More Craziness at 1stDibs

This post is a follow-up to our previous post, "What's going on at 1stDibs?"

About two weeks ago, 1stDibs sent a letter to design trade users defending their removal of dealers names from listings and their moves to control the interaction between clients and dealers. 1stDibs also announced a "trusted partner" program in which trade users would get additional "editorial" coverage in their blog/social media and be able to see dealer names (in some cases) - the requirement to be a trusted partner would be doing a minimum of $50000 worth of business on the platform.

In defending their actions, 1stDibs claimed they had not "removed seller branding". This is simply delusional. If an image of an interior designer's work had the designer’s name removed, would the designer consider that a removal of his/her branding? Of course. Creators, makers and dealers are defined by their pieces the same way a designer is defined by his or her work. It is their brand.

1stDibs may be referring to the fact that dealer store-fronts are still on the site - that's great; except how do they expect users to get to a store front if pieces aren't attributed to dealers and there is no link? The only way for a client or user of the site to get to a dealer’s store-front is if they search specifically for that dealer on the site. I think it's safe to say the vast majority of the users on 1stDibs are looking for objects and pieces, not particular dealers.

In their letter, 1stDibs says these changes are part of their efforts to “facilitate the transition of the luxury design industry to a digitally driven world.” The implication is that the only way for this to happen is to keep dealer and client information from one another, and protect their commission in the process. Yet their mission, in their own words, is to connect “the most qualified buyers to the best design product in the world.” The design business isn't one you can pretend to promote by hiding one half of it from the other. More importantly, the idea that an online luxury design industry, and the idea that having pieces attributed to dealers, with unfettered communication with clients, are two mutually exclusive concepts is false. See Houzz, InCollect, Decaso, Dering Hall, Etsy and even Amazon - all of which attribute pieces to their dealers.

Then we come to the trusted partner program, which is basically a pay-to-play scheme. The more business designers give 1stDibs, the more perks they will offer. But why on earth should a designer, or anyone, have to pay $50000 to know who is on the other side of a trade? All it takes is some extra keystrokes, or using another site, and they would more than likely be able to find that information online anyway. And say a designer joins this program, what happens when they raise the bar to enter this program to $75000 or $100000? Is that the annual fee for having the basic information you are entitled to? Making trade users have to pay for basic information about the dealers they are buying from is the opposite of transparency, and one that made 1stDibs great in the first place - bringing dealers and clients together from all over the world.

So, what are we doing about it? Well, my father and I came to the decision that being on 1stDibs, under the current listing regime, is detrimental to our business and, in our opinions, to the industry. We have tried to end our membership but were told that their Terms & Conditions are essentially a contract and when we accepted those Terms (which we had to do in order to access our content on the site) we agreed to another year of membership. 1stDibs intends to keep us on the site until June when our “contract” is up -  Apparently they want all possible dealers on the site, even those who don’t want to be there. So, while we wait for June to arrive, we are increasing our presence on InCollect and Dering Hall and possibly Decaso. We are also investing in our website; specifically in the ecommerce function and the ability for clients to get quotes through the site.

What can you do? If you are a dealer, find out when your “contract” with 1stDibs renews. If you are considering not renewing with the site, you will need to notify them in writing 30days prior to your renewal date. If you are a designer, let 1stDibs know how you feel about their new policy. I believe what 1stDibs is banking on is the idea that designers don't care anymore where a piece comes from. That as long as it arrives on-time, fits the project etc, they do not care who the dealer is. But, if you like supporting small businesses and craftspeople, and appreciate knowing who you are dealing with, please let 1stDibs know. If you haven’t already done so, check out some other sites like InCollect, Dering Hall and Decaso to see if they work for you. If they don’t, tell them how to improve their site. The same goes for your favorite dealers - if you find their websites unusable or in need of improvement, let them know. I know I would appreciate that sort of feedback!

 

New Year's Resolutions - from 1950

I know New Years feels like eons ago, but it is only January 20th and not too late for some resolutions. We found an old xeroxed print out of these resolutions written by my grandfather, Frederick Victoria and published in Town & Country January 1950! Enjoy this time-capsule (transcribed below the image)!

