Greek key

Greek key is an ornamental pattern consisting of repeated vertical and horizontal lines, often in relief, and much favoured as a design element in neoclassical architecture, and furniture.

Three great examples of this are shown above, in the Jamb advert, used in the chimneypiece, and in the gilt frame, and in the planter from Haddonstone.

Interestingly enough, the Chinese also used a key pattern, with a number of variations, one of which is similar to the Nazi swastika used in the 1930s, and which has therefore taken on an unwelcome association.

Haughty & chummy

This post by An Aesthete's Lament coincided with my reading of June's House & Garden with this article by Roger White on the magnificent home built by Sir Robert Walpole in the C18th, Houghton Hall, in Norfolk.

Visions in white

Are rooms decorated in predominantly white or pale colours the ultimate in chic? There is something very cool about them, but perhaps too cold, if the climate is similar.

The harshness can be reduced by cleverly accessorising, which is not evident in these pictures, because they are advertisements (top to bottom - for Baker Furniture, Bolier, Hickory Chair, Thomasville, Martha Stewart Living, Christian Liaigre - all part of Chinintr Living in Bangkok, and taken from their Spring-Summer 2009 Newsletter).

I suppose it depends on your lifestyle too; young children and pets would be a no-no.

Fabulous Faberge

A FABERGE GUILLOCHE ENAMEL AND SILVER DESK CLOCK workmaster Henrik Wigstrom, St. Petersburg 1908-1917. The circular form with steel-blue translucent enamel over a wavy sunburst guilloche ground with beaded rim. The white enamel dial with black Arabic chapters, gold ''Louis XV'' style hands and signed FABERGE. The outer silver rim with egg and dart border. Verso with ivory backing and silver strut. Hallmarked St. Petersburg 1908-1917, workmaster's initials ''H.W.'', 88 standard, scratched inventory 25185, and FABERGE in Cyrillic. Diameter 3.25 inches (8.3 cm). Estimate $50,000-$75,000.

A FABERGE GUILLOCHE ENAMEL AND SILVER-GILT CIGARETTE CASE with gold mounts, workmaster Feodor Afanassiev, St. Petersburg 1908-1917. The surface enameled in translucent pink and white over a waved guilloche ground, divided by chased gold palmette bands, with gold mounted cabochon sapphire thumbpiece. Hallmarked St. Petersburg 1908-1917, 88 standard, stamped with the workmasters initials of Feodor Afanassiev, and Faberge in Cyrillic. Height 3.5 inches (8.8 cm). Estimate $15,000-$20,000.

A 3rd ARTEL GUILLOCHE ENAMELED GOLD-MOUNTED SILVER CIGARETTE CASE St. Petersburg, 1908-1917. The surface overall enameled in translucent Royal blue over a swag guilloche ground with silver banding. The gold thumbpiece set with rose cut diamond. The gilded interior hallmarked St. Petersburg 1908-1917, maker's mark of the 3rd Artel and 88 standard. Length 3.5 inches (9 cm). Estimate $7,500-$10,000.

A FABERGE GUILLOCHE ENAMELED SILVER-GILT CASE St. Petersburg, August Hollming, 1908-1917. The rectangular case enameled in translucent lilac over a moire guilloche ground, each end applied with gold leaf banding and thumbpiece set with rose cut diamonds. The gilded interior hallmarked St. Petersburg 1908-1917, 88 standard, workmaster's initials of August Hollming, FABERGE in Cyrillic and scratched inventory number 19247. Length 2.75 inches (7 cm). Estimate $12,000-$18,000.

These beautiful gems are offered at auction, so if you're feeling a bit flush, you might want to bid. The Faberge name is still an enduring draw for collectors of fine objets d'arts.

If you are a smoker I expect you would be reluctant to use the cigarette cases, lest in a moment of forgetfulness you left one on a table in a public area. In the days when I did smoke, I avoided the habit of many by making sure my gold Dunhill lighter went straight back into my pocket after use, and I still have it somewhere amongst my redundant smoker's requisites.

