber, smoke or gas in the air. Hagerty Silver Protection Strips ($7, at The Container Store) work wonders to retard tarnish when kept in cabinets or drawers, because they absorb sulfur from the air in closed spaces.
%26#8226; Rinse mustard and salt from silver objects quickly to avoid corrosion. For tarnished tines, many collectors rely on Hagerty Silversmiths%26#8217; Wash ($8, at nancysilver.com). At a dinner party, keep a plastic dishpan of soapy water in the kitchen. As the table is cleared, submerge everything (save for the knives %26#8212; soaking antique knives is not a good idea) and wash them the next morning.
%26#8226; Avoid cleaning your flatware in the dishwasher. The chemicals in detergents frequently remove all the accumulated (and desired) patina from ornate silver.
%26#8226; Finally, if you use silver keepers and specially treated cloth bags, know that the effectiveness of these products fades after five to 10 years of exposure to the air. Closets lined with silver cloth lose their effectiveness after about eight years.%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;%26nbsp;

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More About Metals
Need to clean metal of a different sort? Cape Cod Metal Polishing Cloths ($5, at Sur La Table) are pre-moistened to wipe away tarnish from pewter, brass, chrome, stainless steel, aluminum and more. Store them in a Ziploc bag to reuse %26#8230; If a little kosher salt and fresh lemon juice doesn%26#8217;t do the trick on those fancy French E. Dehillerin copper pots, try the Twinkle Brass %26amp; Copper Cleaning Kit ($5, at supermarkets). It even has an anti-tarnish ingredient to keep your brass and copper brighter longer %26#8230; Trust Maas Metal Polish ($7, at Westlake Hardware) on your most particular metals and surfaces, from platinum to bronze and magnesium.

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Rug Remedy
Fine rug experts caution clients not to use any over-the-counter cleaners %26#8212; including vinegar, which can damage wool and other natural fibers (even though it works fine on artificial ones). Not only does vinegar often leave behind spots or chemicals that dehydrate wool, but it can make the pile stiff and brittle, robbing fibers of natural repellents such as lanolin. Wet the spot with soda water or cool tap water, then blot (resist rubbing) from the center outward with white paper toweling. (To pick up more moisture, simply step on the towels.) Allow air to circulate around the spot from the top and bottom. One more thing: Beware of the possibility of dye-run, which may not be immediately apparent. If anything looks amiss, stop what you%26#8217;re doing immediately and call a pro.

Keeping Up Appearances

Wed, 26 May 2010 05:48:06 GMT

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Spic'n Span

Talk about a multitasker. Jill Brown, owner of the antiques shop Brown, says The Original Bee%26#8217;s Wax ($11, at Brown) shines up granite like a dream, making its surface acid resistant, too. This aerosol wax prevents bathroom mirrors from fogging and cleans stainless steel to a fingerprint-free shine. And we haven%26#8217;t even mentioned its ability to clean, protect and moisturize wood furniture without a waxy buildup %26#8230; Goddard%26#8217;s Granite %26amp; Marble Polish ($6) also does the trick on granite and marble. And it can take on porcelain, Corian, Formica, tile and natural stone, sealing and protecting their surfaces %26#8230; Girl, don%26#8217;t chip your Chanel polish. Protect that fresh mani with Casabella Water Stop Gloves ($6, at Bering%26#8217;s, The Container Store), then dive those pink paws into your sink of soiled stemware %26#8230; One drop of Restaurant Crystal Clean ($20), and a soft sponge is all you%26#8217;ll need to remove butter, olive oil, fingerprints and lipstick marks from your Baccarat glasses without etching, clouding or pitting their surfaces. For every wine connoisseur who insists he or she can detect the slightest scent of Dawn, this was made for you %26#8230; What on earth did I do before Mr. Clean Magic Eraser Original (two for $4, at supermarkets) was invented? Touch up paint constantly, that%26#8217;s what! This miraculous white eraser, which literally disintegrates like an artist%26#8217;s eraser, can remove stubborn black marks from walls, doors, glass and baseboard surfaces. Try it on marred white leather tennis shoes, too %26#8230; Every week, I faithfully pull a couple of Pledge Dust %26amp; Allergen Unscented Dry Cloths ($6, at supermarkets) from beneath my kitchen sink to dust every surface I can find %26#8212; even electronics. This disposable quilted cloth (Why would you want to keep a dust cloth, pray tell?) traps dust and allergens within its mesh surface. Use in conjunction with your Swiffer duster to get up high or down low, too %26#8230; While I%26#8217;m environmentally aware (of course I recycle), I admit I%26#8217;m all about the disposable wipe. Panic sets in when I%26#8217;m running low on Clorox or Lysol branded disinfecting wipes. I use them on everything from kitchen counters to outdoor furniture. So it makes sense I%26#8217;d flip for Weiman Stainless Steel Wipes ($6.50), a quick fix when my stainless-steel appliances are smeared with butter, flour or olive-oil fingerprints %26#8230; Drip a little chocolate on your slipcover? Did the dog mess up the duvet? Take out stubborn spots with our favorite: Incredible Stain Remover ($6, at supermarkets). This locally made, nontoxic wonder works on clothing, upholstery, and synthetic carpets and rugs to lift stains including blood, latex paint, grass and coffee %26#8230; Not sure how to clean your mod Lucite surfaces? Try one of the three formulas from Novus: a cleaner and light and heavy scratch removers ($10 for the trio, at The Container Store). All at Bering%26#8217;s unless otherwise indicated.

