By Jared Ainscough

Roxanne Faber Savage is an artist whose work varies greatly from piece to piece, from swimmers, to houses, to birds, to power lines, to abstract red boxes, to phases of the moon. Arranged in a list, these things couldn’t be more different—plucked from obscurity.

But in the hands of Savage, these obscure topics develop a strange relationship. Certain patterns and aspects that you would never have considered start to emerge. Her treatment of each subject (smoky and distorted, often repeating and distant) gives her images the feeling of old photographs and keepsakes. The way that she has worked and weathered the images gives the impression that she is changing and rearranging them—digging, trying to discover connections between the subjects she has chosen. This process of discovery is tempting, and I find myself trying to trace the connections along with her.

I think this is what great art does. It makes you look at things differently.

Big House Ice, Roxanne Faber Savage

Soul, Solo, 2009, photo etching, Roxanne Faber Savage

Chemical Landscape-pink, 2011, silkscreen monoprint, Roxanne Faber Savage

100 lbs. of Water I, 2007, monoprint, Roxanne Faber Savage

Look for an article about Faber and her prints in our next New England Home’s Connecticut issue.

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By Stacy Kunstel

Red. Can’t get it out of my head. Maybe it’s a craving for the heat of the sun after too many cool days in a row, but everywhere I look I want to see red. We so rarely see real red in interiors these days. It’s just too intense a color for most. But I vividly recall styling the kitchen of interior designer Wendy Valliere in Stowe, Vermont, and thinking about how mouth-watering her red kitchen cabinets were.

Photo by Michael Partenio; click to see more of this house

Wendy said she matched the color to a favorite lipstick. The painting process took four coats with a final coat of varnish that would protect the paint from fading due to ultraviolet rays.

Photo by Michael Partenio

The most famous red I’ve heard of, but never had a chance to see, was the office of Diana Vreeland, the famous Vogue editor. Can you imagine such an intense color for your office walls? She was formidable in many ways.

Photo courtesy of www.luxuryobsessed.com

Her book Allure is one of my favorite styling tools for an injection of red in a photo.

Red is often displayed as an accent or solid color in a space, but I love it when it is the dominant color in patterned wallpaper. This is an image I’ve seen a number of times on the web, but never with any attribution. If you’re the designer, I would love to credit you!

The most important thing is that the designer must command the red; the red cannot command you. Designer Claire Maestroni of Mis en Scene in Greenwich used red in the backs of the cabinets in her home. I love that the red goes across the ceiling as well.

Photo by Björn Wallander; click to see more of this house

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Reading Jared Ainscough’s recent “Sneak Peek: Collector’s Table” inspired me to share some of my passion for collections, both in my own home and in the interiors I create for my clients. There’s nothing more eye-catching or more certain to start a conversation than displaying a beautiful collection. Whether you fall in love with tea caddies, Sandwich glass or Nantucket lightship baskets, collections are uniquely personal and clearly proclaim your interests. I have always been an ardent collector of antiques, and the addition of carefully selected pieces to sophisticated interiors is a recognizable signature of my design style.

The simple gesture of placing an antique tea caddy on a mantel can inspire my clients to begin collections of their own. There is tremendous beauty in items preserved throughout the years, particularly if they illuminate another time and way of life. Learning to appreciate the subtle differences between artisans and the time in which an item was created or the materials that were used give us a greater appreciation for life.

My personal collections include treenware, hotel silver, blue and white porcelain and things that speak to me of lives lived on the ocean, including whaling artifacts, scrimshaw carvings and sailor whirligigs. If you’re considering a collection of your own, here are five ideas that fit beautifully into any style of home:

Blue and White Chinese Export Porcelain
Blue and white porcelain began in China in the first half of the fourteenth century and continued through the eighteenth century, produced in response to demand from European markets. Porcelain manufacturing secrets were carefully guarded, yet the very first acts of industrial spying soon led to the knowledge being transferred to Europe. There new processes were created, such as transfer printing, allowing the precious porcelain to be widely available instead of restricted only to the very wealthy.

This nineteenth-century Chinese-influenced étagère shows a collection of blue and white porcelain, both Chinese exportware and Staffordshire English pottery. Hotel silver has been added for sparkle.

Hotel Silver
Hotel silver was made for the grand hotels, railways and steamship lines of Europe and America in the nineteenth century, and it reflects a more elegant, genteel style of living. Vintage pieces can be used to hold bouquets of fresh flowers, serve exquisite desserts, or simply for display. You can find pitchers, coffee urns, teapots, bowls and cutlery to add sparkle to your home and table.

