I stopped for a manicure the other day, then realized, as I was heading back to my car, that Trader Joe’s (which shares the parking lot) had an interesting variety of pumpkins piled outside. Of course, I checked out the display and they were even more appealing up close, not to mention well-priced!
And that was the nudge that pushed me into fall.
In truth, I had already picked up a few cute pumpkins and updated planters with mums, the latter because the previous blooms had totally withered in the last of summer’s heat. Now, however, I was into the new season. I cut two big buckets of drying hydrangea blooms and arranged them into several plump bouquets.
More than that, however, I began my quest for my own pumpkin patch in the front yard. It’s a challenge to see how many different kinds of pumpkins I can find — green, pink, white, orange — and I also have to protect them from from nibbling by squirrels, rabbits, and whoever else stops by for a bite of pumpkin. And don’t get me started on how easily specimens with soft spots or tiny breaks in their skin can readily rot into messy, mushy piles. (If it sounds like I have had experience with this, you are right.)
This year I armed myself for serious pumpkin protection (or maybe I just need a hobby?). I washed them with soapy water seasoned with a splash of bleach. After they were dry, I spread them on a drop cloth and sprayed them with a clear coat sealer. I have no idea if these precautions will work, but they come from other bloggers who seem to know what they’re talking about. (Which really means they take their seasonal decorating much more seriously than I do.)
I’ve also done my best to spread some autumnal cheer inside. I have an admirable collection of dried gourds, collected over several years, that I rely on for inside scene-setting at this time of year, but they are currently trapped under the basement stairs behind bookcases and toolboxes re-located for the duration of our drainage repairs (which should be wrapping up in another week or two. Hooray!!). So instead, I’m using more pumpkins, fruit, fresh and faux leaves to set the scene inside.
Most importantly this has fed my puttering/tweaking gene, which spills over into a bit of fall cleaning, polishing and generally dusting-up. (My grandma would be pleased.) My house needed the attention and I needed the “therapy.”
In thinking about this blog post, it occurred to me that though I never thought of myself as a “French Riviera kind of girl,” after our visit there last fall, I’d go back in a heartbeat.
The French Riviera is incredibly beautiful. Blue skies, even bluer Mediterranean water, sunsets that defy any camera to adequately capture them. Turn away from the water and there are hilltops covered in the tiled roofs of villas and, beyond that, mountains.
We included the Riviera on our “great French road trip” because getting that close and skipping it would be foolish, and we wanted make at least some some stops on the “art trail” in the South of France. (You may recall we had been making our way along the western coast of France, beginning in Rouen, then Normandy and Mont St. Michel, before heading to the chateaus in the Loire and then wine tasting in Bordeaux.)
After a beautiful cruise thru the French countryside, with the occasional walled chateau or abbey along the road, we found ourselves navigating in bumper-to-bumper traffic on ridiculously narrow streets, lined with parked cars on each side and street vendors selling everything from sunglasses to take-out dinners. Bikes and pedestrians criss-crossed our paths. What had we done?
But wait, it gets better.
As we motored our way thru the congestion (it was Friday afternoon, the last Friday on the last weekend of the season as it turned out), we were trying to follow Google’s directions to our hotel in Juan les Pins, across the street from Antibes. Google meant well, but when she said turn left, she meant at the intersection we passed 20 yards ago. After a series of ridiculously convoluted detours, we finally pulled into a “parking space” on a sidewalk among a number of other cars and walked to the hotel. Then, having a somewhat better grasp of where to go, Steve moved the car to the underground garage where we happily left it until Sunday morning! (This park nd walk maneuver is one of our best tips. Sometimes finding someplace on foot is easier.)
Our room was large and lovely with a tiny balcony from which we could see the Mediterranean. We would be here for four nights. I don’t think we’d fully appreciated how much we had been “on the road” until now, stopping only for one or two nights along the way. And what a place to take a break. We walked down to the beach, found an empty cafe table, a glass of wine and just enjoyed the sunset. The next morning, after a leisurely hotel breakfast, we walked — yes, walked — about eight blocks, a little uphill and then down, and we were in Antibes!
