Tag Archives: design

Window Boxes & Wooden Boats

This past weekend was very busy in Salem, with the monthly Derby Square FSA market and the annual Jazz and Soul Festival, the Antique and Classic Boat Festival, and the New England Kayak Fishing Tournament all happening. My husband participates in the latter so I seldom saw him–kayak fishing is serious business! I wandered around on my own not really wanting to commit to a crowd, but as we missed the antique car meet last week I knew I had to see the boats. This summer’s very hot and humid weather seems to have finally lifted, so I took the long way there and back and snapped some photographs of window boxes, which are overflowing just about now. I love this first one, it’s a basement window box on Botts Court: a perfect adornment for an urban old house! Great shutters too.

Windowbox

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window box 7

window box 8

On to the boats. Usually I go for the Chris Craft, but there wasn’t one this year. A Wagemaker runabout came closest to that standard, but my favorite boat of the festival was something a bit more exotic: a Norwegian sailboat, or “Bindel Faering Nordland” built in the 1960s and named Kanin, after the Norse god of cute and fluffy rabbits. With its carved bow and stern, it reminded me of a Viking ship, and I’m sure I’m not alone. The biggest boat was a 62′ foot “Commuter” built in 1923: it was rather difficult Miss Asia in one photograph. Boats such as these were utilized by their wealthy owners to commute from New York or Boston to their summer cottages in Newport or some other “gold coast”, and then down to Florida for the winter. An amazing display of craftsmanship, restoration effort, and wood on the water by Miss Asia and all of her fellow festival boats.

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Kanin, Miss Asia, and their dockside neighbors at the 34th annual Antique & Classic Boat Festival.


Perroquet Plates

At this time of year I’m in back-to-school mode and absolutely exhausted by keeping up with the garden, so my focus shifts to the inside. I think I’ll get back outside when it gets cooler in September, as I want to rearrange some things and prolong life and time in my garden as long as I can, but right now I’m focused on interior adornment and projects (this is one way to ignore all of the academic duties that are piling on about now). Leafing through a bunch of magazines this past weekend, I found some objects of adoration in, of all places, WSJthe magazine of the Wall Street Journal: plates adorned with colorful parrots, infused with old-world elegance through a hand-painted process involving sixteen layers. The 12-piece collection is the collaboration of Gucci Creative Director Alexandro Michele and porcelain manufacturer Richard Ginori. I want them all, but at $295 a plate, it will be difficult to justify just one, I’m afraid! The article identifies Michele’s inspiration as “one rare French volume from 1801 on specimen birds”, which was all the cue I needed to identify Jacques Barraband (1767-1809), a French zoological and botanical illustrator whose work inspired imitators even in his own day. While Barraband’s work must have struck his contemporaries as “new” in their colorful realism, Michele was inspired by their antiquated aesthetic, as am I.

Perroquet red

Parrot Barraband 2

Perroquet Plate Design Boom

Perroquet Plates WSJ

Perroquet Plates WSJ 2

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Derian Parrots

Original Jacques Barraband parrot prints from Levaillant’s “Histoire Naturelle des Perroquets” , Ursus Books & Prints, and Shapero Rare Books. The Michele/Ginori plates from designboom (image ©designboom) and the WSJ magazine (photographs by Martyn Thompson). John Derian has ample antique-inspired parrots among his offerings too, including a 12-piece set of wall trays (works and photographs © John Derian).


A Shilling for Samuel

Today is the birthday of the man who literally made Golden Age Salem, expanding his woodcarving skills into architecture and interior decoration exemplifying the Federal style: Samuel McIntire (1757-1811). Frankly, I’m not sure Salem is McIntire-esque anymore but my corner of it is still McIntire world, and for that I am very, very grateful. My house is in the McIntire Historic District and every morning I look out my bedroom window at two McIntire structures: Hamilton Hall and the (recently sold) Captain Jonathan Hodges House at 12 Chestnut Street. Just around the corner on Cambridge Street is one of my favorite McIntire houses, the Thomas Butman House at #14. The microsite for the Samuel McIntire: Carving an American Style (2007-2008) exhibition at the Peabody Essex Museum is still up, so you can check out “his” Salem for yourself, but I am featuring another introduction on this day: a children’s book titled A Shilling for Samuel (1957) written and illustrated by Virginia Grilley.