Elegance in entertaining is assured with this nineteenth-century French balloon-handled fish service. The introduction of a seashell is a casual complement to the nineteenth-century blue and white Staffordshire plate.

Treenware
Treenware is a term applied to handcarved and handcrafted wooden implements used in the home in the eighteenth and nineteenth centuries (the word treen, from the Old English, means “wooden”). The pieces were often functional.

This is a fabulous collection of treenware dating from the nineteenth to the twentieth century. Note the darning egg and the antique stereoscope—the earliest form of television! The book displayed is by British treenware master Bert Marsh.

Scrimshaw
Created by whalers to pass the time on ships long ago, scrimshaw began in the mid-1700s as the art of engraving pictures and lettering on bones, teeth and tusks of whales and other marine mammals. Early scrimshaw was done with crude sailing needles, and the skill of the artist can vary widely.

This extremely rare white tortoiseshell is an early nineteenth-century British scrimshaw. The whalers' handwork details ships, whales and equipment used in their lives at sea.

Sailors’ Woolies
Another way of passing long hours at sea, sailors created pictures embroidered on backgrounds of cotton duck (carried on board to make sailors’ uniforms) or sailcloth, and they often depicted British royal sailing vessels. Known as sailors’ woolies, these images date from the 1850s to the 1890s, when life on board ship changed with the advent of steam-powered ships, eliminating long voyages.

This is a mint condition eighteenth-century British woolie, “The Star of Bengal,” unusual for the ship’s identification as part of the design and for its display of the British flag.

There are hundreds of beautiful pieces available at antique shops and shows around the world. If you do start a collection, remember that you have become a caretaker for an irreplaceable part of history. Happy hunting!
—Trudy Dujardin

Trudy Dujardin is nationally known for her passion for eco-elegance, as well as award-winning interiors that combine sophistication, color, and an intuitive understanding of her clients’ lifestyles. Her approach to gently green design reflects a deep respect for historic preservation, the surrounding landscape and abundant comfort. Based on her belief that a healthy home is the ultimate luxury, she is a LEED-accredited professional specializing in interior design and construction based on a thorough understanding of green building practices and principles.

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By Debbie Hagan

About a month ago, a designer called me, desperately searching for the manufacturer of a set of end tables he’d seen in New England Home’s January/February 2012 issue. He described the apartment as all white, the furniture slipcovered and the end tables “kind of square, bleached and having this great texture…” Ah yes, I remembered the story: a Boston high-rise apartment designed by Weena & Spook.

Photo by Keller + Keller

And I remembered the tables—blocks off of Boston’s old Battery Wharf.

As I said this the designer groaned, as it seemed unlikely he’d find a pier to salvage in Vermont. “They are just so perfect.”

Well, yes…and no. Granted, they’re perfect for this room and maybe for the project he had in mind, and yet they’re not perfect. That’s a good thing. They bear the scars of sitting under blankets of ice and fighting raging saltwater, as well as enduring seagulls, moss, barnacles and straining ropes. These hardships shaped them into objects of beauty.

I guess that’s why I love almost anything that’s repurposed—be it this cupboard by Concord, Massachusetts, artist Richard Dunbrack, built from salvaged materials from a Vermont gentleman’s farm…

Bellows Falls Express by Richard Dunbrack

…or a bench made of recycled timber.

Recycled Timber Bench by Arhaus

I really love this Iron Console Table, also from Arhaus. I have no idea how it was originally used, but my imagination can conceive all sorts of possibilities.

Iron Console Table; photo courtesy of Arhaus

The same is true of this piece that appeared in our September/October 2011 issue. What a beautiful aged patina this salvaged piece has, reminding me of oxidized copper—and its shape is so sculptural, like a whale’s tail (perfect for a coastal Maine house, don’t you think?). Other than knowing it’s stamped with a French location, I  know nothing about it or what function it served, but just knowing that it’s a part of history, representing labor and human ingenuity, is inspiring.

Interior designer Dennis Duffy; photo by Eric Roth

Being the daughter of craftspeople who always seemed to be clutching a ruler or measuring tape, I found this artwork by Tim Yankosky to be a delightful surprise, in addition to evoking some visceral emotions. I saw it about a month ago in Three Graces Gallery in Portsmouth, New Hampshire.  At first I thought it was simply a lined and incised sheet of steel, but looking closer, I realized it was an assemblage of vintage steel measuring tapes (easier to see from the side).