%26nbsp;

The Title Says It All:
Wanted, a Young Woman to Do Housework (Applewood Books, $11.95; originally published in 1917). Forward-thinking author Clara Helene Barker deftly applied basic business principles to the running of an early 20th-century household, back when there were a Jeeves, a Nigel and a host of live-in staff to manage. Think of it: Today, Ms. Barker could be running a multinational corporation %26#8212; or possibly a franchise of Merry Maids. At Brown.

Who says household chores have to be drudgery? Not Alice Supply Co., which kicks in some fun by retooling broom handles ($26), dust pans ($22) and brushes ($20), buckets ($36), garden hoses ($42) and toolboxes ($66) with cool camouflage, bright lime, faux wood grain and jaunty multicolored and nautical stripes. At alicesupplyco.com.

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Rug Remedy
Fine rug expert Carol Piper cautions clients not to use any over-the-counter cleaners %26#8212; including vinegar, which can damage wool and other natural fibers (but works fine on artificial ones). Not only can vinegar leave spots or chemicals behind that dehydrate wool, but it can make the pile stiff and brittle, robbing fibers of natural repellents such as lanolin. Piper suggests you wet the spot with soda water or cool tap water, blotting (resist rubbing) from the center outward with white paper toweling. Allow air to circulate around the spot from the top and bottom. Piper has removed all sorts of stubborn stains, from ketchup to red wine, this way. One more thing: Watch for signs of dye-run, which may not be immediately apparent. If anything looks amiss, stop what you%26#8217;re doing immediately and call a pro.

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The Kitchen and the W.C.
Ruth Bridges, my go-to-gal who stands guard over Bering%26#8217;s mighty cleaning-product aisle, keeps urging me to let go of my blue Oxo sponge mop and bucket of sudsy water. I tend to vacuum my kitchen and bathroom floors then go old school with lavender-scented Fabuloso Multi-Purpose Cleaner ($4), but Bridges swears by spray-bottle Fabuloso spritzed on a Bona Microfiber Floor Cleaning Cloth (two for $7, at Bed, Bath and Beyond, Bering%26#8217;s), pinched on the end of Bona%26#8217;s floor-sweeper tool. It%26#8217;s strange that I resist, really, because I%26#8217;m completely sold on Bona Hardwood Cleaner ($9) for my polyurethane-coated parquet hardwoods, and I employ that very method: squirting it across the floor from one corner of the room to the other, working my way backwards with a damp microfiber cloth adhered to the sweeper tool. I guess old cleaning habits are hard to break %26#8230; Sprayway World%26#8217;s Best Glass Cleaner ($7) is a great way to keep mirrors and glass tops streak-free. Just don%26#8217;t use cheap paper towels then complain there%26#8217;s lint all over the surface. That would be the paper towels, my dear. Get some microfiber cloths and a good washing machine, and do a load with just your dish towels, sponges and microfiber cloths. (The Container Store carries Casabella%26#8217;s window-shining microfiber cloths for $5, as well as others specially suited for other cleaning tasks.) %26#8230; If you%26#8217;re guilty of letting things go in the W.C. (or live part-time in a home and don%26#8217;t frequently run the plumbing), trust KRC-7 Bathroom Cleaner Restorer ($9) to remove stubborn hard-water stains and soap scum %26#8230; Loathe those porous lime deposits and rust stains that ring your toilet bowl? Pick up a bottle of Professional Vani-Sol High Acid Bowl Cleanse ($10) %26#8230; Week to week, I clean my bathroom counters, tub and tile surround with foaming Scrubbing Bubbles, but when I want a mean clean, I spray on Weiman Soap Scum Remover for Bathrooms ($5.50) and tackle them with a scrub brush %26#8230; Once in a while, I%26#8217;m ambitious enough to pour some thick Clorox Plus Splash-less Bleach onto the countertops, let it seep into the grout and rub it in with a stiff brush (or an old toothbrush, if I%26#8217;m feeling really meticulous). Or I pull out the heavy-duty artillery: Marc Tile %26amp; Grout Cleaner ($13). This drip-less gel is great for vertical jobs such as shower walls made of tile, fiberglass, concrete and glazed surfaces. All at Bering%26#8217;s unless otherwise indicated.

