Villa Fornasetti

Mirrors in the Green Room of the summer villa
of the late Piero Fornasetti.
Photo by Robert Emmett Bright.

One of The Devoted Classicist's favorite furnishings designers by far is Piero Fornasetti.  Although inspired by classic historicism, Piero Fornasetti, 1913 to 1988, was one of the most innovative designers of the second half of the 20th century.


The Fornasetti summer villa overlooks
a finger of Lake Como, Italy.
Photo by Robert Emmett Bright.

After exile in Switzerland during World War II, Piero Fornasetti returned to Italy and began to renovate the summer villa that had been built by his father in 1899.  Near the village of Varenna on Lake Como, it is about an hour by train from Milan.


The terrace is decorated by a pair of carved figureheads.
The table and chairs were designed by Fornasetti in 1955.
Photo by Robert Emmett Bright.

Set on a small level shelf on the steep slope rising up from the lake, Fornasetti made only a few changes to the simple exterior.  A frieze of glazed terra-cotta tiles and brackets for the balcony, both with a Greek key motif, were added by Fornasetti.  The interior was completely transformed, however.


The Living Room at Villa Fornasetti.
Photo by Robert Emmett Bright.

In the Living Room, Fornasetti painted the tubular metal furniture to resemble bamboo.  Additional seating includes several antique neo-classical chairs and a pair of bentwood rockers.  An old frame was made into a mirror flanked by obelisk lamps made in 1955 and a 1930s self-portrait was hung over his 1954 "Como Leopardo" commode. 


An identical commode, number one of an edition of eight,
was offered in an auction December 14, 2010,
with an estimate of $20,000 to $30,000.
Wright auction, Chicago.

He also designed the red equestrian tiles inspired by 17th century prints bordered by a stencilled fret that trims the Living Room.  A life sized Roman foot from 1955 is ceramic with a terra-cotta finish and used as a vase.


A detail of the tile and stencilled fret
in the Living Room.
Photo by Robert Emmett Bright.

Just glimpsed through the doorway is the Entrance Hall covered with a specially created deep yellow paper.  The green room, a guest room in the first photo displays an assortment of mirrors, some made by Fornasetti, and others, antique.


The Guest Room at Villa Fornasetti.
Photo by Robert Emmett Bright.

The 1953 cabinet in the guest room is decorated with Fornasetti's ideal of classical antiquities and books arranged on shelves.  The round container by Fornasetti dates from 1955.



The Dining Room at Villa Fornasetti.
Photo by Robert Emmett Bright.

The Dining Room walls are painted an intense blue in contrast to the sunny colors of the Living Room.  Thousands of shells ordered from Venice were glued to the walls by son Barnaba over two summers.  Giula Fornasetti, the artist's widow, made the shell chandelier.


The Master Bedroom at Villa Fornasetti.
Photo by Robert Emmett Bright.

The yellow Master Bedroom featured an antique Scilian wrought iron bed that the artist restored and embellished.  Fornasetti designed the coordinating side chairs, the 1954 wardrobe covered in neo-classical images, the ceramic nubian vase, and the blue convex mirrors.


Piero Fornasetti's bed was offered at auction
May 18, 2008, with an estimate of $20,000 to $30,000.
Wright auction, Chicago.

A pair of side chairs of an edition of four
were offered at the same auction as the bed
with an estimate of $15,000 to $20,000.
Wright auction, Chicago.

As a side note, the bed from Villa Fornasetti was sold was sold at Wright for $21,900, but it appears that the chairs did not sell.

The son's bedroom at Villa Fornasetti.
Photo by Robert Emmett Bright.

Barnaba's bedroom featured a pair of bedsteads painted by Fornasetti and his cylinder lamp with Trajan's column motif.


A bathroom at Villa Fornasetti.
Photo by Robert Emmett Bright.

A bathroom is tiled with in designs from Fornasetti's "Soli e Lune" series of 1953.  Another bathroom had white walls but featured plumbing fixtures, including the toilet and bidet, decorated with sprays of flowers in Fornasetti's design.