The French Riviera is a string of cities like Nice and Cannes, and smaller cities and even villages along this lovely coast. We chose Juan les Pins/Antibes as a base because it was smaller than Nice and not as “high end” as Cannes. We could stay close to the water for a reasonable price. All of these cities are connected by a train line than runs frequently throughout the day, like a commuter rail. In fact on Monday, we walked to the station and took a short train ride to Nice.
This is Picasso country
Antibes was a fairly busy place on a Saturday morning, but we easily found our way to the Old Town with the usual tangle of charming, narrow streets and interesting shops. Our destination was the Picasso Museum. (Actually, there are Picasso Museums all over France it seems. I have also been to one in Paris.)
This was on a Saturday morning and we had been taking our time, ooh-ing and aaah-ing over the Antibes waterfront and wandering thru the old town. We arrived at the ticket office just before noon. We walked up to the ticket wndow along with some other visitors only to have the ticket-seller (who on this day was apparently also the ticket-taker) announce to all those around, that it was his lunch time and he would be closing until 1:30.
This is so quintessentially french, you just have to go with it.
So, we wandered back to a food market complete with a cafe, ordered a light lunch, and did some people watching. I checked out a brocante market and we got sidetracked by two wedding parties celebrating along the way. Back to the museum.
This particular museum is housed in the Chateau Grimaldi, a 14th Century Roman Fort turned museum in which Picasso enjoyed a work space in 1946. His time in this space was short, from September until mid-November, but his artistic output was remarkable. He produced 23 paintings and 44 drawings during this short time. Interestingly, he donated all this work to the museum, which eventually acquired much more, including sculpture and ceramics.
About Picasso. Although I am not a huge Picasso fan, I have come to genuinely appreciate his work and its evolution, as well as his influence on generations of artists. The range of his work extends from painting, drawing and sculpture to include set design and ceramics. I wish I pictures of his ceramics, they were stunning. (This is what happens to me. I get so busy looking that I forget to take photos!)
The next day we dared to take the car from the garage to the outskirts of Nice to visit the Musee Matisse.
After a predictably adventurous drive, we arrived at the museum, where interestingly (ironically?) there was a substantial exhibit recalling the friendship and rivalry between Matisse and Picasso. (Did I say this is Picasso country?) Matisse and Picasso met sometime in 1906 at Gertrude Stein’s Paris salon. (Americans Gertrude Stein, her brothers Leo and Michael and Michael’s wife Sarah were important collectors and supporters of Matisse.) Picasso, who was 11 years younger, and Matisse were artistic contemporaries. One of the most interesting displays in the exhibit was a pair of black and white films of each of them at work on similar pieces.
Matisse was 48 and a successful artist when he first came to Nice in 1917. Initially he wrote that it rained every day for a month. He was about to leave when the sun came out and he was hooked by the light. He never really left.
After Matisse we headed further inland to St. Paul de Vence, hoping to at least have a drink at La Colombe d’Or, the restaurant where so many artists paid their tabs by offering a painting or drawing in lieu of money. Did I mention this was a Sunday? On the last weekend in September? Everyone in France goes out to lunch on Sundays, especially beautiful September Sundays. The views on the drive were breathtaking, the town was packed, and the restaurant was unapproachable even for a drink without a reservation.
We knew better, but in our “carefree vacation” mode we just assumed they would throw open the doors for Janet and Steve. Happily, we found a table in an outdoor cafe and enjoyed a delicious lunch and some serious people watching. But we found the town too crowded to enjoy. C’est la vie.
On our last full day on the Riviera, we took the train from Juan les Pins to Nice to explore the old town. It took less than 30 minutes and, once in Nice, there is a handy tram a block from the train station that runs down to the water, making several stops along the way. This was a day to walk and enjoy. Nice is very old and so close to Italy, that the influence is striking. Look at these pastel hued buildings, so different from the neutral stone in the rest of France.
This streetscape of fountains and park amid more substantial buildings is in the heart of the town near the water. Note the clouds: a change in the weather was on the way. Although the sun shone all day, it was much cooler by the time we went to dinner.