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Housekeeping Haunt
Restoration Hardware is one of our newfangled troves for old-school housekeeping. Everyone should have a basic all-purpose bristle brush ($15). How about a potpourri-looking %26#8220;sponge%26#8221; specially designed to clean lampshades? Restoration has one. Meanwhile, everyone with sensitivities should try R.H.%26#8217;s nontoxic Porcelain Sink Cleaner ($12) and Commode %26amp; Bathtub Cleaner ($12). Leather cleans up well with their cream-formula Leather CPR Cleaner %26amp; Conditioner ($15). For those tough cleaning jobs that require more than rubber-glove protection, tie on this vintage striped apron, below (suitable for either sex, $49). And keep plenty of microfiber cloths handy %26#8212; Restoration sells cool, steely gray ones specifically for natural and synthetic stone counters and tile ($20 for three). All at Restoration Hardware.

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The Closet
Fortunate enough to have a cedar closet? Giles %26amp; Kendall Cedar Oil ($20) %26#8212; extracted from 100 percent natural oil of eastern red cedar wood %26#8212; restores the outdoorsy, critter-repellent scent that evaporates over time. Lightly sand your cedar surface, then wipe it down with a cloth dampened with this oil. Or, fake out moths, ants, silverfish and other unmentionables with SLA Reefer-Galler Cedar Scented Spray ($12). It%26#8217;s non-staining, too, so you don%26#8217;t have to worry about those Galliano dresses %26#8230; Holding your nose? The Gonzo Closet Odor Eliminator ($5) is a plastic mesh pouch filled with tiny volcanic minerals that suck dry-cleaning chemical odors, smoke and musty scents from the recesses of your boudoir for eight to 10 months. To restore its effectiveness, simply remove it from the closet and let dry in direct sunlight for six hours. All at Bering%26#8217;s.

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Sparkly Silver
Phyllis Tucker, owner of the antique silver shop on Ferndale that bears her name, is one of the leading experts on silver in the United States. She confides that any good polish probably will not harm your prized silver pieces. But she relies on Hagerty because it%26#8217;s gentle and has an inoffensive smell. She%26#8217;s especially mad for Hagerty Silversmiths%26#8217; Wipes ($5.50, at Bering%26#8217;s). Some other dos and don%26#8217;ts:

%26#8226; Never use anything but a soft cotton cloth to polish or dry silver. Don%26#8217;t use paper towels (they scratch) or brushes except on very ornate silver %26#8212; and then, as little as possible.

%26#8226; Tarnish is caused by sulfides from food, contact with rubber, smoke or gas in the air. Hagerty Silver Protection Strips ($7, at Bering%26#8217;s, The Container Store, Rice Epicurean Markets) retard tarnish in cabinets or drawers, by absorbing sulfur from the air in closed spaces.

%26#8226; Rinse mustard and salt from silver objects quickly to avoid corrosion. For tarnished tines, Tucker relies on Hagerty Silversmiths%26#8217; Wash ($8, at nancysilver.com). At dinner parties, she generally keeps a plastic dishpan of soapy water in the kitchen. As she clears the table, she submerges everything (save for the knives %26#8212; soaking antique knives is not a good idea) and washes them the next morning.

%26#8226; Avoid cleaning your flatware in the dishwasher. The chemicals in detergents frequently remove all the accumulated %26#8212; and desirable %26#8212; patina from ornate silver.

%26#8226; Finally, if you use silver keepers and specially treated cloth bags, know that the effectiveness of these products fades after five to 10 years of exposure to the air. Closets lined with silver cloth, Tucker says, lose their effectiveness after about eight years.

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More About Metals

Need to clean a variety of metals? Cape Cod Metal Polishing Cloths ($5) are pre-moistened to wipe away tarnish from pewter, brass, chrome, stainless steel, aluminum and more. Store them in a Ziploc bag to reuse %26#8230; If a little kosher salt and fresh lemon juice doesn%26#8217;t do the trick on those fancy French E. Dehillerin copper pots, try the Twinkle Brass %26amp; Copper Cleaning Kit ($5). It even has an anti-tarnish ingredient to keep your brass and copper brighter longer %26#8230; Trust Maas Metal Polish ($7) on your most particular metals and surfaces, from platinum to bronze and magnesium. All at Bering%26#8217;s.

Haines, His Way

Tue, 27 Apr 2010 06:49:07 GMT

So excited were we to learn that the 1966 Westover Hills house of Eddie Chiles was once decorated by William Haines, it propelled us into a frenzy (again) over the erudite designer better known as %26#8220;Billy.%26#8221; Although Haines once shared the silver screen with Joan Crawford, Carole Lombard and a host of Hollywood%26#8217;s boldest names, his second act %26#8212; as an interior decorator %26#8212; is what diehard fans of Haines still wax about today.

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Left: William Haines%26#8217; glamorous Petite Elbow Chair %26#8212;- meant to be sat upon sideways %26#8212;- in white sheepskin. Haines liked to pull them up to low coffee tables. Available through Allan Knight.

Right: Wood you? A custom Haines fire grate, originally for his office on Canon Drive in Beverly Hills. Black-finished iron with gold-finish brass points, through Allan Knight.

