2020-11-01 The World of Interiors

STEPHEN CAVALLO
NEW YORK

BESPOKE MIRRORED INTERIORS - ARCHITECTURAL CAST GLASS MOULDINGS
www.stephencavallo.com







www.baxter.it

CONTENTS

NOVEMBER 2020

COVER A trompe landslide – thanks to being 41BOOKS 92 TRIUMPH CONVERTIBLE

buried for centuries beneath rubble, this com- Reading on art, architecture and design Federico Forquet put the brakes on his life
plex of Roman temples features stunningly well- as a couturier to focus on interior design. At
preserved frescoes. Elect to take a look? Then 48 HIP TO WASTE? his Tuscan farmhouse, Marella Caracciolo
turn to page 84. Photograph: Ricardo Labougle Chia hears how the Neapolitan shifted gears
Choose moveable storage, from feed bins to
16 ANTENNAE seagrass baskets,that will last,urges Max Egger 116 MAGNETIC FIELDS

What’s new in style, decoration and 56 SERIOUS PURSUITS From toy theatres to stuffed hares, the York
design, chosen by Nathalie Wilson house of artist Mark Hearld teems with his
Auctions,antique fairs and diverting activities aesthetic loves – and he even boasts a listed
20 THE HIGHLIGHT ZONE Roman sarcophagus, learns Frances Spalding
58 SOUTHERN COMFORTS
Edwardian architects were stylistic magpies, 126 CHANGE PARTNERS
as Timothy Brittain-Catlin explains A wave of Italians (aka Milan’s finest furniture)
washes up in Uruguay thanks to Jessica Hayns When you have works by Picasso, Léger and
27ANTENNAE ROUNDUP Miró gracing your Manhattan apartment, it
72 NETWORK can all feel a bit austere. One decorator got
Our selection of the best stools the hang of warming it up, says Carol Prisant
Merchandise and events worldwide
34 PETALS MONUMENTAL ART & ANTIQUES
74 ADDRESS BOOK
Fabrics with big blooms will have your eyes 102 KITH AND KILN
on stalks. In a good way, says Maude Smith Suppliers in this issue
Joan Miró made experiments in sculpture at
SUBSCRIPTIONS AND BACK ISSUES Receive 12 146 INSPIRATION this farmhouse, now an art foundation, near
issues delivered direct to your home address. Call Barcelona. Its octogenarian owner recalls the
01858 438815 or fax 01858 461739. Alternatively, How to recreate some of the design Spanish master for Catherine de Montalembert
you can visit us at www.worldofinteriors.co.uk effects in this issue, by Grace McCloud
110 STRAIGHT FROM THE HEARTH
Periodicals postage paid at Rahway, NJ. Postmaster: Send address 150 EXHIBITION DIARY
corrections to ‘The World of Interiors’ c/o Mercury Airfreight Inter- In the early 1900s, a well-to-do miss recorded
national Ltd Inc, 2323 Randolph Avenue, Avenel NJ 07001, ‘The World of Arctic roles, Scotch broth, Nauman now, the contents of her Hyde Park town house in
Interiors’ (ISSN 0264-083X) is published monthly. Vol 39, no 11, total 458 plus Charlotte Edwards’s listings five sketchbooks. Charlotte Gere follows her
watercolour inventory upstairs, downstairs
172 JOURNAL OF A SEED VAULT
FROM THE ARCHIVE
CO-ORDINATOR Could this bio-bank deep in
a Norwegian mountain rescue humankind? 138 LORE OF THE LAND

INTERIORS Tucked under Poland’s Tatra Mountains,
this two-room log cabin is a paean to peasant
76 ACID REIGN culture. Jutta Fischer toasts it with a glass
of goat’s milk. First published: January 1984
Using foams, chrome and stretchy fabric, the
late designer Pierre Paulin pioneered funky
seats for the Space Age.At his Cévennes home,
Valérie Lapierre ticks off the tubular belles

84 LATIN PRIMA

A Lombardy palace garden is the site of a
Republican-era sanctuary, whose barrel-
vaulted halls were miraculously preserved.
Sophie Barling gets the classical illusions



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#3

Pioneers

If you have always wanted to be ahead of the times and break
barriers, your bathroom can never be ordinary. It needs to be…
Beyond. A collection with an urban design and the latest innovations
in materials and technologies. Are you up to a new challenge?

Beyond, bathroom collection

What shapes your life?

Take the test and find it out: roca.com/shapesoflife

1

antennae

What’s in the air this month, edited by Nathalie Wilson

2 1 Tidy home,tidy mind: if you live by the adage, PHOTOGRAPHY: JONAS BJERRE-POULSEN FROM NORM ARCHITECTS (4). © ARCH NAZZARENO GUARDUCCI (1 OVERLEAF)

3 then Hermès’s‘Gazette’wall-mounted organiser
4 (£11,500) in hand-stitched ‘H’ bullcalf with
‘Chagrin’ goatskin interior has your name on
5 it. Ring 020 7499 8856, or visit hermes.com.

