DESIGNING WITH ANTIQUES AT THE WINTER ANTIQUE SHOW

by Marisa Marcantonio

Interior designers Harry Heissmann, Eileen Kathryn Boyd, and Philip Gorrivan showcased their ability to mix and match antiques with new pieces in their modern day room vignettes at this year's inaugural Designing With Antiques at the Winter Antique Show. Featuring an eclectic mix of hand picked antique furniture, decorative arts and modern pieces from the show, they combined these select items from exhibitors with pieces from their own collections. The result ended up being a serenity - filled bedroom, quietly sophisticated living room and festive dining area. The installations were on view in a period room, the Board of Officers room at Park Avenue Armory. The backdrop provided a dramatic contrast and perfect foil to the vignettes. Sponsored by The Magazine Antiques, the spaces were a wonderful way to show how to work with and embrace all period styles. Living with antiques and enjoying their history and special details is what its all about.

Harry Heissmann shared his take on classic serene white bedroom. Saying, "The George III tester bed from 1790 is from Kentshire, all bedding and the silver pillows, as well as the throws on the bench are from Nancy Koltes, she was a dream to work with! Smurf chess set on Dansk tray, blue gourd ceramic and 'Blessing' alarm clock are from my collection. Most importantly: flower arrangements by my all time favorite florist Emily Thompson in Dumbo. She is the new Constance Spry..."

The elaborate bench at the foot of the bed is a cast iron Morning Glory settee is from Barbara Israel.

"I selected the Intarsia cowhide rug with Ashley Stark at Stark carpet.
They had just gotten it and I fell in love with the vibrant blue... The rug
set the tone for the entire vignette, as I wanted it to pop. Pair of fine & early fruitwood Art Deco side chairs are by Leon Jallot from Maison Gerard, the chest is by Grosfeld House and Cornucopia plaster lamps are from Liz O'Brien. The blue tall case clock, Maine, circa 1810-1830 is from Olde Hope Antiques."

Nothing says fun like a table set with multiple eye-popping hues. Exceptional with color, designer Eileen Kathryn Boyd blended modern and traditional elements with bright, joyful bursts of orange and pink. She began planning around an incredibly colorful Oushak Rug she found at Peter Pap's Oriental Rugs. A Karl Springer Table from Liz O'Brien and Frances Elkins Loop Chairs were the neutral pieces that grounded the color.

Two candlestick lamps with huge drum shades added a modern element and draw the eye upwards. She used Clarke & Clarke fabrics for pillows and to tie the orange and hot pink scheme together. A Liverant and Son Antiques sideboard in the background added a traditional dark wood piece to the assortment, and Harry Bertoia sculptures modernized it.

Philip Gorrivan had the largest space of the three and used it as a launching pad to showcase his newest fabric collection for Duralee's Highland Court called Gorrivan II. The space was filled with creams, dusty lavender and hints of brass and shiny surfaces. The majority of the accessories were from Maison Gerard and Lost City Arts, adding to the sophisticated mix. He covered the sofas in his Terrazzo fabric, and a pair of stunning Regency chairs from Clinton Howell Antiques were made modern covered in plum cut velvet seats. A pair of 19th c. giltwood klismos chairs with ebonized owls and Asian sculpture were from Kentshire. Spill Cast Sculpture by Bertoia (left of the fireplace) and the collection of Danish seashore rocks were from Lost City Arts.

A bench was covered in Articus a white faux fur that contrasted the sculptural metal legs. An array of pillows were in a variety of his fabrics: Ruskin, Voltaire, Concerto, Newgrange, and Julian. The Coffee table used between the sofas is a wakapu, lacquer and gilt bronze table by Jean-Berenger de Nattes from Maison Gerard.

A large folding screen made the large space appear more intimate. It was covered in London Plane with the trim taken from the fabric Homer. Centered in front of them were two mirrored tables from Liz O’Brien that add sexy glamour.

It's all in the details. A detail I have been spotting a lot lately is painted rugs. A painted Seagrass rug border is a detail Bunny Williams employed at last years Kips Bay Showhouse. Here, a Chinese key design is an effective way to bring in pattern and graphic impact to an otherwise neutral surface.

