Allied Member, ASID
Licensed General Contractor
AZ ROC 287314
February 29, 2012
I have been in love with MILO BAUGHMAN”S work for years. I am currently working on a very coolloft in manhattan and found a suite of furniture-two chairs and a fabulous sofa! So excited! So I want to bring you his work-so be on the look out-even if it is a reproduction, you are guareenteed that the pieces are timeless and add so much character. Even if you are working on traditional idea-just do it! as Nike says!
“Within the total meaning of function,” the American furniture designer Milo Baughman once wrote, “is included the purpose to please.” From his very first clean-lined collections in iron and walnut, which helped
shape the postwar California look, to his minimalist chrome-and-burl-wood pieces in the 1970s, Baughman (pronounced Boffman) purposefully defined modern design as elegant yet accessible. His prolific six-decades’ output,
which took its cues from the engineering and functionality of the Bauhaus and the midcentury-modern exploration of materials, delighted the public and secured him more than a dozen major manufacturing partners.
Chief among them: Thayer Coggin, for whom Baughman designed for 50 years, until his death in 2003. For that still thriving North Carolina firm, he created often imitated furnishings, many of which remain in production.
To wit: Baughman’s design for a wood-paneled tuxedo sofa was the inspiration for a sofa in Don Draper’s office in the ’60s-inspired TV drama Mad Men.
“While other modern designers have come and gone, Baughman’s classic work has stayed relevant,” “His pieces are so versatile they work in a range of interiors, from traditional to contemporary, and a little Milo Baughman
finds its way into most of everyone’s work.”
February 28, 2012
It was actually kind of difficult to find a lot of information about Erwine and Estelle Laverne, even though some of their designs are some of the most important in the world. They’re most famous for four furniture designs,
collectively known as the Invisibles. Called the Lily, Jonquil, Buttercup and Daffodil, these pieces are widely considered to be some of the first modern furniture to be made with the acrylic material, and they featured rounded edges,
sleek lines and an overwhelming
eloquence. As quoted in an article written by the New York Times, Erwine Laverne once said ”the most important element in rooms is people, not furniture.”
Coming from a background in art (Erwine studied at the Paris L’Ecole des Beaux-Arts), the Laverne’s approached designing furniture differently than their contemporaries. Eames, Saarinen, Jacobsen
and others came from industrial or engineering backgrounds, but the Laverne’s took a much more creative, artful approach, and it really showed in their work.
Along with furniture, they were also prolific interior designers, with such projects as the house of film director Otto Preminger, the Sheraton Hotel in Dallas, Texas and even offices for big-name companies
like General Motors and Ford Motors. Also during their golden years of design (the 1950’s and 1960’s) they designed and created over hand-printed fabric and wallpaper designs.
Their sad story comes to an end when they were sued for producing wallpaper designs out of their residential home. They considered it handicraft, but the state considered it manufacturering. They were eventually
left broke from the legal proceedings, and though they’ve now passed away, their gorgeous and “invisible” designs live on. Click the images bigger versions:
February 27, 2012
I just purchased a piece of furniture for a client from an incredible artist and furniture maker. Jack rogers Hopkins. The piece is a bit organic and going into actually a moretransitional setting, and the juxtaposition is stunning!
So today’s post is on a new found furniture artist!
Have a wonderful day!
Jack Rogers Hopkins was a leading figure on the California design scene during the late 1960s, as American furniture everywhere was becoming more sculptural and free-form. He grew up in Bakersfield, California,
and as a young boy learned to make toys in his father’s wood shop, the Sierra Furniture Manufacturing. Co. After the war Hopkins returned to California and attended the California College of Arts and Crafts,
where he studied painting and drawing.
His first artistic medium was painting, working on a flat surface, but soon began working with three-dimensional pieces. Hopkins did not start working in wood until later, around 1965, after he was already experimenting
with jewelry and ceramics. In 1966 Hopkins completed his first furniture piece, a combination chair and coffee table. He continued to produce furniture pieces, all of which wereone of a kind, with the exception of the Edition chair,
first created in 1969. He usually worked with hardwoods such as black walnut, cherry, Honduras mahogany, maple, rosewood, and teak. He also used Finnish birch plywood and veneers, and occasionally oak. Hopkins
often combined various woods into a single piece so the different grains created a dynamic color pattern and form.
