Old and New
Mixing Periods and Styles
“A collection to which nothing can be added and from which nothing can be removed is, in fact, dead.” — Sigmund Freud
Whilst the world has been caught in the clutches of a mid-century modern obsession the demand for antiques has been waning, especially amongst younger buyers who see them as dated, prissy and undesirable. The market, of course, has peaks and troughs and their popularity is once again on the slow ascendency. This might, in part, be due to the popularity of designers like Axel Vervoordt (b. 1947) and Atelier AM who frequently use a variety of periods and styles in their interiors — indeed it’s not at all uncommon to see Louis XIV rubbing shoulders with Jean Michel Frank (1895-1941) and Jean Royère (1902-1981). This is of course nothing new, with French fashion designer Roger Vivier, an early proponent of eclectic interiors, shocking the Parisian beau monde with his elegant and eclectically appointed apartment on the Quai d’Orsay; where Cycladic idols and French court furniture were displayed against a backdrop of white walls and abstract art by the likes of Jean-Michel Atlan (1913-1960), Serge Poliakoff (1900-1969) and César (1921-1998). “In the 20th Century, interior decorators and fashion designers have played an important role in creating rich and layered interiors, combining and juxtaposing works of art from different eras,” says Amjad Rauf, International Head of Masterpiece and Private Sales at Christie’s, “Yves Saint Laurent, for instance, would place a Goya in front of 20th century Cubist works and alongside lacquered vases by Dunand, furniture by Eileen Gray and 17th Century Augsburg silver. Hubert de Givenchy, master of harmony and balance, created luxurious rooms Louis XV would have admired but was also able to incorporate 1970s bronze furniture by Diego Giacometti in his 17th Century chateau. Neither had the ambition of recreating museum like period rooms but rather capturing the best of past and present and blending it together in a personal, approachable way.”
Antiques, especially in a modern home, can add a degree of warmth, depth and interest, thereby making an interior feel anchored and collected over time. For some years there has been a fear of “brown furniture”, a derogatory catch-all term referring to the sort of old, dark, heavily polished pieces that were draped in doilies and pared with heavily patterned carpets and dust-strewn dried flower arrangements (the latter of which has recently made a comeback). The Victorian’s have a lot to answer for in terms of sucking the elegance out of interiors and architecture, the majority of which ached under the sort of badly proportioned, clunky, inelegant furniture that sent a young Elsie de Wolfe (1865-1950) into fits of histrionics; a self-pronounced “rebel in an ugly world”, in despair at such staid bourgeois decor, de Wolfe would later go on to revive the18th century French style, replacing velvet curtains and dark woodwork with pale grey walls, light muslin curtains and an abundance of mirrors. Indeed her decorating style, in essence, is the basis for a good many modern interiors, with even the likes of Horsch & Huebscher, Rose Uniacke and Alyssa Kapito employing similar principles (although fortunately, somewhat more pared back, and without quite such a preponderance of faux trellising). “Whilst at the beginning of the 21st century bland, muted tones dominated in often minimal interiors, more recently we have seen interior decorators and fashion designers opting for a richer palette inspired by the wealth of our cultural history,” explains Rauf, “In Peter Marino’s extraordinarily interiors, early bronze sculpture and bold items of French 18th Century furniture, often in lacquer or ebony, play a role just as important as the modern and contemporary works of art; Vervoordt’s keenness for contemporary art and antiquities is well known, which he combines to great effect; Jacques Grange’s love for Neo-classical furniture is evident in his projects as well as great contemporary works including Bacon, Hirst and Kapoor.”
An interior by Axel Vervoordt
A Montecito Estate designed by Atelier AM
When buying antiques there are a few principal considerations to take into account, first and foremost of which is condition; whether buying from a dealer or an auction house inquire if and how a piece has been restored, or, for that matter, if it needs to be repaired — a poorly executed restoration can severely detract from the overall beauty of a piece and so it’s something worth taking into consideration. On the flip side, the wonderful thing about period furniture is that it shows signs of age, life and use. Those in the trade will often talk about patina, which might mean the particular hue wood takes on over time, or the butter soft richness of leather — a piece that has been overly restored can completely loose its charm and thus entirely negate the point of buying an antique. Other practical considerations include how the piece will be used, and how it will sit with an existing collection. I’ve always been of the view that beautiful pieces from any period will always work well together (within reason), but there are those purists who are far pickier when it comes to their period parings (I was once told in no uncertain terms by a Pimlico Road dealer that French antiques have no place in an English home). Even in a relatively minimalist and pared back interior, vibrant materials and timbers can lend warmth and richness without overly cluttering the space; sixteenth and seventeenth century Spanish furniture can often work particularly well in such contexts. Equally, it’s remarkable how period seating, for example French Empire bergere, can be transformed by simple reupholstery in neutral fabrics such as velvets and linens. If your interior is on the smaller side and suffering from limited square footage, look out for pieces that provide flexibility and serve multiple functions (equally, always be sure to look at dimensions, eighteenth century chests that might look modest at an auction house were often made for similarly capacious interiors and stand out like a sore thumb in a city apartment).