HADLEY ALUMS CAME OUT IN FORCE FOR SOUTHPORT'S ROOMS WITH A VIEW

by Marisa Marcantonio

It was the best year ever! Early in November, Rooms with a View honored Albert Hadley, with 12 designer vignettes created by those that have gone on to great success after being mentored by the design icon. Hints of red, round mirrors, animals and etageres play a role in the spaces, as an homage to Hadley's favorite homey and welcoming design elements. The annual showhouse, located at The Southport Congregational Church, brought out the design cognescenti from near and far, who came to see the exceptional rooms created by leading designers who have gone on to run their own successful firms.

Bunny Williams worked with Mr. Hadley for 22 years since the days of Parish Hadley.

An homage to Hadley's New York apartment, Bunny used a round table from her Beeline Collection and hanging pendant light. Check out the french doors with an image of Mr. Hadley in his Southport garden circa 1990.

Her Bee Line Collection pieces make the small space a relaxing room.

A gorgeous gold gourd made by Christopher Spitzmiller sits next to sentimental photos, and stacks of books.

Bunny's favorite books, a bar and objects fill an etagere surrounded by framed art.

Genius! Bunny made a shelf of an etagere an instant bar.


Pamela Banker worked at Parish Hadley in in 1995, staying for 5 years. She and her team created a red office with a signature etagere, round mirror and workable desk and painted zebra canvas rug.

This antique mirror is fantastic, a round mirror is de regeur for a Hadley interior.

An Albert Hadley designed lamp from Christopher Spitzmiller in silver glaze illuminates the work space.

David Easton strikes a pose. After a year with Hadley he went out on his own. He is in the midst of a twenty stop book tour promoting his new book, Elegant Interiors

David Easton's office setting included a desk from his collection and Safaveih rug he designed. A Moroccan hanging lamp adds an unexpected twist.

Beautifully engineered shelving hold models of homes he has designed.

The back wall is made of a painted cork board displaying architectural renderings.

David brought desk accessories from home and a lamp from his Robert Abbey collection.

Thom Filicia worked for the firm from 1992-1993. Here he is, standing in front of his fantastic electric yellow vignette.

Bold yellow stried walls play off a French blue table and blue ceramic lamp. A bulls - eye canvas makes a great focal point, and the circle motif is carried through in the console below.

An ebony hexagonal mirror ties the seating area together.

The coffee table holds two things Mr. Hadley always included-- a bowl of quarters and a pair of dogs.

Michael Whaley, who began his career at the firm, created a serene spot in taupe and cream. Elegant sconces frame the settee, covered in satin.

A slipper chair -- always present in a Hadley room.

Libby Cameron created an office with tried and true Hadley touches. covered walls in "Desmond", a black and white Sister Parish Design. In a nod to a favorite animal of Hadley's, wise owls dot the vignette. Libby filled me in on her time there. "I got a month long internship in the fall of 1982, I was then hired full time shortly thereafter in 1983 to be Albert's assistant. I first started working with him on the restoration of Gracie Mansion. I had the most wonderful, magical experience at Parish-Hadley during my fourteen years there-I learned so much and saw so much, I am eternally grateful. I left Parish-Hadley in the fall of 1995 after my daughter Clara was born, and put out my own shingle. Albert taught me the importance of details, and always stressed that everything had to be finished properly and have a finished edge, that welts could not be big, that everything had to be subtle and made to look like it was done by a dressmaker. Albert always referred to rooms having skylines, which is an image I always carry with me. One's eye should be able to travel around a room, up and down, and not have everything be at one level. Objects, furniture and paintings all at different levels create interest and intrigue-which is what makes a room work."

A bright glazed Christopher Spitzmiller lamp sits on a green desk. A clipboard holding a notepad with drawings and Do Not Forget notepad were ever present on Hadley's own desk.

A charming bookcase with bone inlay holds books featuring Parish Hadley work.

Rarely seen without a pencil in hand, Hadley was constantly sketching. Seventeen drawings done by him are hanging from Libby's personal collection.

David Kleinberg got his start at Parish Hadley in 1981. His area incorporated neutrals. Stripes carried over from the walls, to table skirt and floor design.

A Swedish L-shaped bench tucks in perfectly behind a round table, making the most of the allotted space.

The etagere again!

A glam floor of gold and white stripes.