I Know Not What I Do, 2011, Tim Yankosky

Photos by Tim Yankosky

Perhaps it’s my own love of words, history and books that draws my eye to yellowed paper and delicate script fashioned by a fountain pen, seen in this work by Rachel Phillips. She combines black-and-white photography with vintage envelopes, part of a current show, Process and Dreams, going on now at at Panopticon Gallery in Boston.

Quincy, Massachusetts, by Rachel Phillips

Oh, I could go on and on about how recycling is good for the environment, good for the mind and maybe even good for the soul, but ultimately reviving old objects is a lot of fun and adds something unique and personal to the home—something we all strive to achieve. By the way, I’m looking for an old church pew for my kitchen…just in case you happen to see one.

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Paula M. Bodah, Senior Editor
I’ve been on a serious fabric-buying binge since my husband surprised me with a new sewing machine for my birthday earlier this month. Sad to say, my go-to fabric stores in Rhode Island have been closing up shop lately, so I’ve been trawling the internet to satisfy my fabric jones. My latest find: Brick House Fabrics, a Maine-based online fabric store where I can spend hours in a state of blissful indecision, browsing through an amazing collection of fabrics. Besides having a huge selection, including many high-end choices like Scalamandré, F. Schumacher and Duralee, the site also describes each fabric in lots of detail. They even include photos of the fabrics alongside a measuring tape—very handy for online buyers who want to be sure the size of the pattern is just right for their needs.

Here are a few of the ones I’m drooling over this week.

Isn’t this F. Schumacher fabric the sweetest? I love the mix of muted green, gold, rust, orange, cranberry and purple with shades of beige. I’d love to make a few toss pillows for my living room with this mid-weight cotton.

F. Schumacher Babies; photos courtesy of Brick House Fabrics

The scarlet background of this Clarence House fabric is so pretty. There are actually twenty-five different colors used to create the stylized chrysanthemums, peonies, morning glories, celosia and other flowers. And here and there, a bird of paradise swoops in to get a taste of the berries. I’d love to cover a wing chair with this one.

Clarence House Bird of Paradise

This Schumacher fabric, with its gnarly tree branches covered in stylized flowers, fruits and leaves, looks like it could have come straight from eighteenth-century Marseilles, home to a host of companies who wove the Indienne fabrics so popular in Europe in the 1700s and 1800s. I’m thinking of using this for a new set of curtains in my family room. It’ll look wonderful against the room’s sage-green walls.

F. Schumacher Indienne

Cheryl Katz, Contributing Editor
Friday afternoon at our studio is usually a hectic, schizophrenic mix of almost-the-weekend giddiness and frantic we’re-not-ready-for-next-week’s-meeting energy. Suffice it to say, it’s not the best time to schedule visitors.

But the powerhouse behind bius, Mary Little, proved unflappable as she came through our door at about three o’clock a couple of Fridays ago, carrying a chic shroud and a slender tablet.

Little and her partner Peter Wheeler have worked together, since 1997, creating furniture that is carefully conceived and beautifully crafted. The company offers both custom work and a small line of ready-made pieces. Little thought our studio might be interested in their work, and since she was in the neighborhood decided to pop in. (Full disclosure—she did call first and I did say sure; a little distraction is not a bad thing when it all starts getting a bit out of hand.)

By four o’clock we were all eyes and ears as Little, still unruffled by our Friday afternoon chaos, extracted the Zsa Zsa Ottoman from its shroud. Constructed of felted wool and painted steel, Zsa Zsa sports a saucy central zipper that runs front to back, and is as stylish as a little black dress, as whimsical as a plaything and as comfortable as the best seat in the house. When Little left, we were all smiling. Not a bad way to end the work week.