This is the Promenade des Anglais. We walked here for several yards before I realized this is the idyllic spot where terrorists drove a huge truck into the crowds celebrating Bastille Day on July 14, 2016. Today the promenade is lined with bollards, but the horror of that night is hard to imagine in the midst of sun and sea.
As luck would have it, we were in Nice on the day of their regular antique market, which in this case was blocks-long, winding from one square to another. I was in heaven, Steve not so much. One of the most striking aspects of these markets is the age and provenance of the goods. There are chandeliers and gilt mirrors, confit pots, textiles and more that I have just never seen in a market in the midwest.
Despite our “longer stay” on the Riviera, we left the next day, promising ourselves to come back. In fact I would call this our “preview visit” to the Riviera. There is so much more to see on the art trail, we never got to Monaco or St. Jean Cap Ferrat or Cannes.
This is the mantra of our travels. And it is, I suppose, why we are totally unapologetic about returning to places that we love. There’s always more to see. What about you? Are you willing to make a return trip to a destination you really liked? Or do you feel each place you visit — in this country or around the globe — needs to be new? I’d love to hear your thoughts on this.
Thank you so much for stopping by. See you next time!
There’s nothing like one great antique or vintage find to whet your appetite for more. At least that’s how it works for me. One thing just leads to another…
About a month or six weeks ago, I happened upon this blue and white pitcher. In fact, you may have seen it on my Instagram feed. There is something about both the colors and the patterns that is distinctive from the rest of my blue and white transferware. It’s hard to see the detail in the image, but the lip of the pitcher is actually scalloped!
I haven’t had a chance to really research the manufacturing stamp on the bottom, so its real value is still elusive. And I need to be clear about my “antique” hunting. Most of it is just old stuff that catches my fancy, suits my style, calls my name. I don’t have the budget (or at this point even the space) for the $1200 antique Swedish cabinet my friend and I saw last weekend, even if it was truly wonderful!
I have a few more finds in my porch cupboard (a very old, not-at-all-sturdy cabinet basically held together by myriad coats of paint) where I keep paper towels and glass spray to freshen up the dining table, cocktail napkins, an assortment of small vases and flower frogs as well as a flower pot (on the bottom shelf) of hand tools for the garden. (My idea of porch necessities!) I recently added a few more vintage vases to the other pieces on the top shelf. (My husband collected the vintage fans. The larger one needs re-wiring, along with a third one on his workbench, but I thought they looked cool on the porch. Pun intended!)
But wait, there’s more!
Last week I went to the Randolph Street vintage and antique market on Chicago’s near west side. This is a monthly market in the summer and I have attended sporadically for years. Sometimes there are great finds, sometimes not so much. The merchandise is definitely more vintage (30’s and 40’s) than antique, and there are a number of vendors selling old, repurposed, industrial pieces. This is definitely the place to go for “loft-sized” artwork, kitchen islands, coffee tables and more. Last week I saw at least six beautiful, old, oak drafting tables (sorry, I forgot to take any pictures). Fun to look at, but not really my style.
Surprisingly, however, this is where I bought many antique french linens in the past. (One vendor used to come once each summer. Her selection was amazing!) I’ve also found great prints, as well as some fun lamps. Last week I found this sweet little water color, currently residing on a shelf in the dining room.
I also found two neat baskets. One is huge — 23″ by 16″ by 13″ deep — and needs some repairs. I’m going to have to glue the leather straps back in place at the ends of the handles. It also has some loose pieces on the bottom; perhaps from being dragged? I haven’t decided how to handle that, except to treat it gently overall. it’s big enough to hold some pillows on the porch or quilts at the foot of a bed, but I could also put it atop a cabinet to look neat and out of the way of further damage.
And since I found one basket, I picked a smaller one up from the same vendor. It’s really a nice shape and size, perfect for magazines. I don’t know about the rest of you who shop at similar venues, but if I find one thing at a booth, I often find more from the same vendor. It probably has a lot to do with companionable aesthetics. (Price negotiations are also a little easier when buying more than once piece.)