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Six feet tall and with a mane of dark hair and a baritone voice, Haines was every bit the Hollywood star. By 1930, the handsome 30-year-old was at the top of his game %26#8212; America%26#8217;s number-one male box-office attraction, employed by the biggest studio in Los Angeles. He racked up 52 movies as a leading man, usually as the smart-aleck hunk who, by the end of the film, wised up and got the girl. But in real life, Haines didn%26#8217;t want the girl. At a time when studios encouraged sham marriages and mock photo ops %26#8212; pushing gay men deeper into the closet %26#8212; Haines would have none of the hypocrisy. When MGM honcho Louis B. Mayer ordered Haines to change his %26#8220;lifestyle%26#8221; or get out, he got out.

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Left: The Ice Crystals sconce, of original acrylic, available only in left-and-right opposing pairs, through Allan Knight.

Right: A red-leather version of Haines%26#8217; famous Brentwood chair, available through Allan Knight.

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His sophisticated taste made his next profession a natural one: interior decorator. Haines, who detested the Art Deco and Moderne looks of the time, opened an antiques store and decorating business with longtime partner Jimmie Shields. Later he created a design lab behind the white-stucco fa%26#231;ade of his own English-style manor house, from which soon sprung a gorgeous new style: Hollywood Regency. Just think: tufted, chenille-upholstered chairs of blond wood, Lucite lamps, and pedestal dining tables paired with ebonized chairs. He fashioned tortoiseshell-spotted, glass-topped tables and tole-peinte trays atop faux-bamboo stands. He searched the world for antiques such as Federal beds, Chippendale chairs, high-gloss Sheraton tables and Aubusson rugs %26#8212; then combined it all with hand-painted wallpapers and chinoiserie. A-list Hollywood friends became clients: Crawford, Lombard, Jack Warner, George Cukor, Claudette Colbert, Lionel Barrymore, even Bette Davis. He courted the moneyed international set, too: Lee and Walter Annenberg, Betsy and Alfred Bloomingdale, Nancy Reagan. His world was a perfect mix of function and fashion %26#8212; quietly glamorous, equal parts feminine and masculine.

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Left: Haines originally designed the Pluto Pendant Lamp %26#8212; five feet high %26#8212; in 1953 for the Brody house in Los Angeles. Reproductions through williamhaines.com.

Right: "Class Act William Haines, Legendary Hollywood Decorator" ($95, November 2005, Pointed Leaf Press) by Peter Schifando of William Haines Designs and Jean H. Mathison, assistant to Billy Haines and Ted Graber for 30 years.

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%26#8220;William Haines was a tastemaker,%26#8221; says Jason Stein, specialist in charge of 20th-century decorative arts for Christie%26#8217;s. %26#8220;The look that he popularized was wonderfully theatrical, incredibly tasteful and is timelessly chic.%26#8221; Designer Peter Schifando, a prot%26#233;g%26#233; of Haines%26#8217; design partner Ted Graber, does his part to keep Billy%26#8217;s legacy alive, having developed the William Haines Designs collection in 1994, reproductions of original designs including the iconic Brentwood chairs, stunningly tufted sofas and wonderful Chinese Chippendale chairs. Spend some time at williamhaines.com. Order the definitive book, Class Act: William Haines, Legendary Hollywood Decorator, by Schifando and Jean Mathison, she a 30-year vet of Haines%26#8217; firm, 18 of those at his side. Put on a Haines film while you perch on your Elbow Chair. Soon, you, too, will be under the spell of darling Billy.

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Image at top of story: Haines%26#8217; iconic Brentwood chair, available in several glamorous incarnations from William Haines Designs, through Allan Knight.

Image below: William Haines

From the Ground Up

Tue, 30 Mar 2010 04:47:44 GMT

Have you ever uttered the phrase %26#8220;What%26#8217;s meant to be will be%26#8221; %26#8212; and, with every fiber of your being, really meant it? Then you can relate to the owners of this apartment at the swank new high-rise 2727 Kirby.

The busy duo%26#8217;s life sees them traveling between homes in New York City and Houston. And with children heading off to college, their big, rambling house in River Oaks began to feel rather lonesome for just two. That former home, set on a cul de sac surrounded by woods, was a very private, lush retreat that the accomplished couple enjoyed for nearly 18 years. But the husband was keen on moving up, up and away to a high-rise home.

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His wife needed a little convincing. Enter J. Randall Powers. %26#8220;When Randy%26#8217;s former apartment at the Four Leaf Towers came on the market, I recognized it from PaperCity because I keep files, and I%26#8217;m very visual,%26#8221; she says. %26#8220;We went to look at it, and seeing it made me realize, yes, we can make a high-rise situation into something we%26#8217;d be happy living with. I told my husband that if we could get Randy to do it, then I%26#8217;m in.%26#8221;

Powers signed on during the midst of their home-hunting escapades. They considered the Orion, than became quite serious about the Redstone and even put down a deposit. But when plans to construct both properties came to a screeching halt, they reexamined their options and were the first to buy into 2727 Kirby during its preconstruction phase. Modern and gleaming, the 30-story high-rise was selling units with a loft-like appeal. %26#8220;Loft-like%26#8221; didn%26#8217;t especially appeal to them, but the project%26#8217;s pet-friendliness and the flexibility to do as they wish certainly did. The scenario seemed destined to be.