2 La Double J founder JJ Martin blends

Italianate craft with Californian vibes to
create ‘heart-lifting, double-punch de-
signs’. Shown: two (nested)‘Rainbow’
porcelain dinner plate and soup bowl
sets (£100 each) from her new‘House-
wives 5’ range. There are four zingy col-
our combinations. Visit ladoublej.com.

3 Dress to kill in Peter Pilotto.Your table that

is, not you. The fashion brand has brought its
eye for colour to bear on a collection for luxury

linen brand Once Milano. From
£50 approx per tassel-fringed nap-
kin.Visit oncemilano.com.

4 Dinesen has deviated from the

wood flooring for which it’s known
with a debut furniture collection.
That said,Hans Peter Dinesen and
Mikkel Vestergaard’s designs are
made from the same high-quality
material and are informed by the
way planks are stacked with spac-
ers in between for ventilation while
they dry. The question is: will the
Danish company’s pieces reach
similar cult status among interior
designers as its stock in trade has?
From £422 approx for a stool. Ring 00 45 7455
2140, or visit dinesen.com.

5As surely as gravity draws water down a plug-

hole,those looking for pukka period-style bath-
room fittings will find themselves being pulled
towards Drummonds. The firm’s new 1920s-
style‘Medway’(shown; from £22,926) and larger
‘Mersey’(from £26,310) thermostatic-controlled
free-standing showers are available in nine fin-
ishes and feature white Arabescato or Verde
Guatemala marble trays. Ring 020 7376 4499,
or visit drummonds-uk.com.

6 With a name like‘Countryside’, which is the

collection from which these new Fenwick &

6 7 9
8
Tilbrook paint colours emanate, you may be
tempted to skip the decorating and escape 10
to the great outdoors.From £25 per one litre
of pure matt emulsion.Ring 01362 684125,
or visit fenwickandtilbrook.com.

7A hundred and fifty years after it was founded,

Warner, that great name in British textiles, has
risen from the ashes thanks to Clarke & Clarke.
Besides prints and weaves inspired by the com-
pany’s archive – fans of its classic chintzes will
be glad to see the likes of ‘Rosemoore’ (pic-
tured; £55 per m; four colourways) – online
Warner House offers a range of furniture,
furnishings, paint and paper. Which sure
takes the legwork out of dreaming up dec-
oration schemes. Ring 0330 055 2995, or
visit warner-house.com.

8 A lampshade is to a light what a hat is

to an outfit; the difference between being
dressed for the catwalk or a dog walk.
Ensure your look fits the former with
Rosi de Ruig’s latest model,handmade
from a choice of three recycled wo-
ven papers. It’s available in two sizes,
and costs from £104.40 for a 13cm-
high version. Ring 020 8743 9737, or visit
rosideruig.co.uk.

9 Not content with manufacturing

great-looking kitchen appliances,
Smeg has launched a cookware
range (from £99.95).The trinity of
pans is, appropriately, available in
a triumvirate of colours: cream,red
or black. They do say good things
come in threes.Ring 0344 573 5573,
or visit smeguk.com.

10 When Nicolas Moussalem,

David Raffoul and Pierre Frey Fur-
niture’s new artistic director, Sam
Baron,set sail on their design jour-
ney they sought inspiration in the glamorous
era of transatlantic liners. The resulting eight-
piece handmade ‘Verso’ modular collection
includes the ‘Bookcase’ slipper chair (£3,981),
which can be used individually or in multiples
to create larger seating areas. Ring 020 7376
5599, or visit pierrefrey.com. r

1 antennae
2
1 Through the looking glass:Alice would surely
3
approve of her namesake mirrors by Roberto di
4 Filitto and Nathalie Schneider of Slow Design.
They are artisan-made to commission using a
traditional grisaille technique associated with
religious imagery and are available with grey,
gold, green or blue oxidation in differing in-

tensities. Prices from £350 approx
for a 35cm-wide version. Visit
slow-design.it.

2 The name of Crosby Street

Studios’rug range is a bit work-
aday – ‘Matta’ (from £500 per
sq m) means carpet in Swedish.
The same can’t be said of the 12
wool kilims of which it consists.
They are inspired by the nation’s
mid-century designs – think
Märta Måås-Fjetterström (WoI
April 2020) – and handwoven in Nepal
in blue, yellow and earth tones. Col-
ours and sizes can be customised.
Ring 001 212 489 0737, or visit
crosbystreetstudios.com.

3 You know what’s puzzling about

John Derian’s three debut 750-piece
jigsaws ($19.95 each)? The fact he didn’t create
them earlier in his 31-year-long career. After
all, the pastime lends itself so readily to his sig-
nature use of vintage prints. Ring 001 212 677
3917, or visit johnderian.com.