Zsa Zsa Ottoman by Peter Wheeler and Mary Little

Kyle Hoepner, Editor-in-Chief
In lieu of the ice we mostly haven’t seen this winter in New England, I give you these glittering creations by Rhode Island glassblower Tracy Glover:

Prospect Hill Drawer Knob, Primavera glass with pewter

Prospect Hill Drawer Knob, White Lace glass with pewter

Parrish Wall Sconce, White Lace and Crystal glass with brushed nickel

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By Kyle Hoepner

At the end of next week I’ll be headed off to Los Angeles for the second annual Design Bloggers Conference. In addition to reveling in rare pleasures like decent Mexican food and watching the sun set over the ocean rather than rise there, I’ll also have the honor of moderating one of the meatiest sessions at the gathering. (Perhaps it would be more modest to say “what I hope will be one of the meatiest sessions”—but I and my fellow panelists are working very hard to ensure that outcome,  so why not brag a little in advance?) The title: “BlogStars: Social Networking, Content, and the Future of Blogs.”

My co-conspirators in this venture are an impressive trio indeed: Ronda Carman of All the Best, Tobi Fairley of Tobi’s Blog, and Cassandra LaValle of coco+kelley. Three formidable ladies presiding over three quite different kinds of businesses; one operating out of Scotland, one from Arkansas, and one based in Seattle. So what design connections and common ground might they find with the editor of New England Home, I wondered? I did a little online homework to find out. Choosing a few particularly New England-y terms, I started searching my colleagues’ blogs to see what might pop up.

“Yankee” on Tobi’s Blog yielded nary a thing about New England. Instead, up came a tour of New York City’s design scene with…Ronda Carman. (Needless to say, “Yankee” in this post referred to an unmentionable baseball team rather than crotchety old Great-Uncle Ephraim.)

Tobi Fairley, Ronda Carman, and designer Amanda Nisbet; photo courtesy of Tobi’s Blog

“Lobster” on Tobi’s Blog returned a red, white and blue July Fourth post by Scot Meacham Wood (otherwise known as Tartanscot)—who did a pair of guest posts for us, too, only a month later, in August.

Tartanscot at the Lobster Roll Restaurant in Amagansett, New York; photo courtesy of Tobi’s Blog

This made me wonder if Scot would show up on All the Best as well. Answer: yep. Several times, in fact, including in a personal profile and as a winner of the All the Best Bedroom Contest.

Bedroom design by Scot Meacham Wood; courtesy of All the Best Blog

All the Best had a similar profile of Tobi Fairley also, and a reciprocal view of the party in New York.

Do any of these folks look familiar? Tobi Fairley, Michael Devine, Ronda Carman and Thomas Burak; photo courtesy of All the Best Blog

But I was getting distracted; I didn’t mean to be tallying social connections. Back to my mission…

Okay, the ever-trusty “blue and white” came through with a bit of actual design. Coco+kelley had a post on floral patterns:

Photo courtesy of coco+kelley

Then curiosity got the better of me again, and some poking around turned up a different coco+kelley post that included Ronda Carman AND Tobi Fairley AND Scot Meacham Wood—a post, in fact, from last year’s Design Bloggers Conference. (Look carefully and you’ll also see New England Home’s very own Stacy Kunstel in attendance.)

Ronda Carman, Lori Dennis, Tracy Porter, Paloma Contreras, Anne Sage and Cassandra LaValle at the Sferra luncheon at Dawnridge, February 2011; photo courtesy of coco+kelley

So, fairly quickly, my quest for design links transformed into tracing a web of people links.

Lesson: Despite great distances of geography, the real world of style and stylemakers is tight and interconnected. Not really surprising, on reflection, but still instructive: so many names can be found this way so quickly, representing so much of the design that affects us all. Just look at all of the people in the photos above, consider who they are and think where their threads might lead.

The upcoming conference in LA will be, in a sense, a meeting of one particular province of the Republic of Design. How many of you, readers and fellow citizens, will I see there, and how many of us will turn up in one another’s Web searches by this time next year?

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By Paula M. Bodah

Williston, Vermont–based designer Lindsay Jaccom enjoys the challenge of taking a space that lacks character and focus and imbuing it with personality and style. Lindsay, whose favorite pieces for a master bedroom were featured in Perspectives in our January/February issue, sent in these before-and-after photos of a bedroom and living room she recently redesigned., taking them from dull to distinctive.

Lindsay’s clients wanted their master bedroom to have the feel of a high-end hotel.  She started by installing cherry hardwood floors and painting the walls a gold-toned neutral inspired by the palette of the rest of the house, giving the room the warmth it lacked. “I kept the clients’ end tables but brought in a ‘statement’ bed,” she says. “The upholstered headboard and matching bench add luxury.” A chandelier with crystal accents is a touch of the glamour her clients like. The warm walls and floor find a cool counterpoint in the light-blue accents. “I highlighted the massive window with blue-patterned curtain panels and sheers that diffuse the light beautifully into the space,” Lindsay says. Two blue gourd-shaped table lamps anchor the sides of the bed, and a custom-designed bolster pillow brings all the room’s colors together. “The end result,” says Lindsay, “is a chic, warm, hotel-like master bedroom.”