Town & Country 1950

A Decorator's New Year's Resolutions, by Frederick Victoria - Town & Country 1950

It is January first and the holidaze is over at last. But the festive season has left its mark. The scars go deeper than the tinsel shreds imbedded in the carpet and the tack holes in the mantel that tell where once the Christmas stockings hung. There may be a crack in the overmantel plaster that appeared the day you decided to burn all the Christmas wrappings at once and there are probably a few too-permanent reminders of that frightfully gay eggnog party that, somehow, got out of hand. Christmas was fun while it lasted but you and your house are ready for a good going-over. And January is the perfect month in which to face the temporary cataclysm that comes with refurbishing. You can go South and let George do it, or supervise the work yourself in unthreatened privacy. (If you did gie a part in January, nobody would come to it.) So take stock of your tired surroundings. Perhaps a lick and a promise, or bright accent here and there will do the trick or, as is often the case, it may be that nothing short of a complete from-the-skin-out reconstruction of your domestic setting will do. 

In any case, it is well to begin with a list of ironclad New Year's resolutions. Here are some suggestions, culled from years of experience with the pitfalls of my trade.

I resolve:

One. To consult my decorator. Not just any decorator but the one whose taste, judged by his previous work, seems closest to mine - or if there is room for improvement, whose taste I aspire to. If I were ill, I would certainly not attempt to cure myself, any more than I would call in a physician whom I knew to be antipathetic to me. 

Two. Having chosen my decorator, I will abide by his decisions and hold his advice in higher esteem than that of well meaning friends or relatives - just as I would, having chosen a specialist to ease a malady, eschew the medication recommended by local witch doctors. 

Three. I will bless my decorator for insisting that I get rid of the oversized chimney piece that came with the house and I will welcome his suggestion that I replace  it with a well-proportioned mantel, low enough to bring my lovely mantel garniture into the line of vision.

Four. I will rid myself of overscaled pieces, which are usually hand-me-downs anyway.

Five. I will cast all economic considerations to the winds and ruthlessly exile the oriental rug that grandfather brought from the Far East. (I've always hated the thing, anyway.) 

Six. If a figured rug or carpet is substituted for it I will resist the temptation to cover the furniture in rich, figured fabrics that would make my room look "busy."

Seven. I will re-cover the man-of-the-house's favorite leather armchair in a fabric which conforms to the new scheme, in spite of all opposition. It will be just as comfortable and much, much better looking. 

Eight. I will remove the electric wiring, fake candles, and imitation-flame bulbs form all my appliques, and substitute real candles for their flattering effect. 

Nine. I will strive valiantly to strip my gaze of sentiment when I look at my pictures. If they are not in sympathy with the rest of the room, out with them!

Ten. I will not try to replace them with bargains.I will remember that there is no such thing as a bargain in art. 

Eleven. I will never, never no matter whether I'm expecting guest or not, forget to keep fresh flowers in my rooms. 

Twelve. Above all, in my house I will strive to create and maintain a lived-in look. I will remember that nothing is less inviting than a gaunt, sparsely furnished museum. 

Whats Happening at 1st Dibs?

When I first started working with my father in this business +10 years ago, he told me that the most important thing is your name. If a client could not trust an antique dealer, all the provenance and documentation of a piece is worthless. This may seem anachronistic, since instead of going into a shop, most sales are now done online but a dealer needs to stand behind their pieces regardless of how it is sold and regardless of whether their pieces are antiques, textiles or custom furniture. It is their “brand.”

But now, apparently 1stDibs, wants to take the dealer out of the equation - they have removed dealers names from the individual pages for all pieces as well as the general list-view pages. Have they assumed the responsibility to stand behind all the pieces on their website? No. Are they finding, buying and holding the inventory? No. Are they answering questions about the pieces? No. Are they designing new pieces and making them? No. Dealers are now referred to as “sellers” on their platform which may seem inconsequential, but I believe speaks volumes. 1stDibs seems to be more concerned with protecting their commissions rather than promoting a healthy design industry. To put it in perspective, you will now find it easier to know who you are buying from on Etsy than on 1stDibs.