4 Seven decades after the then head designer

Cees Braakman presented his modular cabi-
net series to the powers-that-be at Pastoe, his
‘DB01’ sideboard (£1,580 approx) has been
reissued. Not bad considering the risks he took:
were customers ready for bent-plywood legs,
or light-coloured birch (dark designs were sell-
ing well at the time)? Not to mention the pro-
duction challenges it posed. Ring 00 31 30 258
55 55, or visit pastoe.com.

5 Sir Kenneth Grange’s vintage-inspired ‘Type

75 Mini Table Anglepoise’(£99) has had a mini-
makeover 16 years after its launch. That means
an improved push button, increased articula-
tion in the shade and three new colours. Ring
02392 224450, or visit anglepoise.com $

5



This view shows the way through from the hall
place towards the converted barn at Vann in Surrey.

Caröe’s architectural genius lay in the subtle
manipulation of old and new materials and spaces

THE HIGHLIGHT
ZONE

Edwardian architects made past glories newly present by incorporating their favourite bits from different historic

styles within one house. WD Caröe radically reconfigured his family home Vann, which had Medieval origins, adding wings

and a Jacobean ceiling. The result was a dwelling that seemed to have evolved over the centuries, where original and novel

features were impossible to distinguish. Timothy Brittain-Caitlin – author of a book on the topic – looks back in wonder r



THE HIGHLIGHT ZONE

IF YOU LOVE old houses and want to live in one, you will

surely have regretted being stuck in an era when new buildings are not as
beautiful as they once were. But have you thought of remaking that lost world?
And making it better than it actually was the first time – with all your favourite
styles mixed into one?

The extraordinary thing about the Edwardian era is that architects did
create houses like these, palimpsests that evoked their favourite moments
of architectural history – a Tudor hall, a Carolean stair, a Baroque fireplace
– all under one roof. In 1907, a successful and prolific middle-aged archi-
tect called WD Caröe started to rebuild a remote Surrey farmhouse called
Vann, near Hambledon in the southwest of the county. On the site when he
arrived was a ramshackle collection of small structures, including a half-
timbered house of Medieval origins and a later fireplace, with a small early
18th-century wing at one end of the kind that was just returning to fashion.
Caröe remodelled these buildings in a remarkable way to create a family
house for himself: he rebuilt much of the exterior of the house with project-
ing wings to the east and west linked with open corridors and halls, and he
partly dismantled an old barn and rebuilt it on the same site, reusing its
timber roof structure and columns, as a music room for parties.

We are used now to the idea that if you are working with an old building,
you need to disturb it as little as possible. But Caröe did precisely the oppo-
site. Seeking the atmosphere of an old place that has lived through many
centuries, he teased out elements of it, moving, exchanging, altering, adapt-
ing and adding, so that no one now could distinguish the old from the new.
He found an ornamental Jacobean ceiling from a dismantled house in Wales
and inserted it, with modifications, into his sitting room. In the barn, he
swapped purlins and wall plates, and rotated old timber piers so that the
abrasions that had been caused by cattle over the years were turned inwards
towards the wall. The Society for the Protection of Ancient Buildings was
horrified when Caröe trimmed an ancient timber beam to create headroom
for an upstairs corridor, reconnected the roof structure above the modern
ceiling with a hidden tie, and designed a smaller, ornamental ‘false’ beam to
represent the one that had gone. This, they said, was exactly what you were r

From top: the western garden courtyard at Vann. The overall form of the house is
characteristic of Edwardian Arts and Crafts houses, yet the layers of windows, walls
and chimneys imply a gradual development over centuries; the author’s grandfather
relaxes in the garden at Vann in 1918; Caröe imported architectural features from old
houses and positioned them against his own new work. This lead cistern is dated 1733

THE HIGHLIGHT ZONE

not supposed to do. Yet Edwardian architects were doing similar things every­
where – usually not as well as Caröe, but more often than you might think –
creating an astonishing richness within what was, really, a new building.

Edwardian houses can be old­and­new like Vann, or new­and­old. New­
and­old houses were new on the outside but had interiors from different peri­
ods mixed up inside; because the idea that everything has to match in style
is, like the unalterable sanctity of old structures, a relatively recent idea.
Edwin Lutyens, perhaps the most famous of all Edwardian architects, did a
great deal of it. Fulbrook, one of his earliest large houses, looks from the out­
side like a Tudor farmhouse, but it has a glossy pillared white Classical stair­
case within. Mixing early with late 17th­century styles was especially popular
– Elizabethan in one room and William and Mary in another – but Nether
Swell, E. Guy Dawber’s lush Cotswolds ‘Tudor’ mansion, had a French Rococo
drawing room by Marcel Boulanger, one of the interior designers of London’s
Ritz Hotel. In all these houses there is a sense of encountering the best of
every era, with something lovely but different around each corner, the very
juxtaposition daring and unexpected. Interestingly, the only regular publi­
cation that seemed to record the phenomenon was Country Life, founded in
1897, which every week provided architects with a rich range of historical
sources to copy, finely photographed from old manor houses.