Photos courtesy of Lindsay Jay Designs

“This living room needed a major facelift,” Lindsay says, noting that, “there was no focal point or color story happening in the space, and the room was eclectic in a bad way.” The clients loved animal prints, so Lindsay introduced them in what she calls a “controlled manner,” in the rug and the two wing chairs. “To give the space dimension I used three different paint colors: one for the bottom part of the wall, one for the trim and one for the upper walls and ceiling,” the designer explains. The white brick fireplace was repainted to coordinate with the room’s new palette, and grasscloth applied to the middle panels adds texture. Sleek-lined furniture in soothing neutrals replaced overstuffed, floral pieces. Now, Lindsay says, the space has a warm, luxurious and pulled-together look and feel.

Photos courtesy of Lindsay Jay Designs

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Although I love my home base of Boston, I have to confess I get a case of wanderlust from time to time. Travel is a great way to get out from behind the desk, find new design inspiration and discover new resources. In the cutting-edge and ever-evolving world of interior design, it’s imperative that I stay one step ahead so I can offer my clients the most up-to-date and unique resources possible.

I recently made my way to the New York International Gift Fair to wander the design center and drop by some of my favorite design shops. There were so many great finds along the way, and I’m excited to share some of the highlights.

The gorgeous sculptural glass pieces created by SkLO Studio blew me away. I’d love to use this piece on a fireplace mantel or sofa table.

Sculptural glass from SkLO Studio

I also fell in love with this SkLO Studio sconce. The mix of materials is so unique, and I adore the large scale. As an added luxury, the sconces can be customized in any color.

Sconces from SkLO Studio

More and more I find myself incorporating wall sculpture in our design work for added depth. More interactive than two-dimensional artwork, it can be a great way to fill a large wall space. Sculptures work well in hallways and stairways as a way of adding visual interest to areas where you don’t traditionally find much decoration.

Vendor Gold Leaf Design Group had a stunning display, and I love the gold leaf detail added to some of its designs. The fish at bottom right would be a perfect fit in a waterfront hotel we’re currently working on.

Wall sculpture from Gold Leaf Design Group

While I personally have never been able to get behind the current antler craze, I found myself attracted to the acrylic sets shown by vendor Grace & Blake. I love the use of this unexpected and modern material in a more traditional form.

Acrylic antlers from Grace & Blake

I’m currently working on a project in downtown Boston with homeowners who are keen to incorporate more green into the space.  These pieces from vendor Chive should be right up their alley.

Wall floral vessels from Chive

Plant and flower vessels by Chive

I’m always on the lookout for new and unique furniture vendors, and those pictured below really jumped out at me for their use of unexpected forms and materials.

Mr. Brown is a spin-off of the high-end British furniture line Julian Chichester.  Their tagline is “traditional with a twist,” and this modern take on the classical wing chair says it all for me—the perfect mix of mid-century and whimsy all wrapped up in one unique form.

Chair from Julian Chichester’s Mr. Brown

Grace & Blake (mentioned earlier in this post) also has a fabulous line of furniture, and I adore this bench. The mix of textures—smooth Lucite to rich velvet to rough rope—is amazing. I am an admitted lover of all things Lucite, so it’s no wonder I covet this whole line of furnishings.

Bench from Grace & Blake

Last but not least, I want to leave you with some great accessories. I’m a strong believer that you should never under estimate the power of accessories in transforming a space. As an admitted pillow junkie, I think these felt and linen appliqué pillows from V Rugs & Home are just gorgeous. I love the color palette pictured below and am already thinking of how I can create a whole room based on this fetching combination of lavender, burnt orange and eggplant.

Pillows by V Rugs & Home

And, finally, don’t forget about the perfect complement to pillows: a patterned throw blanket. The company in2green has created an environmentally friendly line of blankets, knit from a blend of recycled yarns, that come in a wide range of patterns and colors suitable for any decor.

