Opening a new window everyday

One such window is the newly created Corbu's Cave, also known as The Painted Wall: From Cave Painting to Le Corbusier and Beyond, by the very talented Mr. Scott Waterman.


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Pronounced ah-stewg-v'YAY

Miru mirror mounted with a cobalt blue braided cotton frame
Astuguevieille for CoutureLab





Commode Aton





Commode Nr. 4


Christian Astuguevieille : For Furniture, A French Twist - by Suzanne Slesin

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Boog-ie woogie, then and now

The then residence of Thomas Boog, photographed by Nicolas Matheus, as it appeared in Elle Decoration, September 2001 (France).















The Boog residence now, photographed again by Nicolas Matheus, as it appeared in Elle Decoration, February/March 2009 (France).














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Swirls and twirls

Pomfret House, the Northamtonshire residence of long time antiques dealer Christopher Jones, and its drawing room. In November its contents went on the block at Christies, The Country House Sale: Pomfret House and Tetworth Hall.

Among the 280 lots were a selection of marble glazed pottery and agate ware. Agate ware is a mix varicoloured clay worked into an overall marbled effect, probably introduced about 1730 by Dr. Thomas Wedgwood of Rowley’s Pottery, Burslem. It was sometimes called solid agate to distinguish it from ware with glazed marbling. Below, are examples of both.




A PAIR OF CONTINENTAL POTTERY 'AGATE' CAMPANA-SHAPED VASES
19TH CENTURY
In the Neo-Classical style, each marbled with cream, ochre, brown and black striations, the upright leaf-capped handles issuing from stylized bearded masks, gadrooned rims and a fluted spreading foot.




A PAIR OF FRENCH POTTERY MARBLED VASES AND COVERS
LATE 19TH CENTURY, IMPRESSED MARKS FOR PICHON
Each oviform with cylindrical neck, applied with upright frond-scroll handles terminating in lion masks, marbled in brown and green clays.



A PAIR OF FRENCH POTTERY TWO-HANDLED VASES AND COVERS
CIRCA 1800, IMPRESSED 'LAMBERT & CIE'
In the Neo-Classical taste, sponged in purple, blue, yellow and green, each with bell-shaped cover, the shoulder applied with rams masks joined by bands of laurel garlands above stiff-leaves, an oval medallion to the front and back, the lower part with a stiff-leaf band and laurel knop, circular foot and square base.



A CONTINENTAL AGATE WARE CYLINDRICAL JARDINIERE
LATE 19TH/EARLY 20TH CENTURY
With two mask handles and moulded borders.

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A little more Hope

Table and vase by Charles Frederick Hancock
Ebony, rosewood, silver inlay and electroplated nickel silver (table) and silver, raised, with cast additions (vase)
English, 1850-51
V&A

This table and vase, shown at the Great Exhibition in 1851, show how Thomas Hope's designs continued to inspire designers and craftsmen even after his death. Formerly part of the collection of Purnell Bransby Purnell (1791-1866), a collector of classical antiquities.




Chair designed by Thomas Hope
Made by Edward & Roberts
Mahogany with inlaid decoration of brass and ebony
English, circa 1892
V&A




Thomas Hope: Regency Designer by David Watkin

To date the most comprehensive book on the life and work of Thomas Hope.


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A little Hope

Should I succeed in kindling for the arts a more intense and universal love, when comes the hour of death, I shall think I have not lived in vain.

So said Thomas Hope (1769-1831), the Dutch born designer, author and patron of the arts, who would become one of the greatest proponents of the Regency style in England.

In 1807 Hope bought The Deepdene, a country house in Surrey, which was destined to become one of the most inventive and arresting country houses of its time. The only surviving record of its splendour is a set of watercolours and drawings executed for a book that was never published.


The Deepdene, Surrey


Entrance Court, Looking Towards the Tower


Chimney Piece in the Library


The Small Drawing Room


Theatre of the Arts


Steps to the Conservatory

For John Britton, Illustrations of the Deepdene, Seat of T. Hope Esqre.
By William Henry Bartlett (1809-54)
1825-6
Watercolour and pen and wash on paper
London Borough of Lambeth, Archives Department

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Pounds? No idiot, drachma

This is the perfect planter/object for the room.


Garouste & Bonetti
Urn 'Lesbos' 1996
glazed ceramic
yellow and white gold leafed handles
purple / green / blue
H46 x W77 x D50 cm
£3,500

The client's response and my thoughts interjected - Not what I thought it would look like. To be fair, I think it's too expensive for what it is. Shame you don't say that at Gucci and Louis Vuitton. Are you sure the handles are not solid gold or silver? As if that would make a difference. Let's keep looking. No. You keep looking. I'm done. Maybe I can find something that makes more sense. What, you mean plastic? We are in a recession!!!!! Pig.

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