This attention to detail probably accounts for the powerful atmosphere
of these fabulous, picturesque houses. Gothic Revival architects had taken
great care in designing everything for a precise purpose; a younger genera­
tion took that disciplined approach and developed it into a wonderful sensi­
tivity to shape and touch. In fact, it may explain the white walls of that other
of the greatest Edwardian architects, CFA Voysey. He could evoke the feel­
ings and forms of the Tudor era on tiny pieces of decorative work, handles,
hinges, brackets with funny faces cut out on them, which were displayed
against a blank canvas to speak eloquently for themselves, and for a new era.

Let no­one say that Edwardian houses are old­fashioned. They are so full
of memories of different times that they are timeless $
Timothy Brittain-Catlin’s ‘The Edwardians and their Houses’ is published by Lund
Humphries, rrp £45. Vann Garden is open to the public (visit vanngarden.co.uk)

From top: King’s Close in Biddenham, near Bedford, was designed c1909 by MH
Baillie Scott, the pioneer of open planning; inside he added a carved figure atop a

newel post. Comic or child-like decorative details were a feature of the work of the best
Edwardian architects; the south front of King’s Close, enhanced by its current owners’
period-inspired garden. One of Baillie Scott’s smaller houses, it is also among his finest

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antennae roundup

Time for a new perch perchance? Max Egger declares these the sharpest stools in the shops

2 3
1 4

5

7

68

1 ‘Four Quatrefoils Q1’, by Archer Humphryes Architects, from £2,645 approx, Fratelli Boffi. 2 ‘Hot Mesh’, by Blu Dot, £219, Heal’s. 3 ‘Alessio’,
by Cà Nova Design for Cattelan Italia, £411, Chaplins. 4 ‘Tabouret H’, by Xavier Pauchard, from £158 approx, Tolix. 5 ‘Allunaggio’, by Achille and
Pier Giacomo Castiglioni for Zanotta, £733, Aram. 6 ‘Tuck’, £80, Habitat. 7 ‘Ylin’, by Miguel Soeiro, £272, Ligne Roset. 8 ‘ColoRing’, by Alvar Aalto
for Artek, £370 each, The Conran Shop. All prices include VAT. For suppliers’ details see Address Book r

27

JULIAN CHICHESTER

JULIANCHICHESTER.COM

london | new york | atlanta

antennae roundup

1 23

5
4

6

8
7
1 ‘Avery’, £685, Pinch. 2 ‘Bobbin’, £830, Julian Chichester. 3 ‘Tabouret Solvay’, by Jean Prouvé, £535, Vitra. 4 Linen-and-wool-bouclé hexagonal pill
stool, £565, De Le Cuona. 5 ‘LC9’, by Charlotte Perriand for Cassina, £1,038, Aram. 6 Outdoor ‘Tape Cord’, by Nendo, £4,525 approx each, Minotti.
7 ‘Jens’, by Antonio Citterio, £1,027 each, B&B Italia. 8 ‘Block’, £193 each, Raft. All prices include VAT. For suppliers’ details see Address Book r

29

antennae roundup

1 2
4 3

5

67

8

1 ‘Kylo’, by Alessandro la Spada, £2,806 approx, Visionnaire. 2 ‘Sophie’, by Emmanuel Gallina, £2,404 each, Poliform. 3 Cherry cow-hide
‘Simplified Crillon’, £6,100, Soane Britain. 4 ‘Square Guest’, $2,500, BDDW. 5 ‘Tobias’, from £1,200 each, Philippe Hurel. 6 ‘Flore’, by Gilles
Nouailhac, £850, Frenchy Furniture. 7 ‘Latina CP’, by G&R Fauciglietti, from £1,051 approx, Frag. 8 ‘Marini’, £6,600 each, Cox London. All prices
include VAT. For suppliers’ details see Address Book $

30

ORIENTE ITALIANO

Oriente Italiano brings together the language of fine porcelain with the lyrical forms
and motifs of majolica and the traditional ceramics from Faenza. Animated patterns of
hand-painted classic carnation blooms and garlands are reborn through a diverse and
playful palette. Vibrant, eclectic, effortlessly cool. Total Ginori 1735.

#ginori1735

Morris à
la Mode

Interior designer Ben Pentreath
has been charged by Morris & Co
to breathe new life into its
founder’s classic patterns and
recolour them to match modern
tastes. Ironically, he’s done so
using a palette from the 1960s...

THE WORLD OF INTERIORS  PROMOTION

A riot of joyous colour and pattern, the

new autumn collection from Morris & Co sees favour-
ite designs from the iconic brand boldly reimagined
by interior designer Ben Pentreath. ‘Queen Square’ is
the result of a perfect meeting of minds, being named
after the Bloomsbury address that housed the origi-
nal Morris & Co factory and showroom – and where
Pentreath happens to live today, a few doors away.

