Now, it may appear that I’m on a photography kick. But, my impulse to share the work of Ruth Orkin has more to do with her subjects, specifically the women and children, then my affinity for black and whites (though this affinity only seems to grow). Orkin is the photographer behind many of the classic photos you will recognize. She received her first camera at age 10. Her photographs possess emotion which seems forever captured. Love. Them.
Photos courtesy of RuthOrkin.com
It’s a quandary to me whether fashion icons like Carolina Herrera predict or create the next trend in fashion. For example, did Herrera sense Spring 2012 was going to explore the angles of the geometric print or the flowing and feminine? Or, did her designs bespeak the same? It is impossible to know. But, one thing I do know is, despite her uniform-like white button down and black bottom (which always works!), her Spring collection is singing with movement, print, and geometry—full of items one would love to wear right about now (even though she thought if it a year ago!).
Pictures courtesy of Style.com
This week appears to be the perfect opportunity to take a short spring break from blogging. Though I’m scarcely in a bathing suit or nearer to white sands than normal, we will pretend as if I’m on a remote island, where the instruction was relax and detox. Yes, its time for that. See you next week.
""In any creative process, you need to find out what you can play with and how you can play with it. Time plays a part in that. I’m a big believer in evolution rather than revolution.”
![IMG_7234_thumb[2]](http://lh3.ggpht.com/-ZnZXYddXY8c/T2KFWodW_9I/AAAAAAAADNY/oWVgD6857Io/s1600-h/IMG_7234_thumb28.jpg "IMG_7234_thumb[2]")
Now, Mark Jacobs was commenting on the creative process with respect to the House of Louis Vuitton (in Town&Country – April 2012), but I think the creative evolution of one’s home is very similar. The mark of a well-lived house is the manifestation of life lived. Now, one might call such manifestation clutter (and another might even agree), but it is this clutter that marks the passing of time, the differing experiences, items, words, and tchotchkes that were worth noting. In the yard, it is the daily piddling of watering and weeding and the ability to watch things grow before your eyes! This evolution of a space is what makes my house, my home.
The rock under which I live was lifted this weekend, at least temporarily, with the accidental discovery of Gungor. Overwhelmingly good. The combination of acoustic guitar, beatboxing, cello, and other accompaniments, makes me want to go do something inspired.
“When Death Dies all Things Live.”
Reviewing the online edition of an Estates and Trusts publication (of all places, today at work) and came across the gross revenue resulting from a recent sale of photographs at Christie’s. Found two facts to be of note: (1) These photographs are valuable! (2) Christie’s is particularly good at estimating a potential sales price. The “training” of all of those who are “trained” at Christie’s must be steeped in the ability to identify value. Truly amazing institution and amazing photographs. Have a great weekend.
Photos Courtesy Christies.com
Row 1: Eisenstaedt, Alfred. Children Watching Puppet Theater in the Tuileries Gardens, Paris. Gelatin Silver Print; Eisenstaedt, Alfred. Marilyn Monroe, for ‘Life’. Gelatin Silver Print, Printed Later; Erwitt, Elliot. Child at Broken Window. Gelatin Silver Print; Horvat, Frank. Deborah Dixon, for ‘Harper’s Bazaar, Rome 1962. Gelatin Silver Print.
Row 2: Horvat, Frank. Givenchy, for ‘Jardin des Modes’. Gelatin Silver Print; Ray, Man. Untitled. Gelatin Silver Print; Frank, Robert. Italy. Gelatin Silver Print.
Row 3: Orkin, Ruth. Untitled. Gelatin Silver Print; Avery, Sid. Elizabeth Taylor. Gelatin Silver Print; Shore, Stephen. 5th Street & Broadway, Eureka, CA, September 2, 1974. Chromogenic Print; Klein, William. Smoke + Veil, Paris (‘Vogue’). Gelatin Silver Print.
Imari, as defined, inspired much of the Delftware we discussed a few weeks ago, as well as a vast discipline of other porcelain makers:
A type of Japanese porcelain made at Arita from the late 17th century and shipped from the port of Imari. It has a characteristic palette of underglaze blue, decorated with iron red and gilt. The style was adapted by Chinese craftsmen and by many of Europe’s major porcelain-making factories from the 18th century, including that at Meissen, Deft, and Derby.
The porcelain is considered a forerunner of many others, with origins in the 1600’s. The characteristic blue and orange-red graces most pieces with gold outlining the florals and animal imagery. Age and condition, as you might imagine, contribute to the value of a given piece of imari. The original pottery was imported from the Port of Imari to other Japanese ports with destinations far-flung in Europe. In my reading about delftware, it was noted that the Dutch were inspired by these imports—the imari—and began to fashion their pottery akin to the imported. A few pretty pieces:
Mejji Imari Porcelain Lidded Jars – Petrie-Rogers Gallery; Chinese Imari Lighthouse Chocolate Pot – Vallin Galleries (1stdibs.com); Imari Enameled Porcelain Bowl – Hiromitsu-Japan; Japanese Imari Punch Bowl – L’Enfant Gallery (1stdibs.com); 19th Century Antique Decorative Japanese Imari Vase – Debenham Antiques (1stdibs.com); Umbrella Stand - Jeffrey Tillou Antiques (1stdibs.com).
“Imari” A-Z of Antiques & Collectibles. 2008.
Read about Myrna Hoefner’s recent redesign of her home. Hard not to be notable when your original design (December 2000), as well as your recent reinvention of the space (March 2012), are both featured in House Beautiful. Hoefner’s current space is featured in the recent article A Hint of Green is Romantic.
Video courtesy of Housebeautiful.com
Many of you have likely seen this beautiful home, the “Hog House,” owned and designed by Manhattan interior designer Richard McGeehan. Elle Décor featured the space in their March 2012 issue. McGeehan’s family has owned the property on which the Hog House sits for generations. A Manhattan resident, McGeehan was seeking a place outside of the busyness of city life. He redesigned the hog house, (it was originally a hog house, literally), into a purposely small retreat. A space was purposed to lack the room for clutter. The original structure and McGeehan’s decision to maintain its patina, poorly insulated windows and all, give the space an authenticity which cannot be manufactured. Inside I am enamored by the whimsy—the juxtaposition of the modern and the traditional, the emotive and the restrained. Enjoy your weekend.
Pictures courtesy of Elledecor.com
