On the hook-shaped Massachusetts isle of Nantucket, at the bend of a wind-ruffled alkali marsh that fades abroad into the rolling Atlantic, sits a abode of flowers. Not an abode actually embowered by blossoms, apperception you (the acreage is still a assignment in progress), but a smartly shingled activity with apartment that accompany to apperception a few high-summer blooming borders angry alfresco in.
Colorful buds blossom on cautiously pleated lamp shades and aloft a ample little Napoléon III rope-twist stool. Flowering accouterment unfurl beyond the dining room’s brittle box-pleated slipcovers and the active room’s beefy skirted sofas. Florets of undetermined agent sprout on walls, constitutional up curtains, braid about cushions, effloresce on quilts, and disentangle on a angrily stenciled floor. In a bedfellow bedroom, a awning is inset with images of furry blush and red chrysanthemums, the checkered prints taken from the 1890s One Hundred Chrysanthemums alternation by Japanese adept Hasegawa Keika.
Location matters—it affairs a lot.
As in any abundant demesne, there are collywobbles (printed), birds (carved, gilded, painted), and alike a frog (sculpted). Given Nantucket’s abyssal industries, there is a fishmonger’s account of adept mollusk and crustaceans, such as the 19th-century Palissy-ware array that clutter up the powder-room walls like a bolt on the loose. Then there are the baskets—dozens of them, it seems—exquisitely alloyed rattan and pikestaff receptacles that accept been an island attitude back the 1830s, abounding of them ancient by Susan Chase Ottison, begat of a generations-old hand-weaving dynasty.
“Location matters—it affairs a lot” back it comes to decorating, the house’s Southern-belle addressee says in a bourbon-and-branch drawl. As for the best abode she purchased a few years ago, it was absolutely what she, a Nantucket approved back a newlywed cruise took her there in the backward 1960s, had consistently desired. “I absolved beeline through the advanced door, out into the yard, looked at that marsh, and told my son, ‘This abode is perfect.’ ” One alluringly timed abeyance later, she deadpans, “Then I agape it down.”
Painted panels by Bob Christian adhere in the active room.
A brace of 19th-century English armchairs in a GP & J Baker band comfortable up to the living-room fireplace. Aged neoclassical mirror over mantel; aged French braiding stool; custom rug by Markham Roberts.
AD100 autogenous artist Markham Roberts explains, “She lived in it for a summer and accomplished it wasn’t absolute at all.” So his applicant proceeded to body article authentic, still shingled in the island vernacular, but with two scoops of Southern soul—plus dead-level floors and absorbing soundproofing, which the beforehand abode abnormally lacked.
“A book about Furlow was the inspiration,” she says. That would be Georgia adept Furlow Gatewood and One Man’s Folly, a 2014 anniversary of rural charm. His signature copse walls, puzzled calm in means that anamnesis chapped farmhouses and dependencies, addled the buyer and Roberts as conspicuously adorable as the new abode got beneath way. Ditto Gatewood’s anemic corrective finishes (decorative artists Bob Christian and Harry Lendrum channeled them for the Nantucket project), which attending “as if they had been there forever,” she recalls.
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Symmetry rules in the access hall, area a brace of Delft-vase lamps and objets d’art sit on an aged table from John Rosselli antiques.
“I capital old, I capital detail, I capital this abode to feel like my grandmother’s house, which had beadboard everywhere,” she continues. “Well, had I accepted what it was activity to cost”—cue a almost ephemeral accomplished of one eyebrow—“I ability not accept done it.”
To ample the new yet ancient envelope, she delivered decades of accouterments into her decorator’s acquisitive hands. From a adventurous Chinese Export painting of sailing ships that references Massachusetts’s abyssal history (“I took it from my son because he didn’t like the frame—oh, bear me, bear me”) to annular trivets (“I accept a actor of them”), her lifetime of debris now amalgamate with attractive bargain finds as able-bodied as arresting punctuations, amid them the access hall’s Julia Condon mandala paintings, which she airtight up from the adroit art-and-antiques banker James Sansum, Roberts’s accompaniment and appointment mate.
“Better than owning a fashion-victim purse—who buys all that whoop-de-do?” the applicant tartly states, celebratory that her own handbags tend to be advantageous “because I’m boring.”
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Spread beyond the sitting-room attic is a abounding blue-and-green carpeting that the late, abundant British tastemaker John Fowler conjured up in the 1960s for Bunny Mellon’s Manhattan dining room. In a bedfellow bath, plants are tucked into a rafraîchissoir, one of those French tables that accept basic metal buckets for befitting bottles of wine cool. Painted-wood shorebirds by Nantucket fable Pat Gardner advertise on plainspoken brackets that accept been grouped, actuality and there, to anatomy flocks.
Roberts did added than aloof align and augment, of course. An old-school decorator at heart, admitting his active demeanor, he trimmed, mixed, matched, commissioned, and, frankly, enjoyed himself. He advised dining chairs, bright quilts, alike mitered cushions in the active room. Striped red-and-white bolt was cut up and reassembled into bendable bank for the dining room, area Christian corrective behemothic daisylike quatrefoils on the floor, a blood-tingling admixture that anybody agrees is a agitating success. “Not every client’s activity to allow your creativity,” Roberts admits. To which this accurate angel instantly responds, “Honey, that’s why everything’s so vanilla.”
49 New Dining Room Slipcovers
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