A West Village apartment designed by Alyssa Kapito
A Holland Park apartment designed by Rose Uniacke
When choosing dining furniture for e.g. consider an extending table with leaves that can be stored away, or chairs without arms that slip neatly under the table top; it’s remarkable in a smaller home how much space a set of chairs can take up (something to which anyone with Hans Wegner (1914-2007) Wishbone chairs can attest). Storage furniture is often overlooked for its utilitarian nature, but aside from practicality, it’s a great way of adding interest. Though storied French decorator Jacques Grange would disagree: “I don’t like commodes or chests,” says the designer, who rarely uses such pieces in his interiors (though apparently he has a particular fondness for statement chairs). For the rest of us, cupboards, commodes, bureau cabinets and secretaires are multipurpose objects that can serve as statement furniture while providing convenient storage for anything from linen to barware and china; indeed the trend for simple, sleek minimalist kitchen cabinetry in neutral hues can result in a room that feels sterile and lacking in character — an eighteenth century Provençale armoire for e.g. in place of fitted units can add a much needed injection of warmth and richness without detracting from the overall modernity of the interior scheme. Pairs of cabinets are particularly useful to anchor other pieces within a room, and can often work well either side of a fireplace, hiding all sorts of necessary, but unattractive, detritus — such as televisions, speakers and electrical equipment. Equally, a single larger item can create a focal point, and draw attention to a specific section of a room, especially in open plan spaces, such as using a bookcase to zone a reading nook or home office.
Antique mirrors, especially French gilt, work incredibly well in contemporary interiors and being wall hung take up minimal space, regardless of their overall size and heft; in addition, they’re wonderful for creating the illusion of space and so perfectly suited to a pied-à-terre, reflecting light and giving the impression of depth. When hanging mirrors it often helps to consider what will be directly opposite — it can be an excellent way of highlighting a facing artwork (indeed antiques work phenomenally well when paired with contemporary, and especially abstract paintings, as can be seen to great effect in the New York home of Paloma Picasso), architectural details or even the landscape outside a window. Similarly, chandeliers, candelabra, lanterns, and other statement lights can be an excellent way of making a dramatic statement whilst taking up minimal space (ceiling height dependent of course — unless over a dining table, the majority of modern homes might not have the requisite height for eighteenth century chandeliers, particularly so in the city, where even in the luxury developments, the minimum requirement is only 2.8m). Pieces incorporating crystal and glass refract and disperse light to great atmospheric effect and a grand chandelier placed in a hall or drawing room can really set the tone of a home (though consider a dimmer, as converted chandelier can make for a fairly unflattering light level; I have been known to remove bulbs when visiting friends in the countryside). Porcelain and ceramic vases, repurposed and mounted as lamps, can make an equally sculptural statement — Han dynasty a la Vervoordt are becoming an increasingly popular choice. Still within the realm of safe saving impact, textiles, and rugs in particular, can be an excellent way of injecting luxury into an interior and are often the ideal complement to a minimalist modern setting, working with everything from Pierre Paulin (1927-2009) sofas to Perriand (1903-1999) commodes.
Two of the most important aspects of interior design are balance and proportion; some designers have a particular innate talent for combining myriad different styles and periods in harmonious union, whilst others, quite simply, don’t — this can be the case even with some professional decorators, despite a proliferation of published interiors. If in doubt, there’s no need to go the whole hog, keep it simple and keep it clean; adding a single antique chest or chair to room can be enough. “My advice to any collector is to develop a collecting area or field,” says Rauf, “becoming an amateur connoisseur but above all, embrace all chapters of history and allow your creativity to mix and match.” Although a good many might detest an entirely white walled interior, it’s a wonderful foil to an eclectic collection of art and antiques; indeed the homes of numerous major collectors are often on the glacial side (albeit something more sophisticated than Dulux brilliant white — try Paper & Paint Library or Farrow & Ball for something with a little more charm and subtlety).
Essentially mixing modern and antique is a wonderfully simple way of adding character to an interior, making it feel lived in and personal — this is especially so in contemporary homes, and in particular, new build city apartments, where there’s often little in the way of architectural detailing. Look for interesting profiles — pieces that are well made and classic examples of the era, or that have been overlooked for e.g. because of dated or worn upholstery. It’s time “brown furniture” had a renaissance — and elegant Georgian antiques can often be picked up at local auctions for a song. The juxtaposition of pieces from different epochs or from different countries, especially when mixed with contemporary furniture and art, can make a room feel welcoming and rooted. Don’t necessarily think of it as an investment, markets change and the popularity of periods and styles can dip and wane. Instead buy pieces that you love and that speak to you — choosing the right antique is often more alchemy than science.