Knit throws from in2green

The only downside to a great trip like this is that now I want to figure out where I can put all these unique finds to good use—a wonderful problem for an interior designer to have. My mind is spinning with possibilities, and I’m already looking forward to my next inspirational trip. High Point Market in April, here I come!  I hope to see some of you there.
Rachel Reider

Rachel Reider is principal of Rachel Reider Interiors, a full-service interior design firm recognized for its highly personalized approach to residential and commercial design and its expertise in mixing styles, colors and textures to create timeless interiors.

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By Cheryl Katz

It’s not clear why, at a particular time, for a particular reason, a particular thing becomes part of the design zeitgeist. Why, for instance, are there moments when it seems like everything is covered in seashells or distressed linen or mirror? And why, at those times, do those things look so good?

Currently, neatly folded on my desk is a piece of fabric that looks, in design speak, just right. It’s an unexpected treasure—about five yards’ worth—this swath of fabric. Stephen Sprouse created the fabric, one of five designs he did for KnollTextiles, shortly before his untimely death in 2004 at age fifty. Now one may ask, and rightly so, how can something designed almost a decade ago be the perfect sign of the times?

I’m going out on a limb when I posit that, at this moment—an election year fraught with references to wars, troop withdrawals, an Arab Spring and “the 1%”—Sprouse’s Graffiti Camo, olive drab camouflage emboldened by the Declaration of Independence in Sprouse’s idiosyncratic scrawl in neon orange, says it all. Or it might be that the fast and furious dissemination of information is best portrayed by the power of typography. In either case, here, along with the fabric that spawned this rumination, are just a few examples of all the write stuff.

Stephen Sprouse's Grafitti Camo, circa 2003, for KnollTextiles; photo by Jeffrey Katz

Also from KnollTextiles: Ink, a new wall covering collection by Abbott Miller. “Drip” is a series of organic, interconnected letters created by steering wet ink into letterforms; photo courtesy of KnollTextiles

Decoupage tray by John Derian; photo courtesy of John Derian Company

Jeffrey Katz: Talking Picture, graphite and charcoal on paper

Vintage aluminum letters; photo by Jeffrey Katz

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Kara Lashley, Associate Editor
In the current issue of New England Home’s Connecticut, we feature the work of Litchfield County artist John Scofield, including a very colorful table he designed in 2002. If you wondered how Scofield came up with that eye-catching piece, dubbed I-Miss-You Table/Water, Fire, Sky, Bone, here’s the backstory from the artist himself:

“Right after 9/11, there was a wonderful event held in Harlem. Thousands of balloons were released with names of loved ones and other messages written on them. Two days later, one of the balloons landed on a rose bush, impaled on its thorns, next to my studio in Amenia, New York. It was one of those shiny, Mylar balloons. Someone had written the message I MISS YOU on it in magic marker. I was then determined to commemorate this by designing and making a small table.”

John Scofield: I-Miss-You Table/Water, Fire, Sky, Bone (2002). carved and painted wood base with bird's eye maple top

Jared Ainscough, Assistant Art Director
If you have ever fallen in love with a lampshade, chances are it was built at Blanche P. Field. Possibly the most unobtrusive home design element, the lampshade often plays second fiddle to the lamp’s base. An exception to the rule are shades made at Blanche P. Field. Dedicating decades to the design of lampshades—and only lampshades—this company has elevated the craft to an art form. I’m a sucker for paper shades that offer great detail and depth, and, of course, are beautifully backlit.

Photo courtesy of Blanche P. Field

Debbie Hagan, Managing Editor
The human form presents one of the greatest artistic challenges, and yet there’s one artist on the Cape who seems to have mastered it: Paul Schulenburg. Starting tomorrow, this painter will be showing his work with twenty-four younger, emerging  artists in a show called Courting the Figure at the Addison Art Gallery in Orleans, Mass. It opens on Saturday, Feb. 11, with a public reception, 5:30-7:30 p.m.

Though Schulenburg does paint landscapes, he’s known for his figures—everyday people captured in pensive, Hopperesque moments or plying their trade at sea, as shown in this painting, Fisherman Shoveling Ice.

There are a number of reasons why this painting strikes a chord in me. In part it’s the treatment of light and shadow, creating brilliant whites, deep blacks and almost primary yellow as the sun strikes the waders. Even more, there is something very true in this narrative, capturing the muscular strength of the crewman’s forearm and the flush in his wind-swept cheeks. With only a little imagination, one can smell the salt in the air.

This show runs until February 28.

Paul Schulenburg: Fisherman Shoveling Ice, oil on canvas

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