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They confided to Powers and his colleague, Catherine Brooks Giuffre, that they longed for an apartment like you%26#8217;d find on the Upper East Side of Manhattan, with a gracious entry area and wings for sleeping and living. But they were also circumspect. They didn%26#8217;t want to purge all the acquisitions from their past house as many of Powers%26#8217; other clients had done. To the contrary: With a former house filled with Italian and French antiques from the finest antiquarians, Powers wanted to incorporate it all.

%26#8220;Like I preach to all my clients, I don%26#8217;t have a specific style,%26#8221; Powers says. %26#8220;I like English, I like modern. To me, it%26#8217;s more about the individual object. In this case, I was lucky enough to inherit all the Anns%26#8217; things (Ann Holden and Ann Dupuy, the New Orleans%26#8211;based designers of their last home). It was terrific stuff %26#8212; things I would have chosen. There wasn%26#8217;t anything that wasn%26#8217;t wonderful, like some horrible Victorian golden oak platform rocker that your client wants you to somehow incorporate into the room.%26#8221;

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Powers took one large 3,300-square-foot space and masterfully reconfigured it inch by inch. %26#8220;I thought about it from the standpoint of how I would want to live in it, how I would use it and, at the end of the day, where I would want to entertain and have downtime,%26#8221; he says. %26#8220;When we first saw the plans, there was no consideration for a proper furniture layout. It%26#8217;s a hard thing to transition from a large home to a high-rise and not feel as though you%26#8217;re living in an office building. The flow initially was wrong; it felt like you%26#8217;d walk yourself to death in this apartment. I felt all the living areas should be together and all the bedrooms should be situated in another wing.%26#8221;

Just inside the front door, you now enter a small, gracious entry with a French antique writing table and an Henri Beguelin woven-leather-cord bench, lit with a modern Tizio lamp and a pair of vintage gilt-bronze branch lights. Originally there was no hallway to house the clients%26#8217; art collection; Powers designed a long corridor to separate the sleeping wings on the left from the dining and living rooms just past the entry on the right, and thus provided an expanse to display their collection. The kitchen, discreetly housed behind two closed doors on either side, opens up to the study/media room at the far right end of the hall %26#8212; perfect for the couple%26#8217;s college-age boys, when they are home, to stay up late at night with friends, watching movies without disturbing slumbering parents.

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To warm the clean, cool, modern lines of the building, Powers played with wall coverings. %26#8220;I couldn%26#8217;t see using paint at all. To me, it felt too cold in such a vast space,%26#8221; he says. %26#8220;There%26#8217;s no life to paint; it%26#8217;s too saturated. You can%26#8217;t achieve the coziness with paint that you can with some sort of wall covering. In the end, we covered 95 percent of the walls in textured silk, grasscloth or dog-friendly options.%26#8221; Not only was papering the corridor walls with Donghia%26#8217;s vinyl-covered grasscloth a practical solution for such a narrow, high-traffic area, but it foils the eye, hiding the distinction between utilitarian vinyl paper and the luxurious silk that cloaks the living and dining rooms. And one never worries about scuffing them with suitcases or packages.

Powers is choosy about his work. %26#8220;I don%26#8217;t take on just any project,%26#8221; he confesses. %26#8220;I have to like the people, the space. In the case of this residence, it was at least a two-year commitment, and at the end of the day, you%26#8217;re married %26#8230; Here it was interesting because the apartment was so modern, but with the clients%26#8217; exacting taste and the trust they were bestowing upon me, I knew it was a good fit. We had seen how the space was supposed to turn out from all the glossy literature, but that was not exactly what either one of us wanted. For me, there has to be a challenge in it. In the end, the client and I are thrilled with the reconfiguration and the outcome. It%26#8217;s beautiful, functional and exactly what they wanted.%26#8221;

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Click on "launch slideshow," above, to tour the beautiful high-rise apartment and to see extra images.%26nbsp;

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Image at top: The dining room features a puzzle-like Hobbs table by Rose Tarlow with klismos-style chairs from Wickerworks. Old Roman torso. Italian 22K white-gold-leaf wooden clamshell from Dennis %26amp; Leen of Los Angeles. Two mirrored Maison Jansen pedestals from Margaret Doyle Antiques of Maine. Plaster lamps by J. Randall Powers.

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Second image: In the living room, a pair of Louis XVI fauteuils is covered in hand-screened vintage Nomi fabric through David Sutherland Showroom. Oushak rug from Stark Carpet. The Alberto Giacometti%26#8211;inspired cocktail table was purchased at designer Jon Green%26#8217;s first Houston retail store, Attica, as was the sofa, which is now covered in Rose Tarlow silk velvet. Antique Louis XVI%26#8211;style 19th%26#8211;century daybed from Kirby Antiques, covered in kid leather by Jerry Pair. Holden %26amp; Dupuy end table. Hargett polished-nickel table lamp and%26nbsp; Lancaster gilt floor lamp, both created by J. Randall Powers for Visual Comfort. Flowering quince from David Brown.