The big find…
Of course, I’m always looking for transfer ware and ironstone. Nothing last week. Lately I’ve been searching for small vintage vases like the ones in my porch cabinet. I was sure I’d find some at Randolph Street, but no. If there were any, I did not see them. However, I did spot this bistro table and four chairs early on and I could not get it out of my head. Was I looking for something like that? Not at all. Do I have a good spot for this? No!
I looked at it and walked away. Then I met up with my antiquing buddy and showed her. She agreed it was fabulous, insisted I should really buy it and negotiated a better price (she knows this vendor). I still walked away. We looked at other stuff, stopped for a cold drink, and while we were taking our break my friend asked if I was still thinking about the table.
“Yes,” I said. “And I’m thinking I’d better go buy it.”
Actually, it’s really charming in the yard, propped with a plant. I absolutely love it. My husband does too. We’re just assuming we’ll come up with another place for it.
Most of us who shop antique markets have a mental Rolodex of the pieces we didn’t buy. We were indecisive, couldn’t think where to put it, or someone else snatched it up. But the best shoppers/collectors/decorators offer the same advice: if you love it, you’ll find a place for it. They’re right. That’s the way antiques (or any collectibles) are. They’re really kind of insidious, worming their way into your heart, your home, and finally into a corner of the family room.
What ever it is that you collect, happy hunting! Thanks for stopping by. See you next time!
What do basketball and interior design have in common? It’s actually pretty simple.
Starting in the 4th or 5th grade and continuing for several years, my basketball-loving son enthusiastically followed the career and athletic achievements of Michael Jordan. (Who am I kidding, in the late eighties and early nineties we all loved #43!) His basketball feats seemingly had no limits. There were gravity-defying gymnastics that invariably ended with a basket. But there was also the ball handling, the competitiveness and the work ethic. (I know this because Doug watched tapes of his plays again and again and again. They were the soundtrack of my life for quite awhile.)
Hero worship is something we all occasionally fall into, and, depending on the hero, it’s not all bad. We might learn some new skills and/or acquire some new interests, etc. So it’s hardly surprising that my love of dishes, fabrics, furniture, color and design — really all the decorative elements — have led me to my own group of decorating heroes.
You may recall that I wrote here about the influence Mary Emmerling had on my early decorating, but she’s not my only design hero. If you checked my bookshelves, you would see that Charles Faudree is clearly a favorite. I’m not at all sure I have ever succeeded in recreating his lush, layered designs, but I’m happy to keep trying.
For those of you who may not be familiar with Faudree, he is an American designer known for his colorful take on country French interiors and credited by many for popularizing the look. I had admired a number of his rooms in magazines like Traditional Home for some time before I realized that they were all the work of one man.
Faudree’s designs feature a lot of center tables like this one, above, in a library (often the way he referred to an office or study) and, below, in an entry. The table tops are always decked with books, flowers and other meaningful brick-a-brack. I don’t have space for a center table, but I have toyed with similar arrangements atop our dining room table and on side tables.
Different spaces, same aesthetic
One of the things I appreciate about Charles Faudree’s designs is his ability to translate his aesthetic into different settings. The image above is a very traditional dining room, but the photo below features a more contemporary, voluminous space that still maintains his country French design.
Not all Faudree rooms are huge nor are they perfectly proportioned. I love the sunroon, below, but it’s clearly a narrow space.
And what wonderful rooms, furnished with beautiful antiques, plush couches and chairs always topped by a variety of pillows in a companionable array of colors, patterns, textures and trims (always trims — elegant tapes, fringe, tassels, ruffles, etc.). So many thoughtful details.
No room is too small or insignificant, no corner too obscure to escape his treatment. This would not work at my house, but I love the powder room below, especially the little Napoleon on the vanity, not to mention the sconces and wallpaper. Why shouldn’t a small powder room be so completely imaginative?
This transitional space, below, which could be clumsy in accommodating a distinct change of level, is instead totally charming; with chairs and a lamp it’s the perfect place to have a cup of tea or leaf through a magazine.
