About the project: The Catawba people have lived along the banks of the Catawba River for thousands of years and […]
Enter to an open staircase and beautiful original millwork in this turn-of-the-century Hilltop home near cafes, groceries, parks, restaurants, schools, and hospital row. On the main floor find a dining and living space defined by stained wood pillars, mullioned windows, and an updated kitchen. The y
Catawba Modern Lounge Chair - 2320 This Catawba Modern Lounge Chair is expertly crafted and upholstered. Each chair boasts hand cut high-density foam and commercial grade fabric. The chair's frame and base are constructed from hardwood by hand, not machine. The walnut base is then shaped by artisans and finished with a commercial grade finish.This piece was designed by Laura Trenchard as an introduction to the Catawba Collection and inspired by a nearby coastal town, Catawba Island. Catawba has miles of beautiful and dramatic shorelines, with vivid winter whites and dark darks. The deep graining of the oak side tables mimic the rugged nature of the fierce and rocky shoreline terrain; Durable, resilient, and versatile.Craft Associates® Furniture is proud each piece is made in the US. We strive to craft a product that will stand the test of time. We use the best materials and have the best craftsmen in the business. We stand 100% behind our product.All pieces are available in Walnut, Maple or Oak with additional exotic woods available at request.designer: Laura TrenchardManufacturer: Craft Associates® Modern FurniturePeriod/Model: ModernFabric Yardage: 6 yards (COM available)Specs: Oak Veneer, Thick Weavedimensions:Height: 22.5Width: 36Depth: 39.25Seat Height: 17Seat Width: 28Seat Depth: 20Arm Height: 20.25 Catawba Modern Lounge Chair - 2320
Enter to an open staircase and beautiful original millwork in this turn-of-the-century Hilltop home near cafes, groceries, parks, restaurants, schools, and hospital row. On the main floor find a dining and living space defined by stained wood pillars, mullioned windows, and an updated kitchen. The y
If you want to add vintage charm to a new washroom or polish to a period one, look to Victorian, Craftsman, and Art Deco designs for inspiration
I've just finished reading "Former People; The Final Days of the Russian Aristocracy" by Douglas Smith, a sobering tale if ever there was. In our country, Fox News and MSNBC may detest one another but neither thinks seriously of liquidating the other. Our new mayor, Mr. deBlasio is not going to arrest his predecessor, Mr. Bloomberg. Secret police officers do not stage 2 AM raids on homophobic duck hunters. Furious peasants do not loot and burn manor houses in better zip codes. Cleveland Amory notwithstanding, the American upper class has had a lot gentler treatment than their Russian analogs. A case in point is Boston's Lyman family, whose ancestral country estate in Waltham I'm visiting today. The elevation below shows the central pavilion of the Vale, as it was called, designed by Samuel McIntire (1757-1811) and completed in 1798 for Theodore Lyman (1753-1839), a cultured Boston merchant grown rich from the China trade. McIntire is a legend in New England, famous for elegantly symmetrical Federal houses designed for his era's "one percent." There's even a Samuel McIntire Historic District in Salem, Mass. Here's McIntire's Vale - before Queen Victoria. The style is usually described as Federal, but I think the classically ornamented central block with outrigger pavilions connected by hyphens is more accurately described as Palladian. It was not a very big house, but certainly a beautiful one. Construction started in 1793, the year the Jacobins unleashed the Reign of Terror. The eastern pavilion, seen to the right in the image below, still contains an exquisite 18th century ballroom. When Lyman's eldest son George W. (1786-1880) inherited the place in 1839, he expanded its famous greenhouses and built a trio of Mansarded Victorian summer places for his 3 married daughters on a portion of the estate. ('Grave, but Interesting,' a 'Big Old Houses' post from last month, tells one of their stories). By the time George Lyman's eldest son, Arthur T. (1832-1915) inherited in 1880, his grandfather's country house was an unfashionable antique, both style-wise and mechanically. Plus which, it was inconveniently cramped for a family of eight, not counting servants. Years earlier, the Lyman men forsook the China trade to become textile magnates. Hiring architect Henry W. Hartwell (1833-1919), a high Victorian with a devoted following among what I suppose you'd call "fat cat" capitalists, seems, to me anyway, a natural choice for a Victorian industrialist like Lyman. Hartwell added new kitchen, laundry and servant facilities on the west, raised the second floor above the hyphens and pavilions in order to accommodate additional bedrooms (he left the ballroom untouched), goosed the central block upwards with an entirely new third floor full of servants' rooms, and tacked a pair of exceedingly un-Palladian two-story box bays onto the main blocks' south facade. The result was imposing, if no longer quite as beautiful. The next owner was Lyman's son Arthur Jr. (1861-1933), whose marriage to Susan Cabot, per The New York Times of October 5, 1888, "brought together an unusually large number of representatives of old New England stock. The eight bridesmaids represented the families of Cabot, Mason, Coolidge, Codman, Lowell, Lyman and Courtis, and the ushers were of equally distinguished lineage." To many observers, including, I'm afraid, most real estate brokers, Hartwell's exteriors looked "colonial." However, heavy