The classical elegance of the Regency period in England is considered one of the most sophisticated and refined moments in design history. Throughout the twentieth century, designers took elements of the Regency vocabulary and restyled them to meld with the reigning aesthetic of the day. The effects proved extraordinary. Ms. Eerdmans will begin with an overview of the original Regency period, which built its sophisticated aesthetic on the example of the Neoclassical style of Napoleon’s time, then continue with the exemplary Art Deco designs of Emile-Jacques Ruhlmann and Süe et Mare in France. By the 1930s, the Vogue Regency had returned home to England. There, Sibyl Colefax and Syrie Maugham created stylized classical interiors whose novelty and theatricality influenced fashion and helped shape the design aesthetic of such contemporary fashion photographers as Cecil Beaton and Horst B. Horst. In America, the Regency Revival took hold in Hollywood with the lavish film sets of the 1930s and 1940s created by great studio art directors such as Cedric Gibbons (MGM) and Van Nest Polglase (RKO). The popularity of films like Pride and Prejudice and The Scarlet Pimpernel further popularized the style. Designers and architects to the stars Billy Haines, John Woolf and T.H. Robsjohn-Gibbings made their marks with work for the Hollywood elite. Our presentation will include interiors of the 1930s and 1940s, when “Lady decorators” Dorothy Draper and Elsie de Wolfe set the trends and cut a stylish Regency-infused swath from coast to coast. Rounding out these vintage interiors will be the Regency inspired work of acclaimed contemporary designers Albert Hadley, Jacques Grange, William Diamond, Anthony Baratta, and Kelly Wearstler. Join us as we revel in this fascinating topic enlivened with a rich selection of images depicting period interiors, film sets, and furniture.

Emily Evans Eerdmans received her master’s degree in fine and decorative arts from Sotheby’s Institute of Art in London, and is an alumna of the Attingham Summer School. She has pursued her passion for antique furniture while working for Partridge Fine Arts, Devenish, and Hyde Park Antiques, New York City. Particularly intrigued by historical interiors and their furnishings, she has worked as a consultant to the New York historic house museum and the Merchant’s House Museum. She has written articles for the Furniture History Journal, The Magazine Antiques, and Connoisseur’s Quarterly and is the author of numerous books, including Classic English Design and Antiques (2006), Regency Redux: High Style Interiors: Napoleonic, Classical Moderne, and Hollywood Regency (2008) The World of Madeleine Castaing (2010), Mario Buatta: Fifty Years of American Interior Decoration (2013), the 1958–2012 catalogue raisonné of furniture artist Wendell Castle.

Shells for inlayingfor Sale on very moderate Terms.

In 1795, Thomas Barrett agreed to teach his young apprentice, John Lenox, the arts and mysteries of inlay. Barrett, thoroughly gifted in his trade, executed inlay and marquetry for all of Baltimores leading cabinetmakers. Steven Lattas presentation will explain these arts and mysteries, will show examples of his contemporary methods, and will illustrate how these centuries old techniques are replicated in contemporary Federal style pieces.

The sweeping changes in American Federal period cabinetmaking and furniture styles closely paralleled the emergence of the new nation, leading to an age of the specialist and commerce with gilders, upholsterers, carvers, wood-turners settling into their individual niches. Of all these skills, few generate such awe and bewilderment as inlay, particularly that of the Federal period. Inlay and adherence to the antique, became the model of perfection in furniture and the rage of the new nation, defining the grace and style of these pieces. Its complexities can mystify a modern aesthetic used to machine-made disposable furniture. Professor Lattas presentation will help us understand the use of inlay to create this mode of Federal era furniture, demystify its practice, as well as offer insights into the rich and diverse history of inlay in early America.