Harry Heissmann, in his fantastic space. Harry was with Hadley from 2000-2009. He shared, "Albert taught me not to be afraid to think outside the box. Every detail matters, if you're using pairs of something - don't put them next to each other. The ceiling is a "fifth wall", don't forget it. I have "Mr. Hadley moments" all the time, where I think about what he would do. That could be editing or taking away or trying to find the most simple and effective solution to a "design problem" without overthinking it. On job sites or in workrooms when he didn't like something, he would say: "just make good". That meant: do it, solve it and don't talk about it - and believe me, it got you thinking! And then he teaches you to be humble. It's decorating and designing,not surgery..."

Harry Heissmann created a black space filled with graphic 70's elements.

All set for breakfast in bed with a side of Flair.

There is a tres Truman Capote feeling here.

Suzanne Earls Carr worked in a cream palette with touches of blue. There is a serene simplicity in her space. Topiary trees frame the entrance, adding their shapes to a linear space.

Cocktail time! A white textured Gourd Lamp (another great Spitzmiller piece) sits next to sentimental photos.

Thomas Jayne used Rorschach inkblot test- like brightly painted panels from Chuck Hettinger Studio to tie an antique filled space together. He worked at Parrish Hadley from 1986-87. He recalled, "He never discounted or overlooked any period of style for inspiration. He is as assured with Left Bank Parisian 1930's design as he is with Chippendale and Louis XV. I honor Albert because he advocates a personal connection with a room’s decoration. In an Albert rooms, you almost always get a sense of who lives there – they are never generic."

A clean lined settee with tapered legs fits neatly in the corner, covered with pastel pillows.

A happy faced pillow adds a touch of whimsy.

A narrow secretary would make a nice desk in a small New York apartment.

Great books like Happy Times and his newest tome, "The Finest Rooms in America" make the space personal.

Brian Murphy used amazing art that worked well with "Fireworks" wallpaper from Hadley's Hinson collection. When asked about his time working with the firm he said, "I worked for Albert from 1987 until 2000. My favorite quote from Albert is "Give em what they never knew they always wanted", which I think is a paraphrase of Diana Vreeland." The furniture in his booth is all 19th Century American.

A high backed garden bench and demilune plant stand and gothic hall chair and folk art coat rack.The bright and uplifting paintings that tie the space together are by Melissa Richard.

An American hooked rug from Rahmanan adds a nice graphic element against the painted furniture.


Brian McCarthy, who joined Parish Hadley in 1983 as Hadley's assistant, created a sitting area with neutral creams and dark browns. An amazing wavy wall surface out of plaster are juxtaposed against round mirrors from Line Vautrin grouped, a la Hadley. A comfortable chair, furry stool and ethnic rug tie the scheme together.

Every designer that has worked with The Dean knows and loves the folding ruler.

THE WEEK THAT WAS: TOASTING MARK HAMPTON'S BOOK AND ROOMS WITH A VIEW SHOWHOUSE AT BUNNY WILLIAMS

by Marisa Marcantonio

DUANE HAMPTON SIGNED HER BOOK ON MARK HAMPTON

The other night, Duane Hampton signed her new book, Mark Hampton An American Decorator at the product- filled design emporium, John Rosselli.

Signing away looking so chic in green.

Bunny and John enjoying the huge crowd that came to fete the book.


Gorgeous flowers arranged by Howard Christian, the manager of Treillage, John and Bunny’s store on 75th Street, sits next to a great shot of Mark.


ROOMS WITH A VIEW SHOWHOUSE PARTY




Rooms with A View, the showhouse at The Congregational Church in my hometown of Southport CT is held every November, and has long been supported by Albert Hadley. This November, in its 16th year, he is honorary Chairman, and the vignettes are to be designed by Parish Hadley alums, listed above. This showhouse is not to be missed!

A cut out of Mr. Hadley in all his glory. Honorary degrees were given to the PH alums for attending The University of Albert Hadley.


The diploma (!)

The Parish Hadley alumni include Bunny Williams, David Kleinberg and David Easton.


Beautifully arranged Dahlia's on Bunny's desk.

Peonies, Roses and votives arranged around the table by Johnathan Preece, the uber talented Creative Director at Bunny's is behind the party's flowers and decorations.


Everyone raised a glass to Mr. Hadley and his commitment and dedication to the charity. This shot was taken by THE Dennis Reggie!

Even the star pendants were adorned with candles and flowers by Jonathan.


Even Sampson, Harry Heismann's Frenchie made it to have a drink.