Part product designer, part architectural interior de-
signer and part shopkeeper, Pentreath is a purveyor of
modern English style and behind many enviable houses.
Not shy of bold design choices – opting for repeat patterns
and strong colours for walls and upholstery – his projects
often incorporate Morris & Co designs. Naturally, when
he was approached to put together a new range of 18 fab-
rics and 18 wallcoverings for the brand,he felt right in his
element.‘I’ve always loved the designs of William Morris,’
he says.‘It was a wonderful experience to be let loose in
the Morris & Co archive: we’ve taken many original pat-
terns, and recoloured them in a palette of my favourite
shades, to cast his designs in a completely new light.

For the collection Pentreath chose and paired Pop
colours from the 1960s archive, adding a modern
edge to the brand’s classics. A sense of familiarity for
the brand’s big hitters – such as Morris & Co’s ‘Willow
Bough’ – shines through, as does Pentreath’s love of
the English countryside. ‘If, like me, you’re old enough
to remember everyone’s houses in the 1970s and early
80s decorated with seagrass squares on the floor and
William Morris on the walls and the sofa, you’ll under-
stand the deep nostalgia and sense of a slightly simpler
time that these patterns evoke,’ says Pentreath.

The positive feelings these designs radiate could not
have come at a better time, as the home is ever more in
focus. The beautiful, uplifting palette courtesy of the
archive, including olive green, burnt orange, vivid tur-
quoise and candy pink, features on Morris & Co patterns
such as‘Blackthorn’,‘Daffodil’and‘Bachelor’s Button’.

Some 150 years on since Morris & Co first began
production, preserving its methods of manufacture has
been integral to creating ‘Queen Square’. Not only are
the designs made in Britain, but all 18 wallpapers have
been surface-printed on paper to retain their original
look and feel, while the cotton/linen cloths provide
the closest match to the archival design and have been
screen-printed to bring out the intense colour.

The collection has been styled by Pentreath at his
beautiful Georgian rectory in Dorset as well as cap-
tured in two new books to be published alongside‘Queen
Square’,offering inspiration and decorating ideas direct
from his home. The future is indeed looking bright $
For more details, visit stylelibrary.com/morris&co

Opposite: Ben Pentreath stands in his Dorset rectory
behind a sofa and cushion in contrasting colourways
of‘Willow Bough’.This page, top: a bathroom combines
‘Bird and Anemone’wallpaper with a‘Honeysuckle’blind.
Bottom:‘Blackthorn’wallpaper,‘Willow Bough’curtains
and a‘Marigold’seat pad adorn a bedroom and en-suite

SWATCH 2
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1 Sage ‘Allendale’, £55, Warner House. 2 ‘Dahlias FSPR/DAL-03’, £420, Flora Soames.
3 Handblock ‘Apperley Bouquet JM-1282’, by Jean Monro, £270, Turnell & Gigon. 4 ‘Grace
JP 6435’, by Michael S. Smith for Jasper Fabrics, $185, John Rosselli & Associates. 5 ‘Exotic
Fruit 1028-01’, £90, The Design Archives. 6 ‘Madame Sévigné 2260-A’, by Hazelton
House, £110, Rosebank Fabrics. 7 ‘Briar Rose’, £243, Bennison Fabrics. 8 ‘Oleander F4707-
01’, £85, Colefax & Fowler. 9 ‘Carisbrook 5572-02’, by Rose Cumming, £436.80, Tissus
d’Hélène. Prices are per m and include VAT. For suppliers’ details see Address Book r

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5

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PETALS MONUMENTAL

If your fabrics have lost their bloom, think big! Large-scale florals will enliven any room with a grand show of colour
and pattern. Cultivate your bold display with Maude Smith’s hand-picked selection. Photography: Hermione McCosh

1 ‘Netherfield F7403-03’, £87, Osborne & Little. 2 ‘Natacha 0030’, by Décors
Barbares, £256; 3 ‘Chinsura CHIN-01’, by Namay Samay, £170; 4 ‘Sintra
SPL-9100-11’, by Sister Parish, £282; all Tissus d’Hélène. 5 Petrol ‘Berri’, by
Sarah Vanrenen, £171, The Fabric Collective. 6 ‘Oasis C49-01’, by Clay
McLaurin Studio, £196, George Spencer Designs. 7 ‘Bergamot Leaf BER-001’
stone linen, £220, Soane Britain. 8 ‘Dereham 3600-01’, £114.50, Blithfield.
Prices are per m and include VAT. For suppliers’ details see Address Book

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1 ‘Malvasia 07614-003’, £183, Rubelli. 2 ‘Gardyne 31657-03’, £73, James Hare. 3 Teal/natural ‘Mottisfont’, by Richard Smith for Madeaux,
$256, John Rosselli & Associates. 4 ‘Delft Velvet FDG 2760-01’, £142, Designers Guild. 5 Blue and brown/ecru ‘De La Tour’, £200, Paolo
Moschino for Nicholas Haslam. 6 ‘Tudor 3124-6630’, by Casal, £109.80, Houlès. 7 ‘Cartagena CHF 24827-03’, by Clarence House, £132.80,
Turnell & Gigon. 8 ‘Hana 600154-0003’, £195, Kvadrat. Prices are per m and include VAT. For suppliers’ details see Address Book r