He worked alone and did everything himself, without assistance, because he felt the act of creating was ultimately an independent experience and should not be imposed on another person. Of the several hundred pieces of furniture
Hopkins designed, about one-third were commissions he received through word of mouth, while others resulted from his work being exhibited in numerous galleries and museums. The last exhibit he was included in was the 2003
exhibition The Maker’s Hand: American Studio Furniture, 1940–1990 at the Museum of Fine Arts in Boston, which has one of Hopkins’ Edition chairs in its permanent collection.
February 24, 2012
In working on this loft in Manhattan, I love mixing my favs! So WORMLEY is definitely one of them!! You know his pieces, they too, are highly reprodeuced and copied,but don’t worry if you can’t get an original,
the reproductions are fabulous and after all you are purchasing the design!!
Edward J. Wormley, was a style setter in modern residential furniture in the United States for four decades.
Mr. Wormley designed furniture from 1930 to 1970. He began creating pieces with simplified silhouettes and plain surfaces after a trip in 1930 to Paris, where he met Le Corbusier and Emile-Jacques Ruhlmann,
the Art Deco designer. Back in the United States in 1931, he was hired by the Dunbar Furniture Corporation of Berne, Ind., to improve its least expensive furniture line, which people bought with soap coupons
and was therefore popularly referred to as “borax.”
Within five years, Mr. Wormley’s furniture had made Dunbar the top producer of modern in America. From 1931 until 1970, when the company was sold, Mr. Wormley designed about 150 pieces a year for the company,
combining a knowledge of woodworking, an understanding of the past and a feeling for what makes a chair comfortable for an American. Among the classics he designed were the A-frame wood chair with a caned back
and compass legs of 1959 and a ledge-armed tufted sofa of the mid-1960′s.
February 23, 2012
I am currently working on, what is to be stunning project which is very Art Deco. In sourcing the lighting, which is going to be a strong element, I have discovered a manufacturer that I was not familiar with, antique yes, but definitely one is able to find their product. I am always receiving emails about where to find and what to buy, so in some posts to come, I want to introduce to you some wonderful resources.
Have a great day!
Genet et Michon designers of fine Art Deco furniture and lighting fixtures, that won several first prizes in the exhibition of 1925 in Paris. (Exposition des Arts Decoratives) from where the name Art Deco is derived.
They have supplied lighting fixtures for the Elysel, ministries, Embassies and ocean liners.
February 22, 2012
I have always been a huge fan of james mont’s work. his pieces are really iconic and I thought you should know that his pieces are insanely influential when it comes to Hollywood Regency and even that one great piece or set of fabulous chairs.
have a great day!
His name was James Mont, a.k.a. James Pess, a.k.a. Demetrios Pecintoglu—the name he was given at his birth in Istanbul—and his life and work were a mind-boggling admixture of the louche and the luxurious.
From the early 1930s and into the 1960s, Mont was one of the most prominent designers and decorators on the East Coast. His forte was creating furniture that offered a stylish and dramatic, yet modern, take on historical
forms and details—most of his designs drew on Asian influences, though he often employed classical elements in his pieces. The flamboyance of Mont’s designs was exceeded only by that of his lifestyle. His friends and clients
included show business figures such as Bob Hope, Irving Berlin, and Lana Turner, as well as mob kingpins such as Frank Costello and “Lucky” Luciano. Mont was a suave and gregarious habitué of cocktail lounges, enjoyed flashy
cars and the company of chorus girls, but he also had a violent temper that on one occasion led to his serving a prison term for assault.1 In an interview, Todd Merrill, a New Yorkvintage design dealer who has made a special study of Mont,
said he believes the man’s personality and his work were of a piece: “He was glamorous and loud, and the furniture he made had a kind of showy opulence. It appealed to people with no interest in machine age or severe modernism;
they wanted interiors that were lively and decorative. And a Mont interior definitely wasn’t boring.”
February 18, 2012
Happy Weekend everyone! I love breakfast food, but in the mornings I mostly only crave coffee, therefore I love making breakfast for dinner! This menu is my favorite to make, and eat! I hope you all enjoy!
SPINACH AND BACON QUICHE
- 6 large eggs, beaten
- 1 1/2 cups heavy cream
- Salt and pepper
- 2 cups chopped fresh baby spinach, packed
- 1 pound bacon, cooked and crumbled
- 1 1/2 cups shredded Swiss cheese
- 1 (9-inch) refrigerated pie crust, fitted to a 9-inch glass pie plate
Preheat the oven to 375 degrees F.
