Page 51

C HÂTEAU S OLVEIG

MUSIC ROOM

lacquer screen; the division of such screens to frame walls, doors, or cabinets became a Jansen standard in the 1920s and 1930s and remained popular with the firm’s designers into the 1960s. In the room’s smaller section, Schwartz devised a sécretaire à abbatant using a mock door and frame; when closed, the desk disappeared into the architecture of the room. Francis Francis’ study displayed photographs of airplanes, with one wall dedicated to a global map where he documented air routes and his own family’s travels.

Subdued in its overall decoration, this room demonstrated some of the more pleasing interior architecture, with modernistic stepped wood-veneered panels framing the mantelpiece and a serpentine-shaped treatment for the recessed lighting. The mantelpiece was skinned in polished sheet metal attached with exposed rivets, a reminder of the owner’s Sikorsky S-38 amphibious airplane, known as Blue Falcon. Although each of Château Solveig’s rooms was handsome, Schwartz seems to have taken particular

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Jansen: Decoration (excerpt)  

Jansen showcases 30 of the company's most alluring commissions, including rooms for the Duke and Duchess of Windsor, the Shah and Shahbanou...

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