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Showing posts with label Horst. Show all posts
Showing posts with label Horst. Show all posts

Bess in Winter

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Another blast of cold weather, with a slight possibility of snow has me feeling cold. I love cold weather in all honesty, but I have found myself adding a layer here and there. It must be my aching bones. My niece gave me a wool challis stole for Christmas and it is close by for a blanketing effect when needed.


 Horst photograph


 How did the likes of Bess of Hardwick manage to stay warm?




 Aside from the wearing of fur, (at left)- as a young woman in heavy robes beautifully tipped in fur. Bess as Lady Cavendish, painted by a follower of Eworth, c. 1557. She wears fine jewelry & her fine clothes include a linen smock worked with  scarlet, and-( at r.) as the formidable Countess of Shroesbury in ermine, no less.




A favored color?





Bess always had a fire in her bedchamber at Hardwick hall and kept the room well insulated against draughts and winter chills. "Those large windows, which were so splendid architecturally,, made the house particularly cold and draughty in the winter, especially perched as it was on a hilltop."  (excerpted from Mary S Lovell's Bess of Hardwick)



Just imagine a Tudor morning and a driving snow without.

Hardwick Hall
photograph John Gay


Rather than the opulent silks and velvets which feature in the guestrooms, her bed was  a great scarlet-caparisoned tester bed hung with warm bed-curtains of finely woven scarlet wool. The window curtains were also scarlet. And a second pair of bedhangings were kept to be used over the scarlet ones in exceptionally cold weather; when these were all fastened round her bed, it must have been cosy to the point of stuffiness. (Mary Lovell)


I immediately thought of the sumptuous bed & room of David Hicks, though the heavy coverings of Bess's scarlets are hardly matched here, I think Hicks captures an out of time quality in this room.




Though I could easily envision Bess redecorating the David Hicks room by adding her fine handwork to tapestries all about the room-something like the ones she would have had a hand in. She was a master at the needle.








Appliquéed heraldic panel, Hardwick Hall, 16th C.
image from here


 
Appliquéed flowers and bands from a piece at Hardwick Hall, 16th C.
from here


Born in 1527, Bess learned her excellent skills and management of household from her mother and her aunt, creating a grand yet comfortable world  from the time of her marriage to Sir William Cavendish in 1547 until her death. As Lady of Chatsworth and from all of her subsequent titles, she employed embroiderers, seamstresses & lace makers to create the enormously detailed hangings of Hardwick Hall that can still be seen today.


Europa and the Bull
 (all needlework images from an Elizabethan Inheritance the Hardwick Hall Textiles)


an unknown woman by Marcus Gheeraerts 
 costume is modeled after "Virgo Persica" (the dress of Persian maiden) 
from Boissard's Habitus Variarum Orbis Gentium



Bess's aging bones evidently felt the cold a good deal, for in her chamber were three coverlets to hang across the two windows and the doors in winter months. Eight warm rugs protected her unshod feet, two great tapestries fifteen foot deep, 'with personages and forest work', hung against the walls. And in addition to the 'featherbed', bolster and pillows, there were twelve warm blankets.(Lovell)


from an Elizabethan Inheritance the Hardwick Hall Textiles
above & in detail, below




Typical (below) are the Hardwick Hall bedchambers (see National Trust photographs below) that Bess shunned in favor of her scarlet woolen saturated rooms.



Hardwick Hall
Early-eighteenth-century bed in the Green Velvet Room. ©NTPL/Nadia Mackenzie



Hardwick Hall
Bed from about 1740 in the Cut Velvet Bedroom. ©NTPL/Nadia Mackenzie





Bess died on February 13, 1608, probably age 80 & what a remarkable life. Sadly she would not have seen the spring beauty of Hardwick Hall but gazed on its winter blanket of snow. The scarlet wrapped haven against the cold left to be bathed in dower black.


'I assure You, there is No Lady in this Land that I better Love & Like.'
-Queen Elizabeth I about Bess of Hardwick


and I think Yes, to the scarlet.




Resources used for this post:

Emile de Bruijn of the National Trust here


stop at  Janet Blyberg's JCB to read about Hardwick Hall here

photographs of Hardwick Hall here

find a grave photograph here


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once upon at time

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the idea incubated by Diana Vreeland, Horst and Valentine Lawford in the pages of VOGUE, the conjuring of images in homes we want to occupy. No scratchy arrows or punch words evoking- "how to get the Look." The IDEA was to "read" - to "see" individualism. It doesn't exist anymore in the homes of the famous- and rich.





Why do we love certain houses, and why do they seem to love us? It is the warmth of our individual hearts reflected in our surroundings.  -  
T.H. Robsjohn-Gibbings 










Do either of these women need introduction?
I'll remind you of these every now and then and please let me know...

HOUSES, GARDENS, DESIGN and ENTERTAINING? Where are you inspired?

Do such Vreelandesque collaborations exist and have I missed them?




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a Countess, a Capri Garden

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 a Horst still life



looking through the pages of old issues (1960's-70's) of House and Garden always takes me back to my first time. Pulling through the pages of my GranMa's closet filled stacks- I wonder if I might have lingered over this article a bit longer than most.  Of course- at the time the pictures would have captivated my imagination, the words less so. The Horst photographs continue to grab my attention todya- these glamorous men and women-in the midst of glamorous lives.

Here, Margaret Willaumez steps out onto one of  the terrace gardens of her Capri house-Casa Lontana.




As with most old articles, I want to know- What happened after the photographs ceased? Countess Margaret Willaumez is the woman standing in the doorway, intent on something- seemingly unaware of the lens. She loved only flowers and specimens that were spectacular- for cutting.  "Every inch counts." Her garden more English than Italian, she describes as "delicious." Decorator at Thedlow in New York and contributing editor to House and Garden, Countess Willaumez arrives in May to a profusion of sweet peas, pansies, flax, calendula, larkspur and pinks tended by a trusty gardener year round-she packs off seedlings to him for planting. She is never disappointed.





