Summer is fleeing and I have not posted any garden inspiration photos yet. However, I was at Hollister House recently (a Garden Conservancy property) and in addition to reveling in the voluptuous greenery and an ever fluctuating palette, I focused on the lovely garden furniture George placed strategically throughout the space.  There are great shapes, worn finishes and beautiful textures.

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Duncan Phyfe (1768 – 1854) was an extraordinary New York City cabinetmaker who holds a prominent place among those who made significant contributions to the design and style of furniture for some of the wealthiest figures of his time in New York and beyond. New York became the capital of the United States in 1785 and that set the city on a path to become a world power during the first half of the 19th century. The city was strategically located as a gateway for European imports and domestic exports. This commercial activity supported a cosmopolitan way of life that emulated the highest society abroad.

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This is a wonderful room for many reasons, but I have focused specifically on the fireplace. Rarely do I see a fireplace using directional stone and one that is so bold. The gray and white marble, called Zephyr, is quarried in Turkey. Rather than just face the firebox with a ubiquitous stone, this installation shows how slabs have been layered for a simple but architectural installation. The fireplace, along with the modern furniture, choice of paint and objects makes this focal point of the space well integrated into a holistic design.

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It is so exciting to discover a shop that is both original and inspiring. MARCH located on Sacramento Street in San Francisco is just such a place. MARCH is the brain-child of Sam Hamilton, a graduate of the Ralph Lauren enterprise. It has been my must-see shop in SF for several years.  In its’ first incarnation, MARCH sold European antiques and contemporary furniture; but not just any furniture. There was always something special about the pieces whether it was the finish, the scale or or the uniqueness of the design.

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