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Third image: The entry includes an 18th-century French desk with a pair of mid-century Felix Agostini gilt-bronze branch wall lights. Woven-leather bench by Henry Beguelin, through Barneys New York. The rare white Tizio lamp makes a mod contrast with the French 19th-century gilt mirror. Bespoke cow-skin rug created by Stark Carpet.

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Fourth image: In the study, four Ford Beckman paintings hang from bookshelves. Framing the window is a pair of Alberto Giacometti sconces. Paul Dupr%26#233;-Lafon cocktail table through Carole Gratale Incorporated. Donghia furniture covered in Lee Jofa linen velvet. Raw-silk wall coverings and window treatments from Kneedler-Fauch%26#232;re, Los Angeles. Peonies from David Brown.

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Fifth image: Just off the living room, the balcony was designed by Shauna Curtis of Urban Garden. Janus et Cie powder-coated aluminum Azimuth pieces upholstered in outdoor fabric by Perennials. Black fiberglass planters from Thompson + Hanson.

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Image below: The dining room, which adjoins the living room, pairs a Hobbs table by Rose Tarlow with klismos-style chairs from Wickerworks. Old Roman torso. Italian 22K white-gold-leaf wooden clamshell from Dennis %26amp; Leen of Los Angeles. Acrylic-on-canvas piece by Ibsen Espada from Sicardi Gallery, flanked by mirrored Maison Jansen pedestals from Margaret Doyle Antiques of Maine. Plaster lamps by J. Randall Powers.

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The Swoon Factor

Tue, 30 Mar 2010 03:04:50 GMT

If you squint just so, you might be in 1950s Palm Springs %26#8212; or Coco Chanel%26#8217;s beach house, if she had one. Wherever you %26#8220;are,%26#8221; it only took one step into the airy white box that decorator Ashley Tripplehorn calls home to get there. Gobs of natural light swirl around you. Your eyes skip along the sinuous sweep of a curvy, low-slung sofa, then across a pair of Venetian chairs pulled up to a wiry little Platner table. The palette inside the box? Watery pastels, soft greens and pops of what Tripplehorn calls %26#8220;Est%26#233;e Lauder blue,%26#8221; her favorite. Underneath it all, the glimmer and gleam of bare terrazzo floors. The effect is a little bit Morris Lapidus, a little bit John Saladino and a whole lot Ashley Tripplehorn.%26nbsp;%26nbsp;%26nbsp;

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Heady design company, indeed, for such a young gal. But Tripplehorn packs a serious C.V. %26#8212; a degree%26nbsp; in art history from Mary Baldwin College, a masters in interior design from George Washington University, plus stints at Sotheby%26#8217;s, The Phillips Collection, the Smithsonian, two Washington-area design firms and with top Dallas decorator Emily Summers %26#8212; that belies her breezy spirit. The girl knows her stuff, and she demonstrates it unequivocally in her own home, the aforementioned box, a straight-lined stunner by Bud Oglesby that is coolly wedged among the Tudors and traditionals of Greenway Parks. Built in 1954 for architecture lovers Charles and Helen Storey, the house is indeed a solid brick shoebox, with a flat roof and precious few openings in its fa%26#231;ade and sides. But in the back, break out the Windex: Oglesby punctured the box with copious amounts of glass, all to beckon the outdoors in. The house%26#8217;s main living space comes with its own bit of drama, too: Half of the immense rectangular room has eight-foot ceilings and the other half is double-height, pierced by a ruler-straight, open steel staircase that connects the two stories %26#8212; movie-star entrances guaranteed. Tripplehorn first saw the house about three years ago, when it had languished on the market for six months, and it took another six months to close the deal. Once her name was on the deed, though, the house got a thorough freshening. %26#8220;I didn%26#8217;t do anything structural at all,%26#8221; she says (good girl), %26#8220;but I did change every finish, all the hardware, everything.%26#8221; Now the house glows with its all-over white paint job, inside and out, and subtle upgrades galore. Today, it%26#8217;s a 4,400-square-foot stage for the bawdy Tripplehorn (her elegant exterior camouflages a very robust sense of humor) and her Yorkie, Toots.

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But the house is also world headquarters for Tripplehorn Hoak Interiors, where Tripplehorn and design partner Dee Dee Hoak concoct sophisticated interiors that are equal parts precise and posh. %26#8220;She is the confirmed modernist,%26#8221; says Tripplehorn of Hoak, %26#8220;and I like %26#8216;pretty.%26#8217; We are the perfect balance!%26#8221; Nowhere is it more evident than chez Tripplehorn, where Alvar Aalto chairs face off to a French settee in a breakfast nook, and where a long, low mid-century bench wears cushions %26#224; la Fortuny, and not the expected hopsack. Everywhere you look, you see what Tripplehorn calls %26#8220;that push-pull%26#8221; %26#8212; curved against square, old against new. There%26#8217;s something else Tripplehorn relishes, she says, as she looks out across her all-white living room propped with glamorous, feminine furniture. %26#8220;I love that swoon factor,%26#8221; she says, doing a little involuntary swooning herself, %26#8220;where you come in and you go aahhh.%26#8221;%26nbsp;

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Click on "launch slideshow," above, to tour Ashley Tripplehorn's beautiful house and to see extra images %26#8212; only on papercitymag.com %26#8212; including her breakfast room and three of our "scouting shots," taken before the actual photo shoot.