In a photo from the catalog for the December 6, 2005 auction,
the lavatory and other fixtures were porcelain with a
hand-colored lithographic transfer.
Wright auction, Chicago.

After Piero Fornasetti's death, his son Barnaba took over the business with his mother serving as consultant.  Some items designed by Piero Fornasetti are still being produced in limited editions, joining earlier products found in antique shops and auctions that still enjoy favor from collectors.


Piero Fornasetti in a photo from the late 1970s.
Image provided by Barnaba Fornesetti for
Architectural Digest.

The flagship Fornasetti store is in Milan, but new products are also sold in retail shops around the world.

The exterior of the Fornasetti shop in Milan.
Photo from the Fornasetti website.

All the Robert Emmett Bright photos date from 1989 and were published in the January, 1990, issue of Architectural Digest magazine.  There are two books about Fornasetti currently in print;  click on the title for more information or to order at a discount from the published price: FORNASETTI: DESIGNER OF DREAMS and FORNASETTI: THE COMPLETE UNIVERSE.

More on Lacca Povera

A red Lacca Povera bureau cabinet,
Venetian, first half of the 18th century,
from the collection of Dodie Rozekrans.
Sothebys auction NO8818, lot 309.
Sold:  $122,500.

Somehow the original essay on Lacca Povera that was intended to be the current post appears as if it were published a week earlier;  in case you missed it, it can be seen here.  But while we're on the topic, I thought you Devoted Readers would enjoy seeing this bureau cabinet from the collection of the late San Francisco-based socialite Dodie Rosekrans sold at auction in 2011.  This Venetian piece is Baroque in overall form, dating from the first half of the 18th century, but the concave sides of the base and the mid section reflect the coming Rococo style.  The pagoda top and oriental scenes identify this as being in the "alla cinese" taste.  For more about the lady and the sale, see the post from the archives of  The Style Saloniste by Diane Dorrans Saeks.


A Lacca Povera bureau cabinet in the bedroom
of interior designer Ann Getty.
A detail from a photo by Lisa Romerein from
ANN GETTY INTERIOR STYLE
by Diane Dorrans Saeks,
published by Rizzoli, October, 2012.

And speaking of author Diane Dorrans Saeks, one of this season's stand-outs in new design books promises to be ANN GETTY INTERIOR STYLE.  Although I have not yet seen the book, the preview photos reveal an insightful look at the lavish interiors created by the socialite and philanthropist Ann Getty, who founded her own interior design firm Ann Getty Associates in 1995.  (A lady of great taste and a fortune to match, Mrs. Getty and her husband were valued clients of Parish-Hadley during my tenure there, although the Gettys worked on multiple residences with other design firms as well).

But back to the Lacca Povera technique, various European lacquer manufacturers' formulas differed in coloring and thickness of varnish, among other traits.  While other Italian states tended to work with limited color palettes and forms, Venetian pieces were produced in a wider range of colors and forms.  There was a 20th century revival of the technique that continues today, but the 18th century pieces are generally the most valued.

The Unseen Rex Whistler

Devoted Readers in London in the next few weeks are in for a very special treat.  The noted decorating and antiques firm Sibyl Colefax & John Fowler is hosting a remarkable free exhibition of works by artist Rex Whistler from private collections and most have not been previously exhibited.

The exhibit, held in conjunction with the release of a new book IN SEARCH OF REX WHISTLER: HIS LIFE AND HIS WORK, will be held in the famous Yellow Room that had once served as part of the living quarters of legendary interior decorator Nancy Lancaster (a partner in the business founded by Sibyl Colefax).


A general view of the Yellow Room at 39 Brook Street
during the occupancy of Nancy Lancaster.

The room has long been without the legendary decorator's furnishings, of course, but it is still interesting to see.  It is a "must" for all devoted classicists.


The Rex Whistler murals at 36 Hill Street, Mayfair,
as published in Country Life magazine, 1939.