McIntire Covers

Grilley seems to have been a well-known children’s book author in the 1950s and 1960s, and she also wrote and illustrated several books about the Salem of Nathaniel Hawthorne, the great “scribe” and “romancer”. She liked to conjure up historical places, in both words and pictures. A Shilling for Samuel is very much in the tradition of another example of mid-century Salem juvenile fiction, Carry on, Mr. Bowditch by Jean Lee Latham, which was published just the year before. In both books, Salem boys are inspired by the bustling, cosmopolitan environment all around them as well as their innate interests and talents to develop their specialized skills and make their way in the American way. In Grilley’s story, Samuel grows up along the water (in a house on Mill Street–could it be this one? I’m just not sure) and learns about carpentry and carving from his father, but his family wants a different life for him:  go to sea, young man, that’s where fortunes are made. Nevertheless he loves to carve and look at the  “strangely-shaped roofs” of his native town and seeks to replicate everything he sees around him in wood. The first shilling he receives for a carving, combined with the pattern books he spots in Mr. Shillaber’s bookshop, propel him on his life’s path. The rest is history–outside my window.

Shilling 6

Shilling 30

McIntire Bench Christies

Pages from Virginia Grilley’s A Shilling for Samuel; a mahogany McIntire window bench coming up in a Christie’s auction next week–certain to fetch many, many shillings!


Melting Pot(tery)

I think I’m the last person on the internet to discover the work of London-based Chilean artist Livia Marin, but I don’t care: I must feature these examples of melting ceramics (in the classic Willow pattern) because they are just so cool. We have a healthy tea culture here in Salem, and I can just picture a tea party with whole pieces on my dining room table and a display of these pieces on the mantle. According to the statement on her website, Marin “employs everyday objects to inquire into the nature of how we relate to material objects in an era dominated by standardization and global circulation” in order to “offer a reflection on the relationship we develop with those often unseen objects that meet our daily needs”: a much more thoughtful approach to my own preoccupation with the art (and history of course) of the everyday. I suppose I could come up with a long essay on how these objects are emblematic of the China Trade and all the myriad consequences of European imperialism, but really, I just like the way they look.

Melting China Livia Martin

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via Livia Marin.


Lion’s Paw

When I was assembling my portfolio of Renaissance “green” merchants, I came across a Lorenzo Lotto portrait that I had seen long ago and then forgotten: I remember being perplexed by it then and remain so now. It is Man with a Golden Paw, dated 1527, featuring a man leaning forward and slightly to the side with a (embellished, sincere) hand on his heart and a lion’s paw in his other hand. When I first saw the portrait in my early 20s I remember being struck by his appearance (is he wearing earmuffs?), now I’m more interested in the lion’s paw.

Lorenzo_Lotto Lion's Paw

Lorenzo Lotto, Man with a Golden Paw, 1527, Kunsthistorisches Museum, Vienna.

The meaning and placement of this particular paw has not been established with great certainty, but most art historians seem to think it offers a clue about the name or occupation of the sitter: a Leo-like name, a goldsmith? Lions in general, and pieces of lions in particular, are so often utilized in art forms throughout history that context is all-important. In medieval and Renaissance Europe, the lion had myriad religious and secular associations: as the long-reigning King of Beasts, he represents strength, majesty, courage and fortitude, even Resurrection. Conversely, but still expressions of his power, the lion could represent pride or vengeful wrath. In religious iconography he is associated most strongly with St. Mark and St. Jerome, who removed a painful thorn from a lion’s paw and received a friend and servant for life in return: any possibilities for our painting in this particular story? In various poses, the lion represents a range of attributes in heraldic devices as well, always kingship, bravery, fierceness, and more subtle watchfulness (as it was a medieval belief that lions slept with their eyes open). Lotto’s paw-holding man holds my interest because at this point in time (again, 1527) the lion reference could mean anything: a rather mundane association to family name or profession, a testimony to skill, strength, or power, an expression of faith. But not long after this moment, his prized paw will be reduced to a mere decorative motif, shorn of its long-held symbolism and so commonly featured in the decorative arts from the eighteenth century onwards that it becomes almost invisible–certainly not the focal point of the piece.

Detached (literally and symbolically) lion’s paws, 17th- 21st centuries:

Lion's Paw Furniture Mount MET

Lion's Paw Raphael

Lion's Paw excavation

Lion's Paw bookend RH

Gilt Bronze Lion’s paw furniture mount, French, late 17th-early 18th century, Metropolitan Museum of Art; Sketches of Raphael Cartoons by Sir James Thornhill, c. 1729-1731, Victoria and Albert Museum; Excavated Lion’s Paw from the Victorian conservatory at Tyntesfield, Archaeology National Trust SW; Lion’s Paw bookends, Restoration Hardware.