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Image at top of story: The living room%26#8217;s star piece, a jaunty wingback chair of unknown provenance, found at White Elephant Antiques. Tripplehorn loves transforming things %26#8212; hence the chair%26#8217;s new white paint and Manuel Canovas silk velvet upholstery. The tall cigarette table is from Global Views; the round mirror over the fireplace is from the antiquarian David Bell, a good friend of Tripplehorn%26#8217;s from her time in Washington, D.C. On the mantel? A spray of spectacular Phalaenopsis orchids from Avant Garden.

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Second image in story: This is where Chanel, Lapidus, Saladino and Tripplehorn would talk design if they could. The lounge side of the living room %26#8212; the ceiling here is double the height of the fireplace side %26#8212; with its marvelous mash-up of furnishings. The low sofa, on a goatskin-covered base, is in the style of Andr%26#233; Arbus; Tripplehorn won it at a Wright auction (%26#8220;No one bid on it!%26#8221;) and had it upholstered in Scalamandr%26#233; linen velvet. The cantilevered cocktail table is the Lunario, designed in 1970 by Cini Boeri. Flanking it, an antique Venetian chair, left, and a 1930s perforated-steel chair, right, its cushion upholstered in a former skirt of Tripplehorn%26#8217;s that she loved. The wall-mounted screen is antique Japanese.

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Third image in story: Along a wall in the main living space, Tripplehorn parks a 1950s bench from Century Modern %26#8212; upholstered in Groves Bros. fabric, perfectly reproduced from vintage Fortuny fabric that her mother had %26#8212; under a photograph by Raissa Venables, from the Klaudia Marr Gallery in Santa Fe. The plaster lamp belonged to Tripplehorn%26#8217;s grandmother.

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Image below: Decorator Ashley Tripplehorn, of Tripplehorn Hoak Interiors, at home.

Behind the Camera: Angie Barrett's Penthouse

Tue, 29 Dec 2009 05:38:00 GMT

Orange rubber gloves, a pink tool kit and scribbled notes from Sharon Stone? Click on "launch slideshow," above, to see what we saw behind the scenes at La Barrett's posh new pad.

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To see Angie Barrett's penthouse in our January issue, click here.

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To go on the portrait shoot, 23 stories above Dallas with no railings, click here.

'Single' Chic

Wed, 30 Dec 2009 05:25:48 GMT

She had us at "Tanqueray." When Julianne Moore coos to Colin Firth in%26nbsp;A Single Man, "Be a darling and pick up some gin for me. Tanqueray. I love the color of the bottle," we were toast. No turning back. We were already in love %26#8212; and now always will be %26#8212; with A Single Man's 1960s style, but the Tanqueray moment sealed the deal. Firth's midcentury lair? Perfection. His Mercedes-Benz coupe? Chills. Moore's pink cigarettes and furry white vanity chair? Somebody pass the smelling salts. Indeed, the film is achingly stylish, as we knew it would be, but there is substance spooling onto the screen, too. From the first flicker to the last, the talented Tom Ford beautifully adapts a tale of true love, twists of fate and those teeny-tiny moments that can sometimes justify an existence. Believe us, the film is so much more than pretty gin and pretty cars. However, if you, like us, are equally inspired by the luxe look of it all, here's a terribly brief primer on how to live like A Single Man %26#8212; and his wise-cracking, red-headed best pal.%26nbsp;

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The digs: Key to the look is a glass-and-wood house of cerebral leanings (think about the Vandamm house in North by Northwest). Lucky for you, Colin Firth's actual house in A Single Man %26#8212; a 1949 stunner by John Lautner %26#8212; is for sale, by design-savvy Realtor Crosby Doe of Crosby Doe Associates in Beverly Hills. Pack your valises and bring $1,495,000: You're moving to 527 Whiting Woods Road in the Los Angeles suburb of Glendale.

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The wheels: Firth motors about in a terribly urbane coupe, a Mercedes-Benz 220 S of the 1956 to 1959 vintage. In the movie's early '60s era, Mercedes-Benzes were still rare in the States, not the ubiquitous sights they are today, making this a very telling choice for Firth's professor character, George Falconer. It says Falconer is a quiet individualist who prefers quality and intelligence over flash and fins. Find yours at eBay Motors or at specialist site MBZPonton.org.

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The update: While we will always prefer a period Benz, if you must go modern, the new E-Class Coupe is today's equivalent to Falconer's car. In fact, its rear haunches wink at the famous ponton (German for "pontoon") fender styling of the 1950s and '60s Mercedes-Benzes.