Combine the eggs, cream, salt, and pepper in a food processor or blender. Layer the spinach, bacon, and cheese in the bottom of the pie crust, then pour the egg mixture on top. Bake for 35 to 45 minutes until the egg mixture is set. Cut into 8 wedges.
- 4 whole (to 5) Large Red Potatoes
- 1 whole Onion
- 1 Tablespoon Vegetable Or Canola Oil
- 1 Tablespoon Bacon Fat
- Salt And Pepper, to taste
- Red And Green Bell Peppers, Diced (optional)
Place potatoes in a large pot and cover entirely with water. Bring to a boil and cook until potatoes are fork tender. When they are ready, place the potatoes on a cutting board and dice them into 1-inch pieces.
Next cut up an onion into a large, rough dice.
In a large skillet heat oil and bacon fat over medium-low heat. Put the onions in the skillet and sauté until they start to turn brown. (You can also use red and green bell peppers diced up. If you do, throw them in at this point).
Next, throw in the diced potatoes. Stir well and then slightly press/pack then. Now you will cook them without stirring for several minutes. You want the pan to be hot enough to crisp the potatoes but not hot enough to char them. (Optional step: sprinkle a bit of flour over potatoes as they cook). Cook for several minutes and then flip them with a spatula. Salt and Pepper them as they cook. Cook until desired brownness.
Enjoy them! Spoon them into your breakfast burritos or place a fried egg on top or serve them alongside Eggs Benedict if you’re feeling especially saucy.
- 1 cup orange juice
- 1 (750ml) bottle Champagne
- 1/2 cup Grand Marnier
Fill 8 champagne flutes 1/4 full with orange juice. Top with champagne to fill glass 3/4′s-way full. Top each drink with 1 tablespoon of Grand Marnier.
Enjoy your breakfast!! And your weekend!!
February 14, 2012
My newest art crush is the Pacific Northwest artists. I am new to this school and fell in love with the teprement of the paintings. I do hope you enjoy this,
have a great day!
Starting in the 1920s and 1930s, Pacific Northwest artists began to produce work that drew upon natural colors, textures and light unique to the area to express mystical themes. As a group and as individuals,
they had gained international fame by the early 1950s.
The Northwest School was an art movement based in small-town Skagit County, Washington, and was at its peak in the 1930s and 1940s.
The movement’s early participants, and its defining artists, have become known as “the big four”: Guy Anderson, Kenneth Callahan, Morris Graves and Mark Tobey.
Their work became recognized nationally whenLIFE magazine published a 1953 feature article on them. It was the first such broad recognition of artists from this corner of the world
beyond traditional Northwest Native American art forms, which had been long recognized as “Northwest art.”
These artists combined natural elements of the Puget Sound area with traditional Asian aesthetics to create a novel and distinct regional style, particularly in painting and sculpture, with some drawing, printmaking and photography. Tobey, Callahan, Graves and Anderson were all immersed in and greatly influenced by the atmosphere of the Pacific Northwest environment
Morris Graves always seemed half man, half myth. The best-loved of Northwest painters, he was a bad-boy recluse whose images of symbolic birds and glowing flowers are permeated with a sense of consciousness in transformation.
His early paintings, in the 1930s and 1940s, focused on birds touched with strangeness — blind, wounded, or immobilized in webs of light. A “Guardian” bird wore antlers. His
“Bird Singing in the Moonlight” had two heads. Conceived in solitude at a hermitage called “The Rock” which Graves built on an isolated promontory, the paintings soared to fame when they
were first exhibited at New York’s Museum of Modern Art (MoMA) in 1942. MoMA bought an astonishing 11 of his paintings for their permanent collection, an unprecedented splurge for the
work of an unknown artist. East Coast collectors snapped up 34 more of his paintings.
It was a stunning debut, considering that Graves, then 31, was a self-taught artist who had had to be persuaded to allow his work to be shown. Although he lived in seclusion, he had seen more
of the world than most men his age. He had dropped out of high school to sail as a cadet on American Mail Line ships across the Pacific Ocean. It was love at first sight when he landed in Japan.
“There, I at once had the feeling that this was the right way to do everything,” he said. “It was the acceptance of nature not the resistance to it. I had no sense that I was to be a painter,
but I breathed a different air.” His time in Japan was brief, but for the rest of his life, his art reflected a spare Japanese aesthetic.