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1 ‘Pasha PSH-16’, by Lisa Fine, £315.60, Tissus d’Hélène. 2 ‘Herbarium 1-FA-HER-CL-ECR-XXX-XXX’, £95, House of Hackney. 3 Green ‘Leicester’,
by Morris & Co, £71, Style Library. 4 ‘Chatsworth CTW-1’, by Peter Fasano, £411.60, Tissus d’Hélène. 5 ‘Indian Arbre SCH175782’, by Schumacher,
£334.60, Turnell & Gigon. 6 ‘Tree of Knowledge Spread Out F260A’, £755, Chelsea Textiles. 7 Embroidered ‘Milas’, £260, Vaughan. 8 ‘Matilija
Garden LFMT-01’, by Lake August, £253, The Fabric Collective. Prices are per m and include VAT. For suppliers’ details see Address Book

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1 Yellow ‘Lazy Daisy’ oyster linen, £65, Laura de la Mare. 2 ‘Nizam TCNI150-MF’,
£53 approx, Lisa Corti. 3 Rowanberry ‘Birds and Berries’, by Sanderson, £45,
Style Library. 4 Plain Ardennes and pink raspberry ‘Namêche’, £60, Kate Medlicott.
5 ‘Falling Orchid 88377-N’, by Charlotte Osterman, £132, The Grand Tour Palm
Beach. 6 Rosa ‘Cactus Flower’, by Commune, £180, Christopher Farr Cloth. 7 ‘Chloe-
1’, by Anna Spiro, £190, The Fabric Collective. 8 ‘Rose Bush 0029’, £120, Petal Cloud
Studio. Prices are per m and include VAT. For suppliers’ details see Address Book $

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Rimadesio Velaria sliding panels,
Eos shelves.

Design Giuseppe Bavuso

rimadesio.com

London Flagship Store
83-85 Wigmore Street
W1U1DL London
[email protected]
+44 020 74862193

booksMother of invention, tastemakers’ temples, de luxe dominion, D’Ora’s aura

HORNET AND WILD ROSE : THE ART OF TIRZAH GARWOOD (by Anne ever, Garwood did produce some highly original and delicate mar-
Ullmann; The Fleece Press, rrp £242) In a more equal world, Tirzah bled papers for use as bookbinding and interior furnishings, as well
Garwood would be celebrated as one of the most innovative and as wood-engraved patterns for endpapers. Some of the latter, previ-
accomplished artists of 20th-century British art. Yet after she died ously credited to Ravilious, are shown to be by Garwood, quashing
aged 42, her star faded almost without a trace, her extraordinary any idea of an exclusively student/master relationship.
talent eclipsed by that of her husband, the watercolourist Eric
Ravilious. Almost 70 years after her death, in this impeccably re- In 1942 Garwood’s life took a cruel turn. She was diagnosed
searched and moving account, Anne Ullmann sets out to recover with breast cancer and in September became a war widow when
her mother’s career and write her back into the story of art. Ravilious died on an ill-fated air/sea rescue mission in Iceland. The
last nine years of her life, despite being marked by long periods of ill
Garwood was born in Gillingham, Kent, to a wealthy upper- health, were in many ways her most creative. Fascinated by the pic-
middle-class family. At the age of 17, she enrolled at Eastbourne turesque shops and houses in the villages of Essex and East Anglia,
School of Art where, under the instruction of her handsome young she produced a series of ‘portraits of houses’ using a mixture of
tutor Eric Ravilious, she excelled in wood engraving. Her satirical print, paint and collage, some constructed into 3D models that were
woodcuts of bourgeois life in 1920s Britain explored themes such as then placed within shallow box frames. These distinctive works,
high-spirited bathers on Eastbourne beach, chattering schoolgirls too easily characterised as charming, are, in terms of originality
and plump ladies window-shopping in Ken-
sington. By 1927, she was already exhibiting and visual audacity, among the most remarka-
and attracting attention for her work, and re- ble creations of any mid-century British artist.
ceived prestigious commissions from, among A similar spirit can be found in many of the 30
others, the BBC and the Curwen Press. oil paintings produced by Garwood at this
time, depicting dreamlike landscapes inhab-
In 1930, Garwood and Ravilious married, ited by birds, insects, dolls and toys.
moving the following year to the village of
Great Bardfield in Essex where they became For an artist fascinated by paper and pat-
part of an artistic community. A ‘long silence’ tern, Garwood would have been delighted to
then ensued in which Garwood largely sacri- have her life and work published by the Fleece
ficed her own career to help forward her hus- Press, bound here in one of her loveliest mar-
band’s. Acting as Ravilious’s assistant, her bled papers and sumptuously issued in a lim-
time taken up with children and domestic life, ited edition of 475. She is out of copyright in
Garwood articulated her frustration in a letter 2021. This book will hopefully give way to more
to a friend: ‘I hope you won’t stop painting be- readily affordable publications, celebrating the
cause of being married. I always regret that.’ artist and ensuring the visibility she deserves $
As a way of supplementing their income, how- SACHA LLEWELLYN is a writer and curator special-
ising in 20th-century women artists r

To order Hornet and Wild Rose for the price listed above (plus £4.50 UK p&p), ring 01226 792200, or visit fleecepress.com

Luv. Nordic elegance.