Despite his motto that “More is never enough,” Faudree often allows a distinctive antique or piece of art to stand on its own. I think the Swedish secretary, below, is from one of his own homes. And look how he allows the brooding Lincoln portrait to dominate the space.
But that “appropriateness” just one aspect of his aesthetic. For me, the real art of Faudree’s talent is in his attention to detail, perfectly placed objets d’arts, picture frames, figurines, cache pots, mementos, etc., all chosen to reflect the interests of the homeowner as well as the overall design. Many are pricey antiques, others are family pieces or flea market finds. (Truth to tell, I think the tension between high end and low end in one room or even one vignette makes a powerful statement.) In his hands, all of this fits perfectly into the greater design scheme. It’s personal, it’s layered, it’s thoughtful.
I’m not advocating assembling and displaying “stuff” for the sake of “stuff.” And I don’t think Faudree was either. But I do think that rooms devoid of artwork, photographs, books, collectibles from a hobby or travel tend to have a very sterile look, as though anyone could live there instead of the individuals who do.
I never tire of paging thru his books, reading and re-reading his comments about how or why various elements combined into the finished design. I always learn something new, about wall arrangements or color or collectibles. I also find that I am more than a little charmed by his impish personality, stories from friends and associates about buying trips in France and his prankish sense of humor. This is someone I really wish I could have met.
Sadly, Charles Faudree died in 2013. (I know, think of the rooms he could have designed, the books he could have written!) But, you can enjoy his many books from new and used sellers and even the library. Titles include: Charles Faudree Home,Charles Faudree Details, Charles Faudree Interiors, Country French Florals and Interiors, Charles Faudree’s Country French Living, Charles Faudree Country French Signature, and Charles Faudree Country French Legacy.
What about you, who or what inspires your interests?
Everything old is new again. I was talking back to the television earlier this week and my husband suggested I blog about that particular angst, so here goes…
The Today show featured a story about the growing competition among online grocery shopping and delivery services. First, I think this is awesome and I would have loved this when I had two small children. But, this isn’t new!Ordering online is new, but not delivery.
Long before the chain groceries (and I know I’m dating myself here), Chicago neighborhood grocers delivered. My grandparents lived in a modest city neighborhood. No one owned cars. They walked to the butcher, the bakery, the bank. I remember doing all these errands on foot. (Which city-dwellers like my daughter still do.)
We carried lots of stuff home with us (Grandma took her special cloth shopping bags along for this purpose; that reusable Whole Foods bag isn’t a totally innovative idea either.) But if we bought many things in the grocery, or heavy stuff like flour and sugar, the groceries were delivered later, in a cut-off carton, usually by a schoolboy who worked for tips. I’m not even sure there was a “delivery fee” involved, but I do remember Grandma making sure she had tip money. And her delivery boy knew to come down the gangway to the back door, let himself into what was really the basement, and leave the box there. (A pre-requisite, I’m sure, for getting a good tip.) In fact, my uncle’s first job was an after-school gig delivering groceries.
Instagram on my mind.
Last month while I was languishing on the couch recovering from the flu (and before I started talking back to the television), I spent way too much time on Instagram, Pinterest, and cruising various blogs. Perhaps because I was still trying to put things back in order here after the painters had freshened up the living room and bedrooms or maybe just because I’m always rearranging shelf space to accommodate books and “stuff,” I started saving photos of shelves. I grew up in a house with book-laden shelves and have always had the same in my own home, so I am always amazed at book-less shelves. I think they’re pretty, but they just aren’t me.
Here are a few of the images I’ve saved to inspire my own shelves.
The books on the shelves, or a few recent reads.
If you have been reading my blog, you know it’s hard for me to mention “book” without commenting on specific titles. You also may have noticed that my reading tastes are all over the place: biography, history, historic fiction, current fiction. Do I lack focus or do I just like to read? I have no idea.