Victoriana raged within. In 1917, Arthur Jr. hired a smart Boston decorator and dealer named Nonie Tupper, of whom I cannot find any record, to do the place over in the newly fashionable colonial revival style. I doubt she tore off the balustrades or junked the shutters, all of which are missing in the modern view below, but with the exception of the main stair, the paneled library and bit of dado here and there, pretty much everything else inside was ripped out and replaced with restrained millwork and period repro mantelpieces - except the ballroom, which escaped alteration once again. Let's make a counter-clockwise circuit of the building before going inside. The blank windows on the second floor of the east pavilion screen the upper portion of the double height ballroom. The porch wraps around to the rear of the house, where it overlooks a lawn bounded on the north by greenhouses. This huge range of vintage glazed buildings has been in nonstop operation since 1796. Repeatedly enlarged during two plus centuries, they are the oldest operating greenhouses in the United States. In addition to the ballroom, an oval salon on the main floor also survives from the original McIntire design. A two-story bow on the house's north wall, the upper part of which is visible in the image below, articulates the line of the salon's north wall, plus that of a bedroom above it. The kitchen courtyard is located at the western end of the house. A section of the Hartwell additions borders it on the left in the image below. Time to go inside. Once across the threshold, the coup d'oeil, given the scale of the exterior, is one of unexpected primness. The plan is McIntire's - reception, dining and salon arranged around a T-shaped central hall. The entrance to the oval salon is straight ahead, on axis with the front door. To the left of the salon, the hall leads west to the main stair; to the right, it leads east to the ballroom. We'll glance at the stair, come back to the salon, and head to the ballroom. Just short of the ballroom is a peculiar open-sided "mud room." An exterior door, barely visible on the right, opens onto the north-facing porch. Nonie Tupper's ruthless imposition of "good taste," ca. 1917, has banished not just the the Victorian wicker and rosewood, but the cornice molding, mantelpiece, paneled doors, door surrounds and the dado. The fireplace hearth and the heat register are about all that's left, either from the Hartwell or the McIntire eras. The doorway to the ballroom speaks eloquently, in scale and detail, to the early 20th century vogue for the colonial - even though the doors were clearly re-purposed from the Victorian mud room. The ballroom beyond, however, is pure 18th century. As for those distracting fake Xmas trees, "Bah humbug!" I say. The interesting vintage views below, courtesy of Historic New England, show the ballroom as Ms. Tupper decorated it in 1917 and, below that, as it looked during the Victorian period. Except for the furniture and the dreadful Victorian overmantel, this room, even including its chandeliers, has survived unchanged for over two centuries. Let's exit the ballroom, whose doors, I must say, are not in the same league as McIntire's on their left, and retrace our steps westward to the oval parlor. I think the wallpaper borders might be a bit strong for this delicate classical room. Interestingly, wallpaper and curtains in the vintage view below are different from those in the second vintage view. The furniture, however, is the same, just recovered and moved around. No tiger behind the middle door on the south wall, but rather the main hall with the front door at the head of it. We'll turn left at the door and have a look at the reception room. At least if I lived here, it would be a reception room. It is in the right place for it. The "good taste" of 1917 has crushed the undoubtedly ebullient Victorian decor of the 1880s. The door to the left of the fireplace connects to the ballroom. The second view below looks across the hall from reception to dining room. The open door on the right, in the first image below, is the one we saw from the reception room. It's hard not to like the dining room's Victorian incarnation, with its wonderfully inappropriate mantelpiece, gasolier, dark stuff on the walls and handsome painted paneling. Today's immaculate restoration is a bit chilly by comparison. No surprise that I absolutely loved the serving pantry which, save for the sink and the Kentile floor, is a dazzling post-WWI antique. The pantry occupies the lower floor of what was originally a one-story hyphen on the western end of the McIntire house. When Hartwell added the new service suite in the 1880s, the original kitchen, until then located in the western pavilion, was replaced by a library. It would appear that in 1917, someone drew a line in the sand in front of Ms. Tupper, because the Hartwell library escaped her touch. That's the door to it, outside the pantry in the view below. From the standpoint of convenience, the kitchen made more sense in its original location. To get to the new one, we must exit the library into the main hall (note the Victorian dado), hang a quick left, and zigzag through a series of short corridors before arriving in the new one - well, new ca. 1882, renovated 1917, and recently upgraded for professional use. It was the express desire of the last Lyman occupant of this house, that it be preserved for the enjoyment of the public, and generate income for the city of Waltham. Over the years, weddings and corporate events have proliferated and modern catering supplies and equipment now fill the kitchen, pantries, servant