The design of Cecilie Manz‘ bathroom series Luv combines Nordic purism and timeless, emotional elegance. Soft shapes follow
a stringent geometry. The result is a new unique design language with precise, clear and fine edges. For more information visit
www.duravit.co.uk

books

BRITISH DESIGNERS AT HOME (by Jenny Rose-Innes; Hardie Grant, rrp £30)
Jenny Rose-Innes is a serial mover with, currently, two homes in Australia
and one in France. Her interiors are charming, incorporating pale tongue-
and-groove walls, seagrass on the f loor, pretty antiques, loose-covered
armchairs with a throw over the back. And her classical, symmetrical gar-
dens are a delight. Both her homes and gardens are catnip for her 102,000
Instagram followers and the countless readers of her blog.

She is also an Anglophile. Born in South Africa, Rose-Innes was encour-
aged to read the British books her mother had consumed as a child. From
Wind in the Willows to Georgette Heyer, her view of this country was, she says,
‘intense and highly focused’. It was also quite traditional. Even while still a
young girl she helped her parents plan and decorate their home. In her intro-
duction, she particularly remembers living in Cheltenham for two years and
being delighted to ‘embrace as many aspects of British life as I could’.

Since 2004 she has lived Down Under, and after the success of her first
book, Australian Designers at Home, it was almost a foregone conclusion that
a British version would follow. The book shows 23 homes of well-established
interior designers in the UK. While it is axiomatic that if you really want to
see such practitioners at their best, you must look at their own homes, lots of
magazine editors have already had this idea. There is only one house in
the book that has not been seen, even once, in a magazine, that of Wendy
Nicholls, of Sibyl Colefax & John Fowler. But I have seen its beautiful china
cupboard, which provokes sighs of delight when the door is opened. It is
not included here. This is not a book for the quirky or unusual view.

That said, it is always a pleasure to revisit Robert Kime’s antique-filled
f lat, Carlos Sanchez-Garcia’s farmhouse in Norfolk, or Veere Grenney’s
London house, with its walls of silk velvet – and indeed, the homes of all
these designers at the top of their game. Most are shown over 12 pages, a
length that allows space for some close-up images of decorating details.
One must not complain of a lack of new observations in the writing; all
these people know their way round an interview.

One of the bonuses is the wealth of detail in the five pages of extra caption
information at the end of the book. While some designers are niggardly in
the details they’re prepared to divulge, others are generous, especially with
the names of the paint colours employed. That’s often the only thing that
poor but enthusiastic readers can copy. These captions also serve to point
out details that one might have missed, and send us back to look again. Every
chapter ends with a double-page spread featuring a portrait of the designer,
who then answers such questions as ‘What does home mean to you?’ ‘Flowers
or foliage?’ ‘What would you grab if there was a fire?’ It’s the kind of cosy,
intimate approach that will delight many of Rose-Innes’s readers $ ELFREDA
POWNALL is a freelance writer r

To order British Designers at Home for £24 (plus £4.50
UK p&p), ring the World of Interiors Bookshop on 0871 911 1747