Super Bowls

I must admit that I stole the title of this post from the online shelter magazine Lonny:  I couldn’t resist, but it is so obvious you would think I could have come up with it myself! In terms of content, however: my bowls are very different from theirs. Not being a big fan of either football in general or the Super Bowl in particular, I have to seek alternative activities for this weekend and shopping for or merely seeking material objects always works for me. As bowls are probably the most utilitarian object around–perhaps even more so than plates–there was a big sea to navigate but nevertheless I came up with a top ten list pretty quickly. My preferences run to antique with glazed or embellished finishes–I am currently obsessed with silver lustreware–but a touch of subtle iridescence or whimsy on a bowl of any vintage will always catch my eye.

Bowl 1

Antique Silver Resist Lustre Punch Bowl, $265

Bowl 3

Antique creamware salad bowl, price upon request

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An Amazing Mochaware punch bowl with swags! $3200

Okay, let’s get a big more realistic: I might be able to swing for the silver lustreware bowl but certainly not the mochaware one. I have a pantry full of Mason Cash bowls, so I certainly don’t need any more, but I like basic yellow ware bowls, both old and new, particularly the white-banded variety. Many modern potters seem to produce updated creamware bowls, in a variety of interesting shapes and glazes.

bowl Yellow Ware

Late 19th-early 20th century Yellow Ware Bowl, $68

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Creamware bowl by Laura De Benedetti, £25

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 Kevin Milward Creamware Bowl, £60

Bowl Fairmont and Main

Fairmont & Main Creamware Vegetable Bowl, £13.59

Two cute cereal bowls: buttons and Dali.

Green Button Soup Bowl

Bowl Dali

Green Button soup or cereal bowl by Rebecca Lowery, $22;

Salvador Dali “Surreal” cereal bowl, $17

And finally, the best bowl haircut of all time: on the heroic, short-lived King Henry V (1387-1422): as depicted in a portrait by an unknown artist in the late Tudor era–an age which fixed his image for all time.

NPG 545; King Henry V by Unknown artist

Henry V, © National Portrait Gallery, London

 


When Monster (Buildings) Attack

Salem is still in the midst (throes) of a relentless building boom that began several years ago with the construction of an over-sized courthouse and will eventually encompass a train station/parking garage (just opened), a new hotel complex, and an expanded campus for Salem State University. This is a lot of construction for a relatively small city, and the buildings are big. Actually I’m not sure whether the scale of these structures bothers me more than the design, though now that I’ve thought about it for a second, it’s definitely the former with the courthouse and the latter with the proposed hotel complex, which looks like it is shaping up to be a truly ugly building. Anyone who has glanced at this blog briefly knows that I’m a traditionalist when it comes to architecture so no surprises there. But I don’t want to write about the design attributes of these buildings in this post: I’m more focused on what the average citizen can do when these big projects attack–and they can, at any time and anywhere. After years of watching these developments play out, I think I’ve come to the conclusion that there is very little that one person–or even a group of very dedicated and well-connected people–can do to stop them, most especially if the state is the developer. The process usually goes something like this: the project is proposed in all its glory, people get mad, and organized, but are repeatedly told that it’s a done deal, a fait accompli, except for (relatively) little details that are subject to mitigation, these details get discussed in the review process, the project gets built, period. And that’s how Salem got its GIANT courthouse and its generic parking garage. Even though Salem State University is Salem State University, the process of development has been a bit more collaborative, at least from my perspective (which could be very biased, as I work there), but now the university wants to build a large parking garage in very close proximity to a residential neighborhood that really doesn’t want it there. And I’m wondering if they have the power to stop it.

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Monstrous Building Cube

Massive/massing: the J. Michael Ruane Judicial Center in Salem; the new Salem Station Parking Garage; the proposed RCG Hotel Complex with “Cube” wing, courtesy Salem News.

I’m very torn on the Salem State parking garage, and not just because I work there. It seems quite apparent to me that design is a much greater priority for those who are planning the Salem State campus than those who are transforming Salem’s downtown. Salem State has 10,000 students and no parking garage–obviously it needs one (but it also needs a train stop)! There are actually three separate campuses: must there be one HUGE parking garage rather than three smaller, less obtrusive ones? I suppose this option is cost-prohibitive, but this is what every student that I’ve talked to wants. And there are plans for more buildings: won’t forcing this garage down the neighbors’ throats hurt future development plans? The neighborhood has organized itself into a group called Save our Salem (S.O.S: they started out as Save South Salem so this was a wise change), and they look committed. I’m really hoping that this particular superstructure doesn’t harm the environment in which I live and work.

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Parking Garage SSU

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Facades and aerial outline of the proposed 54-foot, 725-car parking garage on the North Campus of Salem State University; Save our Salem signs along Raymond Road.


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