Graves was a phenomenon; a lanky six-foot six-inch country boy who seems to have been born with perfect pitch for color and line. He understood from childhood, when he began creating
floral arrangements, how flowers and animals can strike a emotional chord that resounds in the psyche like a great gong. When Graves painted a single poppy in a bud vase, the blooms glowing
intensity made it a symbol of life itself, brief and encased in a fragile vessel. And when he painted a wild-eyed “Bird Maddened by Machine Age Noise,” anyone whose teeth were ever set on edge
by the shriek of a nearby saw knew it
wasn’t just a bird he had in mind. He even painted the jagged red sound of a chainsaw, with a thick sawtooth line moving like a relentless presence overhead.
No one can predict with certainty whose art will survive the test of time to be called great by future generations. But it is unlikely that any artist will ever again capture the popular
imagination and the public heart of Northwesterners in quite the same way Graves did. Living at The Rock with only his dachshund Edith for company, he meditated and listened to night sounds,
trying to imagine and to draw the creatures that made them. He tried to translate birdsong and the sound of surf into paintings.
February 11, 2012
It has been one crazy, busy, fun week! We had an amazing presentation with a client this week and are already working on our newest project! Because the week has been so fast paced, I want to make a slow cooked dinner! This meal, has everything you need in one dish! Slow Cooked Korean-Style Short Rib Soup!
- 12 English-cut short ribs (about 6 pounds)
- 4 cups low-sodium chicken broth
- 1/3 cup soy sauce
- 1/4 cup sugar
- 3 tablespoons finely grated peeled fresh ginger
- 2 tablespoons Korean red chili paste or sambal oelek, plus more for serving
- 2 tablespoons dark (toasted) sesame oil
- 4 cloves garlic finely chopped
- 1 bunch scallions (white and green parts, separated), thinly sliced
Noodles and Garnishes:
- 10 to 12 ounces medium-thick rice noodles (also called rice sticks or jantaboon)
- 1 carrot, finely grated
- 1 small Kirby cucumber, thinly sliced
- 1/2 cup cilantro leaves, torn
- 2 limes, cut into wedges
Remove any silver skin from the surface of the short ribs, and then make 2 cuts across the grain, through the meat down to the bone. Put the ribs in the slow cooker.
Whisk together the broth, soy, sugar, ginger, chili paste, sesame oil, garlic, and scallion whites. Pour over the ribs. Cover and cook on HIGH for 6 hours.
About 30 minutes before serving, put the rice noodles in a bowl with hot water to cover. Soak until tender and pliable, about 30 minutes.
Skim any fat that may collect on top of the beef broth and discard.
Divide the noodles among 6 large shallow bowls and ladle the broth over top. (Cut the meat from the ribs if desired.) Divide the meat evenly among the bowls. Garnish as desired with the carrots, cucumber, cilantro, lime and the remaining green parts of the scallion and more chili paste, if desired.
Enjoy this meal while watching your favorite movie on the couch!!
February 9, 2012
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So, let’s just say, I find this table, perfect for a project in Manhattan, and the table is a glass table that has what would appear to be a giant chain draped on it. I hunt down the artist, only to be introduced to MATTIA BONETTI’S work. OMG! If I could think of every gamble I would take, it would definitely be on one of his pieces. the enthusiasm, the surreal ,the experimental all reminds me of the greats!
I hope you enjoy this introduction.
MATTIA BONETTI is a soft-spoken, Swiss-born, Paris-dwelling designer who makes very loud furniture: lozenge-shape tables and consoles of lacquered fiberglass thatresemble ribbon candy; a patinated bronze chair with a furry Drano-blue hide seat; a suite of hand-carved Louis chairs gilded in pink, green and silver that would fit nicely in Sofia Copolla’s sugar-plum Versailles.
Some things are blobby and futuristic; others, blingy and kind of crass, but not unpleasantly so. In the 1980s, Mr. Bonetti’s work was described as “neo-Baroque” or even “neo-Barbaric.” Two years ago, a vicious-looking hide-and-bronze chair from 1981 sold for $11,250 at an auction of contemporary furniture at Christies.
What links the objects is Mr. Bonetti’s use of scale — pieces are monumental and demand your attention. They are also made of high-end materials: bronze, cast aluminum, gold and silver plate, and so forth. He is collected by people like Princess Gloria von Thurn und Taxis, who contributed an essay to a new book about Mr. Bonetti, from Rizzoli. Seeing his work in the showroom of Christian Lacroix in Paris, the princess writes, “I just had to have it for the drawing room of our castle in Regensburg.”