That was after losing at least one in the manner described. But obviously Faberge is a little less easy to replace.

Juxtaposition

The juxtaposition of the modern sleek lines of Christian Liaigre's fireplace and surrounding cabinetry is enhanced by the intermingling of an antique bergere, and an antique mirror.

"I am inspired not by other designers but by nature, reflection and deep thinking about a project. The world outside is so aggressive that I try to create calm in a house."

I think this image, from his latest book demonstrates that philosophy rather well.

Photo: Jean-Philippe Piter, from Chanintr Living Spring-Summer 2009

Rustic restoration

The restoration of the scanner to my blogging armoury has enabled me to publish these images from House & Garden.

I am particularly referring to the driftwood sculptural pieces - the wall brackets, the occasional table and the console table.

Whilst I am not completely averse to them in the right environment, (of say a Scottish baronial shooting lodge), I think their placement anywhere else is a bit of a stretch.

To say nothing of the price tags: GBP485 each for the wall brackets, GBP1,850 for the table and a staggering GBP6,850 for the console table.

Photographs by Paul Raeside, created by Wendy Harrop and Olivia Gregory for House & Garden.

Wat perspective

Wat Suwannaram in Bangkok is in the style of the Ayuttayah period (1361-1767), but has been restored twice, during the reign of Rama I (1782-1809), and again during the reign of Rama v (1853-1910).

On the inside walls is one of the finest remaining collections of Thai classic style murals. When looking at these murals one should understand the following about Thai Mural Style and Characteristics.

Thai murals have the following characteristics. They contain many small, almost tiny individual scenes, landscapes and figures in contrast to the large wall space on which they are painted. The objects are stylized throughout Thailand and are two dimensional in form, that is there is no perspective of dimension as in European painting. There are also continuous and flowing sets of panoramas of places, palaces, towns, events and country landscapes with real and mythical people or creatures.

However all panoramas whether painted above the head of the viewer, at the same level or nearer the floor, all are painted from a perspective that the viewer is high above, as if in the sky looking down or from a distance.

The episodes of religious and every day life are reflections from different times but are depicted simultaneously separated by landscape or architecture like a zig zag design. The characters are stylized such that the celestial and or noble beings are always portrayed serene whilst those from the common folk are portrayed in ungainly or realistic or comic postures or movements.
After the mid C19th Western influences introduced the concept of the use of perspective and shading to give the illusion of depth.

Wat Suwannaram translates as Golden Monastery, but strangely in a land where the use of gold is rarely spared, there does not appear to be much over use of it here.

From Thailand's World.

Buying piecemeal

I was hoping to write something clever about "saving up for the other part" when I bid for this Rolls Royce mascot, (hood ornament), the Spirit of Ecstasy, but sadly it achieved far more than I was prepared to pay. It is c1930s and the lot included three photographs of cars from that period. From the photograph of the mascot it looks as though it would have to be remounted, but I had all that planned.

Ah well, clearly not meant to be, and I think it's always best to be disciplined

in these endeavours, and not get carried away by the moment, which is the great advantage of internet bidding.

Rule by committee

The salivation I was experiencing at getting my teeth stuck into the renovation project at la residence has been somewhat muted by the inevitable politicking that arises when one is dealing with a committee.

There was a certain joy that we had wrested control of the project away from the committee who have procrastinated for a number of years. We were swift to devise our terms of reference and to proceed apace. However, at the first formal meeting between the two parties, the issue of budget raised its ugly head.

You may think this is a perfectly sensible discussion to be having, and indeed in time it will be. However, it seems less than appropriate when the preliminary tenders for the project have not yet come in, and a cap on expenditure is being discussed which amounts to about one third of the potential budget that could be spent.

The logic for this reluctance to spend what is there seems difficult to fathom, but then again logic is not always the most obvious way to view things here.

So a lot of work, and a degree of discouragement have consumed proceedings and rendered blogging a set back.

Oh that, and the fact that the scanner's gone on the blink.