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late-18th-century parcel-gilt Venetian chairs; these were arranged around a gilt faux-bamboo low table from the Jansen ateliers, near a leopard-skin rug. For the windows and the glazed doors, which were usually kept open, Boudin designed straight-falling panels of blue and ivory striped silk, capped by jagged-edged valances of the same material. At one end of the room, between two windows, stood a white silk loveseat that imitated in line and detailing the curvaceousness of the thronelike Venetian chairs. Off the main salon was a smaller, more intimate room with white-on-white silk damask draperies of


simple design and matching carpeting and painted walls. Against this blank canvas, Boudin installed chairs and sofas covered in glazed green, yellow, and white chintz with a pattern depicting branches of coral. This fresh, sunny space was used for morning gatherings, and as its more feminine decor might suggest, it also served as a private hideaway for the owner of the house. The informality of Boudin’s reception rooms for Margaret Thompson Biddle was carried over into the numerous bedrooms. Almost every one was furnished with painted chests, tables, mirror frames, and headboards displaying delicate flowers, scrollwork, and an

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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