See the recent posts about the art of the brilliant Rex Whistler in The Devoted Classicist by clicking on the title:  Rex Whistler Murals, More of the Artistry of Rex Whistler, and Rex Whistler's Circle.  To see more information about the new book by Mirabel Cecil and Hugh Cecil or to order at a discount from the list price, click on the title:  IN SEARCH OF REX WHISTLER: HIS LIFE AND HIS WORK.

Lacca Povera

Detail of a Lacca Povera table, Venice, circa 1750,
shows the allegorical theme of the continents.
Photo:  Benedicte Petit.

The Italian furniture known as Lacca Povera, which translates as "poor man's lacquer," dates from the 18th century and may or may not have originated in Venice.  Also known as Lacca Contraffa, or "counterfeit lacquer," it is an imitation of the Oriental lacquer--of sorts.

A fall front secretary, Venice, circa 1770,
shows the later preferences for leisurely country pursuits.
Photo:  Bay Hippisley.

The technique involves printed paper images pasted on the painted furniture surface and then coated with many coats of varnish to create the illusion of high-gloss lacquer decoration.

One of a pair of corner cabinets, Italy, circa 1780,
illustrates an answer to the 18th century demand for lacquer furniture.
Photo:  Briga Fairholme.

Other Italian cities produced Lacca Povera furniture as well, as did Paris and London at its height of popularity.  To satisfy the demand for a less expensive version of the true lacquer decoration, printers produced sheets of engravings specifically for Lacca Povera decoration.  Chinoiserie figures, shepherds and sheperdesses, huntsmen, garlands, and bouquets of flowers are all common printed motifs.


A detail of a folding screen, Venice, circa 1750,
portrays the themes of mythology, courtship, and the Orient.
Photo:  Belmont Galleries, London.

One of the printing firms that produced sheets of motifs specifically intended to be cut out to create Lacca Povera furniture was Giovanni Antonio Remondini.  That firm produced the small engraved scenes and motifs that decorate the bureau cabinet below.

A bureau cabinet, Venice, circa 1750,
features mirrored doors.
Photo:  Mark E. Smith.

As interest in the classical revival style of Louis XVI resulted in the waning of the Roccoco period, the popularity of lacquer and Lacca Povera declined.  By the time of the 1797 unopposed invasion of Venice by Napoleon's army, the city was no longer the great sea power and center of European banking, but already becoming a tourist center.


A Northern Italy cabinet, circa 1760, displays
the lavish frivolity of late Baroque and Rocco tastes.
Photo:  Bay Hippisley.

The charm of Lacca Povera furnishings is appreciated today, however, and occasionally a piece may be found in the most stylish interiors.

All photos are from the February, 1989, issue of

Architectural Digest.



Atmosphere or Object?

Photo by William Abranowicz from
THE WAY HOME:  REFLECTIONS ON AMERICAN BEAUTY.

In talking about how to create a stylish home environment that is suitable for the way families live today, noted interior designer Jeffrey Bilhuber says that interiors are not about the objects, but the overall success of the atmosphere as a whole.


Photo by William Abranowicz from
THE WAY HOME:  REFLECTIONS ON AMERICAN BEAUTY.

Bilhuber says he does not tell his clients what to buy;  he gives them choices and helps them make decisions to develop their own distinctive home.  His philosophy is illustrated with photos of a dozen homes whose interiors he has guided from his latest book, THE WAY HOME: REFLECTIONS ON AMERICAN BEAUTY.


Photo by William Abranowicz from
THE WAY HOME:  REFLECTIONS ON AMERICAN BEAUTY.

Mid-Southerners are in for a rare treat on Friday morning, November 9, 2012, when Jeffrey Bilhuber presents a talk, "The Way Home:  Atmosphere or Object," at Memphis Brooks Museum of Art.  Although the luncheon presentation is sold out, there are still tickets available for the 10:30 am talk in the museum auditorium with a book sale and signing.  For more information, see the website of Decorative Arts Trust.