My new favorite book recommendation is Jubilee by Margaret Walker. Walker is a widely known and respected African American writer and scholar who used her own family’s oral history and decades of research to tell the story of Vyry, daughter of a white plantation owner and his black mistress. The book spans the lavish antebellum years in rural Georgia, the ruin of the Civil War, and the empty promises of reconstruction. If you liked The Invention of Wings by Sue Monk Kidd, I think you might like this too.
After Jubilee, I needed something lighter, so I read Sue Grafton’s first Kinsey Milhone mystery, A is for Alibi. I love Sue Grafton and I mourned her passing here. I discovered this series a little later on in the alphabet, and I wanted to see if this first mystery was as well-crafted as number 25. I was not disappointed. These are all great reads.
Right now I’m reading The Story of a New Name, by Elena Ferrante. It’s the second book in her Neapolitan series. My book club read My Brilliant Friend, the first in the series, and many just moved right on. I’m enjoying this book more, but it remains a tough read. This is translated from its original Italian. The language often seems clumsy and wordy, characteristics that I think better editing and translation may have improved. However, I love the story of two smart young women in an impoverished neighborhood making dramatically different choices while trying to hold on to their friendship.
Also on my list: The Other Einstein, Marie Benedict’s story of Albert Einstein’s first wife, Mileva Maric; George Eliot’s Middlemarch, because I’ve never read it (and I was an English major!); and Origin by Dan Brown, because I’m a bit of a sucker for his historic/travelogue romps.
What are you up to as we wait for spring? Let me know! I’d love to hear from you.
My husband and I, along with our children and grandchildren, spent last week on Kiawah Island, South Carolina. It’s safe to call this a family tradition since we have taken this same vacation for almost all of the last 25-plus years. (Some people might call that a rut, but I like to think of it as a home away from home.)
We look forward each year to familiar days at the beach, bike rides on the island, and favorite restaurants, but each trip also seems to have its own adventures. (On the first morning of the first year my daughter-in-law joined us a baby shark was discovered swimming along the beach. We really worried that she’d never come back!) It’s the kind of place where a waiter in your favorite restaurant turns out to be the boy who lived across the street 20 years ago and an old friend from those mommy-and-me days walks by on the beach where you’ve settled in with a book.
Part of the charm of Kiawah (apart from 10 miles of pristine beachfront, protected dunes and a lush, protected landscape devoid of chain stores or restaurants) is that it’s just 20 miles from Charleston, recently named (again) one of the top destinations in the US. We knew this early on. Charleston is ground zero for American history, foodies, and charm.
I am totally charmed by Charleston’s many gardens, some of them public, some more private, and some completely hidden. At this time of year they are very lush and green.
This year my husband and I were in Charleston a day ahead of the rest of the family and stopped for lunch at one of his favorite restaurants. We’d barely settled into our booth when another diner stopped by our table and asked if we were visitors.
Why, yes, we are.
Well, said the diner, I was just given two free passes for Fort Sumter but we’re leaving now. Can you use them? (A bit of history: Charleston’s harbor, where the Cooper and Ashley Rivers merge with the Atlantic Ocean, is also home to Fort Sumter, where the first shots of the Civil War were fired.)
This is one of the tricks of Charleston. The sense of polite, genteel hospitality Charlestonians are known for just starts rubbing off on everyone. And for history geeks like us, the passes were like finding money in the street.
We had been to Fort Sumter years ago, on one of our first trips. Our kids were in grade school then, and it was a very hot day. The best part was the boat ride out there and back; there was very little left of the fort. This time, our daughter, my husband and I made the trip one afternoon. It was not as hot and the boat ride was still fun, but we also appreciated the fort far more. We could not remember if there was a Park Ranger talk the first time around, but there is now and although it was short, we learned a lot.
