"Well, at least nowadays I don't buy too many," I said. The Celt, born tactful, forbore from commenting or even glancing at the growing pile of books by my chair - my old professor is retired and culling her library - as I unwrapped two parcels I'd just collected from the mailroom. I really don't buy too many books, though I suppose that depends on what the definition is of too many books.
Of late, I have found it difficult to buy interior design books - I'm willing and have the means, yet despite the flurry of publishing in the last month or so, I find so little of interest on the bookshelves. I know that, as I've aged, I have become very critical about the content of a book and consequently am loath, as I once was not, to buy examples of vanity publishing or compendia of this, that and the other, whether allegedly curated or not. I wish I could dismiss the impression of an ever-and-increasingly-revolving cycle of nonentity, but seemingly cannot. Maybe, as you might well infer, I feel I really have seen it all.
One book I have wanted for a while now, and the first to be unwrapped, is The English Country House: From the Archives of Country Life. It is a big and heavy book, filled with the most beautiful houses photographed, with nary a vignette (but plenty of close-ups of details, certainly), all sixty-two of them, since Country Life began in the 1980s to publish photographs in color. These photographs have the rare quality of being as attractive and as texturally rich as were the black-and-white photographs of the previous decades. There are plenty of full, explanatory captions and, tipped-in, six essays by the likes of Marcus Binney, Tim Knox, John Martin Robinson, Geoffrey Tyack and Jeremy Tyack. Too heavy, without benefit of a lectern, to read in bed, but a joy to leaf through early in the morning, coffee in hand and brain on resurrect, this book is example from Rizzoli on how to produce, publish and persuade.
Had I not already owned Manhattan Style; Sister: The Life of Legendary American Interior Decorator Mrs Henry Parish III; Parish Hadley: Sixty Years of American Design; Albert Hadley: The Story of America's Preeminent Interior Designer; Designing Camelot: The Kennedy White House Restoration; The Inspiration of the Past: Country House Taste in the Twentieth Century or Colefax and Fowler: The Best in English Interior Decoration, I might have found Sister Parish: American Style more interesting than I did. Please don't misunderstand: I am definitely glad I bought the book which is well-produced and designed by someone who knows, perhaps too well, the discipline of the grid. A few times I wished some photographs had been larger, and I really felt I had learned nothing new - a negative comment made by Mrs Parish about Mrs Onassis, notwithstanding.
Have I really seen it all? I wonder.
My magazine subscriptions have dwindled to two: The World of Interiors and the New Yorker; one taken since 1983 and the second given to us as a Christmas gift when we came here eighteen years ago. We read them both, still, after all these years. It is not that I let the other subscriptions lapse - one, as I mentioned a while back, I cancelled because I found I had unwittingly or, rather, unwillingly, agreed to a constant renewal service, and the second I cancelled for the same reasons. In the second case I learned during a phone conversation in the entanglement the 1-800 menu that my subscription had just been renewed until 2014. With neither magazine is a constant renewal service, and I use that word "service" advisedly, worth my while. I look into both, and others, in the bookstore but having learned to resist such blandishments as go for classic with easy, unfussy details or go for graphic from window to walls or, my favorite so far, go for big gestures and make it fun I put them back on the shelf.
I was curious about the third book, but waited to order it until I'd had a chance to leaf through it in the bookstore. I have an older book about Oliver Messel which is interesting enough but left a lot to be desired. I was curious - and was pleasantly surprised to find that Oliver Messel in the Theatre of Design could be a good addition to our library. I confess that in the past I have found Messel's style more than a tad twee, too redolent of the high-pitched precious accents of the British elocution schools. I must say his much-lauded tropical architecture baffles me - at least, the lauding baffles me. However, not wishing to appear negative about a book I'm actually glad to own and look forward to reading more of, I shall explain where my irritation lies.
One of the pleasing things about book design to me, indeed one of the most desirable, is where the layout does not detract from the contents. Such, alas, is not the case with the Messel book. It is with the layout, the graphic design, that my irritation lies - by the time I got to the Contents double-page spread and the Foreword page I was grousing about the page layout and the typography, muttering to the Celt, "look at this, look at this!"
How, you might be asking, did I not spot this at the bookstore. Actually I did spot it but, in my desire to have the book, I suspended my disbelief. I am not returning the book, because the contents are good enough to transcend the irritations of the layout, and give me a better understanding of who Messel was, and what his achievement was.
The image of Sister Parish: American Style from here though the book was bought at Amazon.com.
The image of The English Country House: From the Archives of Country Life from Amazon.com whence the book.
The image of Oliver Messel: In the Theatre of Design from here. My copy came from Amazon.com.
This year the Concours d'Elegance returned to France in the form of the Chantilly Arts & Elegance Richard Mille held 40 miles north of Paris. Peter Auto who also organize the Tour Auto, Le Mans Classic and a host of other vintage races used their expert connections to bring together the best cars in the world. Front and center was one of the year's best Maserati 100 displays including some great prototypes. Best of Show Concours d'État went to the striking 1937 Delahaye 135 Figoni et Falaschi Torpedo Cabriolet from the Mullin museum which was selected among a collection of streamlined French cars. Best of Show Concours d'Elegance was reserved for modern prototypes and went to the Alfa Romeo Disco Volante presented by Paco Rabanne in a stunning green color scheme..Image by el.guy08_11.
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