Jeffrey Bilhuber's Hay Fever

 

Jeffrey Bilhuber.
Photo:  Bilhuber & Associates.

No, this is not about the interior designer's allergies.  Hay Fever is the name of Jeffrey Bilhuber's house on the North Shore of Long Island.  With the original portion of the house dating from the 17th century, it has been enlarged over the years, including an expansion by noted architect Maurice Fatio to create connections to the outbuildings.  Bilhuber completely renovated the house, saving existing features and adding other details salvaged from a nearby house being razed. 


The article from the August, 2009, issue of
Vogue magazine.
Photo:  Francois Halard.

The story of Bilhuber's search for the house was documented in an article by Hamish Bowles in the August, 2009, issue of Vogue magazine.  Although Bilhuber has an apartment in Manhattan, he also wanted a house within an hour's commute by train, located on a village green.  This house fit the bill.


The entrance hall of 'Hay Fever'.
Photo:  Francois Halard for Vogue magazine.

The house had once been a boy's school and later home to antiques collector and dealer Jane Teller Robinson.  (The Robinson's 1799 stone house in Manhattan is now the Abigail Adams Smith Museum).  Jane Robinson operated a museum and restaurant in this house which she called the Stage Coach Inn.


The living room.
Photo:  Francois Halard for Vogue magazine.

After a period of bank ownership, it was home to Edith Hay Wyckoff whose father named it Hay Fever after the Noel Coward play.  (Ms Wyckoff was a chronicler of the Long Island Lifestyle and how it changed after World War II).


Jeffrey Bilhuber with his son Christoph
in the kitchen of 'Hay Fever'.
Photo:  Francois Halard for Vogue magazine.

The bedrooms are named after
Revolutionary War generals.
Photo:  Francois Halard for Vogue magazine.

The master bedroom of 'Hay Fever.'
Photo:  Francois Halard for Vogue magazine.

Improvements in the 1920s by architect Maurice Fatio
connected the outbuildings to the main house,
creating a rear courtyard.
California landscape architect Nancy Goslee Power
designed a garden to replace the parking area.

Decorative Arts Trust, a support group for Memphis Brooks Museum of Art, will sponsor Jeffrey Bilhuber's talk "The Way Home:  Atmosphere or Object" at the museum auditorium, Friday, November 9, 2012, 10:30 am. A book sale and signing will precede and follow the talk.  Advance tickets for the talk are suggested as it is anticipated to be a sold-out event (as the luncheon has already reached capacity).  See the Trust's website (in flash format not viewable on iPhone, sorry) for more information.

Rex Whistler's Painted Room Travelled

Rex Whistler's painted panels now adorn
the dining room at The Grove.
India Hicks

A previous post of The Devoted Classicist, "Rex Whistler Murals", presented a sampling of the work of the great artist of the first half of the twentieth century.  All the projects were incredibly fantastic in their own way, with a great advantage being Rex Whistler's great range allowing each to be so unique.  Although Whistler had a studio that made it easier to paint the large murals on canvas, he sometimes painted directly on the walls.  It is fortunate that the client insisted that this one project in particular was painted on canvas because it has travelled to another location not once but twice.


Edwina, Countess Mountbatten of Burma.
Daily Mail

All of Whistler's patrons were wealthy, but perhaps none was more celebrated than Edwina Mountbatten, Countess Mountbatten of Burma.  Born Edwina Cynthia Annette Ashley, descended from the Earls of Shaftesbury, in 1901 at the family estate, Broadlands, she grew up in an environment of great priviledge.


Broadlands was improved by architect Henry Holland
beginning in 1767.
Photo from Wikipedia.

Not an academically strong student, she went to live with her maternal grandfather, Sir Ernest Joseph Cassel, one of the richest and most powerful men in Europe, after the death of his wife and only child, rather than continue her studies.  She filled the role of hostess at his London mansion, Brook House, on Park Lane and became his heir, inheriting a fortune in cash and real estate at age 20, in 1921.  She married Lord Louis Mountbatten of the British Royal Family (second cousin once removed to Queen Elizabeth II and uncle of Prince Phillip, Duke of Edinburgh) in 1922, and gave birth to two daughters, Patricia (Knatchbull) in 1924, and Pamela (Hicks) in 1929.