The Invincible Exposed Shower Mixer

BATHROOM TAPS, SHOWERS AND ACCESSORIES. HANDMADE IN ENGLAND
[email protected]
WWW.SWADLINGBRASSWARE.CO.UK

books

CABINET OF CURIOSITIES (by Giulia Carciotto and Antonio Pao­ Sweden’s portable cabinet of bedazzling ingenuity (now on display
lucci; Taschen, rrp £100) Weighing in at 5kg, this 365­page multi­ at the University of Uppsala), for instance, once contained over a
lingual ‘elephant folio’ is as colourful, beguiling and opulent as thousand treasures and also served as a dressing table, travelling
its subject matter. It may be difficult to shelve but its dimensions pharmacy and altar, as well as chess and backgammon board.
are entirely appropriate for the subject. How such a magnificent
beast – replete with diverse papers and a breathtaking gatefold What may seem bizarre to us now was entirely logical back
spread – can be made for the price is quite astonishing. then – and most collections were divided into five distinct catego­
ries: artificialia, naturalia, scientifica, exotica and mirabilia (the
While not a scholarly exploration, this is rather a chance to get weird and wonderful). They were miniature universes built to
exceptionally close to some of the most exquisite treasures in demonstrate the owner’s intellect and wealth, as well as a way of
Western collecting. And we are in good hands. Seasoned interiors ordering the world and celebrating man’s perceived dominion
photographer Massimo Listri knows his way round the palazzos over it. Common inclusions were crystal, disturbing waxworks,
and schlosses of Europe, and the informative opening essay is elaborately enhanced nautilus shells, taxidermy, ubiquitous nar­
by art historian Antonio Paolucci, former director of the Vatican whal tusks (masquerading as those of unicorns), coral and ivory.
Museums. There’s no explanation of why these particular exam­ Exquisite examples of the last of these are what’s shown on those
ples have been selected (and the inclusion of
the now dismantled Malplaquet House, WoI fold­out pages. The Coburg ivories now
Oct 2003, in Stepney is perhaps controver­ housed in Tesoro dei Granduchi in the Pitti
sial), but they do not disappoint. Palace are testament to the frankly super­
human powers of the craftsmen who created
Emerging from the Renaissance era, these such delicately pierced and impossibly com­
collections formed the kernel of what would plex layers of wonder from single specimens.
eventually become the museum. It was solely
a pursuit of the European aristocracy. Here Altogether this book is a marvel – every
are gathered detailed portraits of ‘cabinets’ turn of the page elicits a gasp of incredulity
of different sizes – six in France, five in Italy, and delight – a fitting celebration of the ‘kind
three each in Germany and Austria, and one of madness or sense of anguish… [of] obses­
each in Denmark, Sweden and England. They sive collecting’. It also teases with details of
exist in different forms; beginning as literal treasures not shown (how disappointing not
cabinets, they grew into Wunderkammern and to see the automaton of Diana riding a cen­
eventually took up whole buildings. Invent­ taur that rolls its eyes and shoots arrows).
iveness in both what was displayed and how Which might necessitate a real­life inspec­
was just the start of it. Gustavus Adolfus of tion once circumstances allow $ KATHRYN
REILLY is a freelance journalist and editor r

To order Cabinet of Curiosities for £80 (plus £8 UK p&p), ring the World of Interiors Bookshop on 0871 911 1747

books

We combine traditional handicraft MADAME D’ORA (ed. Monika Faber; Prestel, rrp £39.99) One day in
expertise with modern design in our 1922 Elsie Altman-Loos, dancer, beauty and free-spirited wife
to the architect Adolf Loos walked into the studio of Madame
handwoven rugs d’Ora, photographer. She left exhilarated enough to tackle head-
on her cold, distinctly un-fun-loving husband, some 30 years her
Vandra Rugs senior. She later divorced him. Elsie left an account of her session
Stockholm, Sweden, www.vandra-rugs.com with Madame d’Ora – ‘small, delicate, not pretty at all, but her
personality is so forceful that no one would ever think to miss her
Represented in the UK by Sinclair Till beauty’. And she was later struck by the photographer’s presci-
www.sinclairtill.co.uk ence: ‘We are all of us,’ she had remarked, ‘sitting on the volcano.’
Head thrown back, hair on end, her breasts exposed beneath a
peony-patterned kimono, a string of beads delineating her cleav-
age, the portrait of the dancer is Madame d’Ora’s masterpiece, a
defining image of the age of Modernism.

Madame d’Ora was born Dora Kallmus in 1881 and began
taking photographs in fin-de-siècle Vienna. Her father, a prom-
inent lawyer, marshalled her first sitters, who included Anna
Sacher of Vienna’s world-famous hotel of that name and Sophie
Clemenceau, sister-in-law of the French prime minister. That
the Kallmus parents were Jewish immigrants would lead in
time to great hardship for Dora, but for now she was Madame
d’Ora. A name with connotations: a whiff of cosmopolitan
Paris, where Dora would relocate in 1923; the lower case ‘d’
suggesting aristocratic heritage and the name above the door
camouflaging for now her real heritage. In Austria, the volcano
started smouldering early on.

In Paris, Madame d’Ora was in great demand as a fashion
photographer. If she rarely troubled the main pages of Vogue, her
pictures being more instructive than artistic, she made a name
for herself exhibiting with the avant-gardists Germaine Krull,
Man Ray and André Kertész. Her upward trajectory ended with
the occupation of Paris, and Madame d’Ora spent the war in hid-
ing. Her sister in Vienna did not survive the death camps.

The problem with this book of photographs is that with sev-
eral notable exceptions – including a striking portrait of pud-
ding-bowl-haired Japanese artist Tsuguharu Foujita – they don’t
quite measure up to the life, so assiduously revealed here by no
less than seven highly readable contributors. That Madame
d’Ora is not as well known as Horst or Hoyningen-Huene or
Cecil Beaton, her contemporaries in the fashion world, is regret-
table. Perhaps doors stood only half open for an upper-class,
Jewish woman photographer in interwar Vienna. But in the end
the work must speak for her, and it is curiously without life $
ROBIN MUIR is a curator and photographic historian

To order Madame d’Ora for £31.99 (plus £4.50 UK

p&p), ring the World of Interiors Bookshop on 0871 911 1747

Bathroom lighting
drummonds-uk.com
+44 (0)20 7376 4499