hall and laundry room. Happily, the new stuff mostly just sits on top of the old stuff, virtually all of which is still in situ. The servant hall, mostly obscured by clutter, boasts an appealing Victorian corner fireplace. The laundry room is chock a block with caterers' chairs and tables. The original laundry tubs, however, are all still here. Let's return to the main hall and, before climbing the good looking Victorian stair, duck underneath it for a look at one of my favorite parts of a big old house, (you guessed it), the bathroom. How cool is this? I wouldn't be at all surprised if the painted woodwork on this grand stairwell started life under multiple coats of dark shiny varnish. Whatever the excesses of things Victorian, they often had a lot of appealing heft. With its closely packed balusters, ornate handrail, high dado, magisterial ceiling, and in-your-face Palladian window the Victorian stair at the Vale looks heavy enough to create a structural sag in one corner of the house. Unless I miscounted, there are 8 bedrooms on the second floor and 4 (maybe 5?) baths. The hall is Victorian. The bedrooms, for the most part, were re-colonialized in 1917, at which time bathrooms were added. I gather the Hartwell renovation was quite deficient in bathrooms. I'm told the oval room above the salon below was the owners' bedroom. Odd, if so, since the bathroom is across the hall and by 1917, en suite master bathrooms were pretty much de rigeur. The bedroom corridor doesn't extend too far east before running into the double height ballroom. Westbound is a different story. Beyond the partition door, which I suspect is an institutional insertion, lies a clutch of un-colonialised Victorian era bedrooms now used for offices. Midway down the western corridor is the 2nd floor entrance to the back stair, which we'll take to the third floor. Logic, the absence of architectural detail and the presence of only one bathroom suggest servants were billeted up here. The rooms, however, are much bigger than your basic maid's cubicle. I'm guessing they must have been shared, which, if true, is again kind of odd. If there's one more staircase, and my hosts are of the understanding persuasion, I'm going to climb it. What's at the top? A couple of windowless rooms tucked under the eaves. I think we've seen the Lyman mansion. The Lyman estate today occupies less than a tenth of its original acreage, but that's still 37 acres, located about 3000 feet from Main Street in Waltham. When the leaves are on the trees, it probably feels like you're actually in the country. In wintertime, however, a complex of depressing apartments is visible at the southern end of the main lawn. A renovated carriage house, gardener's cottage, sprawling greenhouses and 600-foot long brick retaining wall once used for cultivating peaches are also on the property. Bordering the 37 acres are also the original (now privately owned) farm complex, a couple of actual farm fields, and the former deer park, now part of Bentley University. Taken together, these elements create a significant integrity of site and do much to counterbalance the apartment buildings. While the Russian aristocracy waxed and waned and the American upper class adjusted, the greenhouses at the Vale kept growing in size and fame. Begun in 1796 and enlarged in 1804, 1820, 1840, and again in the early 20th century, they have steadily produced not just flowers but grapes (from cuttings taken at Hampton Court), oranges, pineapples, bananas and, for over 100 years, Lyman camellias, grown in their own 1820 purpose-built Camellia House. The heirs of Susan Cabot Lyman (1864-1951), last of the Lymans to live in the house, donated it after her death to Historic New England, a non-profit preservation organization that presides over 36 separate historic sites. The Vale is mostly reserved for private functions, however, scheduled tours operate on limited basis. The link is www.historicnewengland.org.
The Copper Canyon was built by North Carolina-based Catawba River Tiny Homes to showcase their craftsmanship and unique options available. The tiny home on wheels features a rustic southern aesthetic with copper accents and luxury vinyl plank flooring throughout.
Description This is a stylish piece of furniture with a rectangular appearance and is made of sturdy, thick plates. There is plenty of storage space available for all of your documents and office supplies in the drawer and behind the doors of the desk. This writing desk is a modern and compact workspace that blends seamlessly into any living environment. Features Extra strong material
We finally got copies of photographs from Craftsman Design & Renovation . Sharon was sort of appalled by the stuff they put out throughout ...
The Copper Canyon was built by North Carolina-based Catawba River Tiny Homes to showcase their craftsmanship and unique options available. The tiny home on wheels features a rustic southern aesthetic with copper accents and luxury vinyl plank flooring throughout.
Southern folk art double face jug. This jug will delight you and put a smile on your face! His coloring is beautiful and reminds me of the sea! It has two faces.. one smiling and one frowning. It stands about 9.5 inches tall and is signed on the bottom. This jug would make a beautiful addition to your collection or make a great gift for someone special. It was handcrafted in the foothills of the Appalachian mountains of North Carolina in Catawba county. Catawba county has a rich heritage of artisans who created Southern folk art. I strive to carry on this tradition with a handmade folk art collection inspired by my heritage.