The stairhall of the Mountbatten penthouse at Brook House
decorated by Mrs. Joshua Cosden
in collaboration with Victor Proetz.
Country Life photo.

The living room of the Mountbatten penthouse
decorated by Mrs. Joshua Cosden with Victor Proetz.
Country Life photo.

 A new luxurious apartment building, also called Brook House, was constructed between 1933 and 1935 on site of the razed mansion, with the Mountbattens taking the duplex penthouse constructed to their specifications, satisfying a requirement that Edwina maintains a residence there.


Lady Mountbatten's boudoir at Brook House, London.
Photo by A.E. Henson for Country Life.
Published in the August 24, 1939, issue.



Another view of Lady Mountbatten's boudoir at Brook House.
Photo by A.E. Henson for Country Life.
Published in the August 24, 1939, issue.

 

The panel designs are classical with allegorical statuary, trophies and architecture, but personalized to represent some special meaning to the client.

Designs for the murals at Brook House.
REX WHISTLER. HIS LIFE AND HIS DRAWINGS
by Laurence Whistler, Sheneval Press Ltd, 1949.

The pet lion Sabi.
India Hicks

After a couple of decades devoted to pleasure, the Mountbattens went into public service at the outbreak of World War II.  Fortunately, the Rex Whistler panels were removed from Brook House in 1939 and the building was demolished after damage from Nazi bombing.


David and Lady Pamela Hicks
Art Architector

Lady Pamela lived with her parents in India in 1947 and 1948 when her father was Viceroy of India the Governor-General of post-Partition India. Lady Pamela, the second great-great-grandchild of Queen Victoria, is a former lady-in-waiting to Elizabeth II and acted as her bridesmaid at her wedding to Prince Philip, Duke of Edinburgh, her first cousin.  In 1960, she married the interior designer David Hicks.  Hicks' career was launched in 1954 when the house he had decorated for his mother and himself was published in British House & Garden magazine to great acclaim.  

Britwell
Photo:  British Listed Buildings.

Soon after their marriage, the Hickses bought Britwell, a 1728 house with wings added in the early 20th century.  The panels from the Brook House boudoir were installed in Lady Pamela's study.  It appears that possibly some blank panels may have been created to make the layout work, but the scheme was very successful despite being a slightly simplified version of the original room.


Lady Pamela Hicks' study at Britwell.
Photo from
DAVID HICKS ON HOME DECORATION.

In DAVID HICKS ON HOME DECORATION, published in 1972, the designer/author wrote, "The boudoir painted by Rex Whistler for Brook House in 1937 has a pale blue background and grisaille decoration.  I continued the late 'thirties theme by using a boxy sofa and all-white upholstery, and placed early Chinese ceramics on the Louis XVI chimney."

The tax burden, along with other expenses to maintain the property led to a sale of the house and many of the contents in 1979.  But the Rex Whistler panels were again removed to be installed in the dining room of the Hickses next house, The Grove.



The Grove.
Life.style.etc

The Rex Whistler panels were expertly adapted, by all indications, to suit their present location at The Grove.


Rex Whistler's painted panels as installed in The Grove.

David Nightingale Hicks died in 1998 while still in residence at The Grove (not at Britwell Salome as reported on most websites).  It continues to be home to Lady Pamela.


Lady Pamela' grandaughter Dolly with Bun.
Photo by her father, David Flint Wood.
Indiahicks.com

David Hicks wrote a number of books on interior design featuring examples of his own work to illustrate his design philosophy.  Some vintage copies are still available today including LIVING WITH DESIGN, DAVID HICKS ON HOME DECORATION, DAVID HICKS ON DECORATION -- WITH FABRICS, and STYLE AND DESIGN.  The best book about the designer, however, was written by his son Ashley Hicks, DAVID HICKS: DESIGNER.