Fort Sumter was built on a manmade island positioned to guard the all-important Charleston Harbor. After the War of 1812 the U.S. Army realized existing fortifications on either side of the harbor could not stop an attack on the city. Despite the fact that there is very little left of the fort, it was originally pretty large — three stories high and designed to accommodate a substantial number of men and even officers’ families. (It was not yet staffed except for Union troops who had secretly moved there from Fort Moultrie after Lincoln’s election.) After those legendary shots were fired April 12, 1861, and subsequent shelling, the Union Army was ultimately forced to surrender. However, this was still a “Gentleman’s War,” so, until he surrendered, U.S. Army Major Robert Anderson was allowed to receive supplies from the city and use telegraph lines there to communicate with his commanders. (This is, after all, Charleston.) After the surrender Anderson and the remaining soldiers were allowed to leave on a supply ship. They went to New York where they received a hero’s welcome.
And that’s how history unfolds…
For the last few years, my daughter and I have made a point of going into Charleston early one morning so we can walk and photograph the streets. Last year we did this on a very hot, humid Charleston morning and, after an hour or so, we were desperate for cool air. We turned a corner and there was the Nathaniel Russell House, one of the “house museums” operated by the Historic Charleston Foundation, so we went in and took the tour — again. We are “repeat offenders” because although houses like this are historic, they are not static. Continuing research, based on excavations, paint analyses, or even newly discovered documents or furniture often lead to changes in the house as well as its interpretation. (We really are history geeks!)
Last year we had passed the Calhoun Mansion and decided we should visit it next, so this year, after a walk that was far more comfortable (and at least 10-degrees cooler), we headed down Meeting Street in time for the first tour. We knew the house, built a few decades after the Civil War, was different than others we have toured (all pre-Civil War, often by many years). What we did not realize was just how different it would be.
A bit more history: the 23,000 square-foot house was built in the 1870s by George W. Williams, who had made a fortune as a merchant-turned-Civil War blockade runner. The docent who showed us around said the house was constructed in the early years of the Gilded Age (think Vanderbilt and Carnegie), when building mansions to hold vast collections of art, furniture and collectibles was common among men of certain stature. It became known as the Calhoun Mansion when Williams died, leaving the house to a daughter married to Patrick Calhoun, grandson of John C. Calhoun.
I wondered, out loud to the docent, how Charlestonians accepted this mansion in their midst. The city’s residents, once successful landowners and professionals living privileged lives, had suffered terribly during the Civil War and the city had struggled to survive. Post-war society was so polite that those who did have the means to repair or repaint their homes, did so sparingly, not wanting to embarrass friends and neighbors who could not afford to do the same. The docent pointed out that the construction employed hundreds of unemployed citizens for years.
The mansion is packed with furniture and collectibles, but almost none of it is original to the house. Those belongings were auctioned off after Calhoun suffered financial setbacks. The current owner, however, is an avid collector and has filled the house with the same vast quantities of “stuff.” The floors, the woodwork, the Tiffany chandeliers and the glass ceiling in the music room are all beautiful. But I found it hard to focus on most of it, along with the lovely collectibles, just because there was so much stuff. The collection ranges from Tiffany glassware and a Wedgewood-decked chandelier to Kibuki armor and English footstools made from the feet of real elephants. It’s dizzying.
People love it, but I was confused by the clutter and frankly a little “turned off” that a family really lives here part of the time and charges admission to allow tour groups. Am I weird? Probably. Perhaps I just want a “purist approach” to 19th-Century houses.
The gardens were beautiful, but on the whole I’d call this a miss. Interesting, but maybe not for the right reasons.
On the other hand, here are a few more shots from that morning in Charleston.
Whether you are traveling or staying close to home this season, I hope your summer features far more hits than misses!
My blue & white transferware collection started accidentally.
Back in the decorating dark ages, before Pinterest, Houzz, Instagram, etc., I studied design magazines in search of inspiration and ideas. When stacks of magazines threatened to overwhelm the various baskets, shelves and cabinets where I stuffed them, I would page thru each issue, tearing out favorite and/or appealing photos and drop them into a file. (Sometimes I wasn’t even sure why I liked them, but I saved a lotof pictures.)
Many photos were like the ones at left and below. Eventually, I realized that often the rooms I admired featured blue and white transferware and I decided then that acquiring some of these accent pieces could go a long way to getting the “look” I was after. So, when I saw affordable pieces at antique markets and second hand shops, I snapped up what I could.