Enter to an open staircase and beautiful original millwork in this turn-of-the-century Hilltop home near cafes, groceries, parks, restaurants, schools, and hospital row. On the main floor find a dining and living space defined by stained wood pillars, mullioned windows, and an updated kitchen. The y
If you want to add vintage charm to a new washroom or polish to a period one, look to Victorian, Craftsman, and Art Deco designs for inspiration
In this week’s Carolina Camera, we’re taking a trip to this special place in Vale in Catawba County.
The Copper Canyon was built by North Carolina-based Catawba River Tiny Homes to showcase their craftsmanship and unique options available. The tiny home on wheels features a rustic southern aesthetic with copper accents and luxury vinyl plank flooring throughout.
Read ID Boston Volume 12 by BostonDesignCenter on Issuu and browse thousands of other publications on our platform. Start here!
Having set her heart on buying within a small area in the smart Cow Hollow neighbourhood of San Francisco, interior designer Lauren Weiss was delighted to find the perfect house and set about using a warm palette to make the most of the California light in this three-storey terrace
The stylishly casual furnishings and natural fabrics contribute to the feel of a private, seaside home.
Built in 1905 in Minneapolis, a fine family home is restored and improved by its appreciative owners along with David Heide Design Studio.
The Copper Canyon was built by North Carolina-based Catawba River Tiny Homes to showcase their craftsmanship and unique options available. The tiny home on wheels features a rustic southern aesthetic with copper accents and luxury vinyl plank flooring throughout.
I've just finished reading "Former People; The Final Days of the Russian Aristocracy" by Douglas Smith, a sobering tale if ever there was. I...
I've shown this room a couple of times since my mom gave me some of her furniture, after she moved, but since then, there's been a few minor changes. I'm not sure what the deal is with the paint color in there, but depending on what time of day or what angle I take a photo, it's always changing. The picture above shows it being darker than in real life, but pretty close. If you remember this room before, you'll notice a chair missing. I felt it was too crowded, so... poof!... into another room it went. See what I mean about the color? So weird! I found this table at a local antique store recently. This is the part I fell in love with: Bubba still loves his perch :) Great grandma's lamp and some pictures of Alex, Annie and my nephews when they were small. The mantel decor has been changed up a bit, but I'm not sure I'm loving it. That plant doesn't seem happy with it either ;) Looking towards the dining room, you'll see the biggest change. I was reading something about Bunny Williams and she recommended having something in your living room that will make you use it. I'm not a tv in the living room kinda gal (it's in the den), so my desk was moved in here and the library piece was moved into the library. Makes sense, huh? ;) On top of that, she has a desk in her living room, so if it's good enough for her, it's certainly good enough for me! The chair belonged to my friend's mother in law and she gifted me with it. Hi Sharon! :) I think the desk suits the space better. Although, I'm thinking of selling that file cabinet. I really love it, but it just feels like too much to me and I don't have anywhere else to put it. I know it doesn't look like I use this desk at all, but I do. Trick photography ;) Happy belated Autumn, everyone! xo rue
Check out a dramatic before-and-after conversion, plus a new porch and pergola, a kitchen and bath—and more of our favorite Arts & Crafts millwork details.
The Copper Canyon was built by North Carolina-based Catawba River Tiny Homes to showcase their craftsmanship and unique options available. The tiny home on wheels features a rustic southern aesthetic with copper accents and luxury vinyl plank flooring throughout.
COLOR PHOTO REPRODUCTION: Add style to any room with this beautiful print, whether your interior design is modern or classic. MUSEUM QUALITY INKS AND PAPER: Printed on thick 260gsm thick luster photographic paper with archival giclee inks, this historic fine art will decorate your wall for years to come. ATTENTION TO DETAIL: We edit every photograph for image quality and true color reproduction, so it can look its best while retaining historical character. Makes a great gift! FRAME READY: Your unframed poster will arrive crease-free, rolled in a sturdy mailing tube. Many pictures fit easy-to-find standard size frames 16x20, 16x24, 18x24, 24x30, 24x36, saving on custom framing. Watermarks will not appear in the printed picture. Some blemishes, tears, or stamps may be removed from the final print.
Built in 1905 in Minneapolis, a fine family home is restored and improved by its appreciative owners along with David Heide Design Studio.
Incorporate these design elements when remodeling or refreshing your Craftsman style bathroom.
Designer Ralph Lauren opens up the doors of the the Norman-style stone manor house that he shares with his wife, Ricky, in Bedford, New York
Deephaven Craftsman Designed by Chicago architect Hugh Garden and advertised as a “tear-down,” this 1905 Craftsman-style lakefront retreat boasted sweeping porches, idyllic views of Lake Minnetonka, and moments of leisurely reprieve. Falling in love with these features our client purchased the house, saving it from the wrecking ball. Intent on restoring the house, she knew […]