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The smokes: Julianne Moore, as Charley, George's bawdy %26#8212; and British %26#8212; best friend, puffs on pink cigarettes by Sobranie of London and (not coincidentally) delivers the film's most fabulous one-liners. ("I'm dyyyying for a dose of you!" "More smoking and more drinking and screw it all.") Sobranies have been made since 1879 and were reportedly supplied to the royal courts of Romania, Greece, Spain and, indeed, Great Britain. (Imagine those one-liners.) Source your Sobranies online, at about $40 per carton.

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The rings: Wouldn't an old-school rotary telephone feel good right now? Weighty equipment for weighty (or not) news. Firth takes a fateful call on a beige desk number; Moore, of course, purrs into a Princess. Dial up your style at OldPhoneWorks.com or RotaryDialPhones.com.

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The update: What would George and Charley chatter on today? We think Bang %26amp; Olufsen's Beocom 1401, a modern classic in our books. Simple, tactile, and with magnificent sound %26#8212; you won't miss a single barb.

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The reads: Firth's George Falconer is the literary sort %26#8212; after all, he is a college professor. Among the works singled out in A Single Man: Truman Capote's Breakfast at Tiffany's, Franz Kafka's Metamorphosis and, most prominently, Aldous Huxley's After Many a Summer, which Falconer discusses in class. Hunt for your pedigreed page-turners at vintage bookshops or online.

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Bowled over: We spied a Heath Ceramics ashtray on Firth's desk at the university where he teaches. It's as smooth and restrained as he is. Find your vintage one on eBay (Heath no longer makes the ashtray) or prop your own lair with loads of plates, cups, bowls and vases at HeathCeramics.com. The California company has been making mini masterpieces by hand since 1948, all sophisticated, all sinuous.

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The update: If only George had waited a few years, we think he would've opted for Arne Jacobsen's rotating ashtray from his urbane Cylinda series, designed from 1964 to 1967. Just one flick of the rotating scoop and %26#8212; whoosh %26#8212; no evidence that you've been puffing pink Sobranies while the students aren't looking.

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The tickers: Time itself is a recurring character in the film %26#8212; Firth is up against a self-imposed deadline, and ticking clocks, even in Firth's Mercedes, figure heavily in the plot. Wind up a Westclox, the same brand propped on Firth's stylish bedside table, through several sites, including VintageWestclox.com and ClockHistory.com.

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The update: The minutes would be easy to measure with designer Gideon Dagan's Timesphere Clock for MoMA. It certainly would've given Falconer a reason to keep his eye on the (red) ball.

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The tunes: Julianne Moore drops a needle onto a scratchy record. Violins wail. Etta croons. We swoon. "Don't know why/There's no sun up in the sky/Stormy weather..." (Get your Etta fix at iTunes %26#8212; "Stormy Weather" is on her definitive "At Last!" album %26#8212; or on Amazon.com. Other great ditties in the film: Jo Stafford's "Blue Moon," Serge Gainsbourg's "Baudelaire" and the groovy "Green Onions" by Booker T. %26amp; The MGs.)

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The update: A gorgeous score for a gorgeous film. Haunting melodies by Polish composer Abel Korzeniowski and lilting pieces by Japanese composer Shigeru Umebayashi are mixed with with Etta James' aforementioned "Stormy Weather" and a classic "Blue Moon" by Jo Stafford. Perfection, all for just $9.99 on iTunes and at Amazon.com.

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The writing paper: Falconer pens his poignant notes on Smythson stationery, the hallmark of a gentleman, indeed. (We suspect the actual hand doing the writing is Tom Ford's, though %26#8212; we've seen his elegant cursive on a notecard or two in our day.) The lovely people at Smythson of Bond Street do confirm that Falconer's stationery is their White Wove paper, with "GEORGE FALCONER" in black ink, in the Hamilton Hall font, a font exclusive to Smythson and only available via their boutiques. Order a sheaf ASAP, and maybe Ford will scribble something salacious to you on the top sheet.

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The wrap: Firth's final scene %26#8212; the poignant ending we bet you didn't see coming %26#8212; happens in a smart gray robe. It looks like cashmere and we suspect it's by Tom Ford. (We're waiting to hear back from Tom on that.) In the meantime, swaddle yourself in this heather-gray version from Williams-Sonoma Home. It's pure cashmere and just $398. But please, don't follow in Firth's footsteps quite so slavishly, re: that surprise ending.

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%26nbsp;Julianne's gin: We'll drink to that. (And she's right about the bottle color.)

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The bonus: Extra points if you can spot Richard Buckley, Ford's partner of 20-plus years, in the film. It's a two-second appearance, a la Hitchcock's own famous cameos, and real Ford-ophiles won't miss it. Here's a shot of Richard, fashion journalist and former editor of Vogue Hommes International, to aid novices. Good luck out there.

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%26nbsp;Movie stills: Copyright The Weinstein Company

Schaffer house: Judith Lautner, The Lautner Foundation