What are we talking about here?
Transferware describes a type of pottery, most often plates, cups, vases, serving pieces and the like, decorated by transferring a detailed engraving from an inked copper plate to the blank pottery before firing. Although initially I was attracted to these pieces because of the blue and white color, I have come to appreciate the technique behind transferware. (Can you imagine the skill required to create the detailed engraving and then transfer it?) Lidy at The French Garden House offered a more expert explanation of this here. (The photos she includes of her collection are wonderful, and you can check out the pieces she has for sale on her website if ayou click on the “Shop” tab.)
The pieces of red and white transferware below illustrate the detail that went into many of the designs (I especially like when designs are repeated inside a piece as on the left). If you look closely at the piece on the right you can see that the design was not perfectly applied; it’s crooked on the bottom. I suppose it makes it a little less valuable, but I think it also reveals the hand-work that went into this piece.
Most of the pieces I have collected are from England, but others are French and some are American. I think there are just greater quantities of English transferware in the marketplace. Many of these pieces were manufactured for the 19th Century’s growing middle class. Bigger, more elaborate pieces and designs were created for the higher-end market. (There’s always a higher-end market!)
It did not take long for my transferware collection to reach beyond blue and white to encompass a number of red and white and brown and white pieces as well. I’m not sure why a particular piece “calls my name.” I’m often attracted to a plate or platter by the detailed border of the design or if a piece is shaped by scallops or fluting. These days I am searching out shapes beyond plates and platters. The compote in the image above is a new find. Some pieces are antique and others are reproductions. I guess I’m an equal opportunity collector!
These sugar bowls are a great example of my haphazard collecting. They share a common shape. Although the red one is round it also has a fluted base and the red and blue versions both have interesting lids. Sadly, the brown piece is missing its lid, but I really admire the crisp detail in its design. It’s much sharper than the other pieces. And look at the upswept handles on each piece! I’m crazy abut these details!
Sometimes transferware designs use more than one color. I found this fairly large bowl on a cold, sometimes rainy day at an end-of-season antique market. It’s less than perfect (you can see where it’s chipped). However, I loved the rich colors and the floral pattern which continues inside the bowl. I snapped it up for less than $50 (it pays to shop in the rain!) and it has been the star of the china cabinet for several years since. Or at least that’s the role it assumes when it’s not holding fruit or a holiday centerpiece.
This blue and orange plate is a more recent find. It’s proof that blue and white transferware rocks the orange/rust shades of autumn. Unfortunately, it has no identifying mark on the back, but it shows significant age.
My attachment to transferware drove some of the design decisions I made during our kitchen renovation a few years ago. I insisted on the “mantle” over the stove so I could show off a few special antique pieces. And I chose the green tile backsplash because it looked so good with the transferware. (Yes, I shopped for tile with a small plate in my pocket!)
I’ve been thinking about what drives this particular collection for me. It started with color and certainly that continues to play a role, but I also love the process behind these pieces and the fact that some of these designs are so well-loved, they are often revived in contemporary versions of their antique forebears. It’s also clear that some of my pieces are well-used, and I like to think that someone long ago set their table with the same plate or platter.
This is another favorite plate. It has the kind of details I really like: a fluted edge and that remarkable light and dark pattern that repeats on the lip of the plate. Lately I’ve been trying to pay more attention to these design nuances when I find something new to add to my collection.
I should add a disclaimer here that not everything in my collection is vintage or antique. I do have a number of reproductions, including all of the ginger jars that I display with some of the larger platters.
After I snapped this photo of a number of pieces I show off in the living room in my grandmother’s china cabinet, I realized that whether I consciously intended to or not, I continue to channel those photos I’ve saved. Compare this image to the one from Nell Hills at the opening of this post!
This collection is not especially valuable. I’ve acquired the pieces in a haphazard, whatever-is-affordable way. And, clearly, it has morphed considerably from my first purely decorative purpose. But like any collection — cookbooks, garden plants, quilts — it has been a joy to acquire and I can’t imagine our home without it!