Rooms with a view:
"From my topmost terrace I can look down and see the flower of the moment and always the morning -glory blue of the sea.  The house built on three levels with three terraces was always filled with flowers the moment the Countess arrived.  All the interiors are simply furnished with a mix of styles and periods-the flowers were the showstoppers here. The  interiors could be lived in stylishly and easily today.











After the interview:
So doing some research on the Countess , I found her obituary in the New Your Times. Just years after the article would have appeared , the Countess Williaumez died after a long illness. She was just 52.

Though her typical time in residence on Capri was from May to October, in 1972- she lingered there through November. On the thirtieth, She died within the whitewashed walls of her hillside Casa Lontana. She enjoyed her plants- but doted on her cut flowers, giving them fresh water each day, clipping stems and rearranging them.

"Even if all its chums are gone, I will never throw away a live flower. I can't. I just find a place for it."





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the Brandolini Rooms of Vistorta

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Brandolini Family Portrait 
by Horst


There are interiors that stay with you. Some give little reason to change. Perfection- it leaves nothing to be desired. Such is the case in the rooms of VISTORTA di SACILE that Renzo Mongiardino decorated for Conte and Contessa Brando Brandolini d'Adda. Horst photographed VISTORTA -the restored the family's 1830 estate outside Venice more than forty years ago for Vogue. In the article Conte Brando Brandolini said " I tried to capture the atmosphere of a country house in a story by Turgenev." Here with portraits from the period by Madame Vigee Le Brun.


 THE LIBRARY

 
 Princess Anna Sergeevna Stroganov, nee  Princess Trubetskaya1793





trompe l'oeil Biedermeier bookcases, green felt panels framed in floral braid
Charles X




 
 Countess Anna Ivanova Tolstoy, 1801


The Contessa, Cristiana, beauty, socialite, sister of Gianni Agnelli, is mother in law to designer Muriel Brandolini. Muriel comments of the collaboration between the Contessa and Mongiardino-"He was really at his best when he was working with my mother in law." She has been much inspired by the decorations of the pair.


the Countess Brandolini, by Horst






Time sometimes flies like a bird, 
sometimes crawls like a snail; 
but a man is happiest 
when he does not even notice whether it passes swiftly or slowly.
Turgenev




THE DRAWING ROOM


Princess Sapiena, nee Potocka, 1794





 sunlit lacquered walls, festooned curtain in the 19th c. style, emerald & gold Savonnerie 




THE WINTER GARDEN



 Princess Edcocia Ivanovna Galitzine, 1799





Mongiardino at his best, Window design copied from Josephine's Malmaison
the fabric copied from a piece of Indian cotton on sofas, cushions & shades



THE CONTESSA BRANDOLINI'S BEDROOM


Marquise de Fresnes d'Aguesseau, 1789




Evoking the 19th century
White cotton pique curtains with deep tasseled trimmings, tiered, festooned, shaded & swagged





Muriel Brandolini Interior Design here
Le Brun portraits here


& from the pages of Vogue






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Summer Table

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I've always been so intrigued by this Horst photograph of Mrs. Charles Fuller's Connecticut porch. I Love this table size food screen-a Japanese gauze fly guard. Its tentlike coverage with fine screening is brilliant for waylaying pesky flying things. Horst photographed and published Mrs.Fuller's home in the now covetable Vogue's Book of Houses Gardens People.

The house-once a church-was so tempting Mrs. Fuller purchased the property by telephone.
Intriguing- all the interiors- and I will share them as the summer progresses. It is a good mix of Bohemian elements all set within the 1889 stained glass Victorian structure. In fact several photographs transport us to the houses on the Bosporus.

Intrigued?
What do you do that takes you away right on your own back porch?
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a Stitch in Time VI: Napoleon III

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Baron Philippe de Rothschild, beadwork evening slipper, Napoleon III's boot (from 19th century carpet), beadwork Victorian Footstool



image from Vogue's Houses, Gardens , and People, Horst, Lawford.
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Horst StillLife

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House and Garden July 1969

creating a beautiful life,
still life by Horst
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Horst Studio

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Still current, the 1969 Horst Manhattan studio, pied a terre. A sometime home away from home, Horst decorated his studio in black and white. Reminiscent of his photography, Horst used houndstooth, zebra, and a cartoonish free form design to connect the dots of his studio.  A vintage luxury ship ad poster glides along over the concealed desk area. Horst added a necessary daybed for overnights, a table/desk in colour blocked red and patterned zebra. Slashes of red adds more drama to Horst's already smashing studio.


Horst and Veruschka

"All forms, inventively used, can be diverting. Cost is secondary. "  

HORST

"It is an exercise in decorating with forms, and also an exercise in economy. It cost very, very little."




Horst and Perry Ellis

Horst elaborates on the design process: 
"Because the ceiling was so high, the room seemed to soar right up through the roof. So I tailored the perspective with a false molding of black paint. It stops the eye. Then I amused myself by seeing how much variety I could give the walls by cutting them into geometric patches with wallpaper, paint and mirror. I didn't want to jangle, just diversion, and I think I have it. It's a harlequinade, claimed down by that big photostat I took years ago of a stature in Rome. The abstract and the classic can be very nice bedfellows, and in this case, that's exactly what they are."





Horst studio images House and Garden July 1969
Horst photographs- 1- Horst photograph 1938 here, 2- Veruschka , New Yok 1962, 3-Perry Ellis 4-perfume advertisement, New York, 1982 (from Horst)
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