A little background:

We have been dealers on 1stDibs since its early days in 2003. Coupled with the internet in general, it is impossible to overstate the impact it has had on the Antiques, Interior Design and Furniture trades. Whereas designers used to physically go to showrooms and galleries to “shop”, they now peruse 1stDibs, and then perhaps go to see something specific in person. It was a game changer for our industry and helped start and prolong many businesses.

The Good:

Creating an online collection of the world's best dealers was huge. Users could find high quality pieces on the site bringing together clients and dealers who had never worked together or even known of each other. The art and antique trade is highly fragmented, and dealers tend to be the opposite of early adopters of technology. So, websites were not so great in the early ‘00’s (or still…). 1stDibs changed that and made it possible for a collector in the UK to find something in Florida. Huge.

More recently they also introduced an ecommerce component which has, in my opinion, been a major positive for dealers, many of whom do not have ecommerce enabled websites. Most significantly, they have become a trusted intermediary of exchange - the buyer might not be very familiar with the dealer, but they knew 1stDibs and felt more comfortable purchasing through them. Given the fragmented world of dealers, dispersed geographically but accessible online, this was a major boon to the industry and worth every penny of the commission cost.

The Bad:

When the current owners bought 1stDibs, other aspects of the platform changed as well. Dealers (“sellers”) on the site increased significantly. They expanded to hosting “sellers” for currently produced items as well as art and fashion pieces. There was now a much larger selection, but of varying quality.

The downside of the ecommerce function was that it now placed 1stDibs’ interest at odds with both dealers and clients. 1stDibs’ commission revenue is now directly related to volume of transactions, very similar to how the auction houses’ pricing evolved in the early 1980s. The volume aspect works well with their expanded number or dealers. Perhaps as a reflection of this, they have created a “highly rated seller” distinction which you will find on some dealers items (but not the name of the dealer...). This has nothing to do with the quality of the dealer, their qualifications, or their position in their speciality - it only reflects the volume of sales they generate on 1stDibs.

1stDibs also now has to“protect its commission.” Presumably to this end, a few years ago, they started controlling how clients would contact dealers. Messages via 1stDibs were anonymized and monitored - if private emails were exchanged they blocked the message - and calls via pseudo-numbers are routed through its call center in a similar fashion. Dealers were very upset about this, rightly so. It impeded the flow of information (working against efforts of trying to increase knowledge and appreciation of a craft or art) and had a "big brother" feel of a third party trying to control something beyond their purview. The latest step, of removing the dealers names from all listings, is surely towards this end as well.

So what do we do now? Frankly, I wish we didn't have to do anything. I am more than willing to pay 1stDibs its commissions on sales. But commissions on top of a monthly fee for anonymous listings? I used to be able to justify this as a marketing expense but now is it just for the privileged of being on 1stDibs? That seems hard to justify. What's the point of holding a beautiful inventory or creating wonderful pieces if we are not identified? It erodes the role of a dealer and of my business. And as a creator, it gives me great concern about the ability of knock-offs of our pieces to go unchecked. 1stDibs now becomes just a means to move inventory anonymously. We plan to bolster the ecommerce function of our own website and expand our presence on other third party sites, specifically InCollect and Dering Hall, which both seem to be more interested in promoting the trade and all its participants. Will we continue to use 1stDibs? We’ll see. We will probably change what new pieces we put up there, if anything. Hopefully something changes but it doesn't feel like it's headed in the right direction.

*There is a follow-up to this post HERE

 

Fernand Renard

I always find it amusing when someone causally mentions a piece of information, which they may have taken for granted, but in fact is mildly stunning to the rest of the world. My Father is a multiple offender when it comes to this. 

In a recent conversation, he mentioned a painter who had been a friend of my Grandfather's named Fernand Renard. He said he was a decorative painter for Maison Jansen...  But, after googling M. Renard, I could not find a single piece of Jansen's work that was signed or attributed to Fernand Renard. There were certainly pieces that appeared to have his "hand" (see below) and the Duchess of Windsor appears to have collected his paintings as evidenced by the 1998 sale at Sotheby's and this New Yorker Article about that same sale.  

So we had to call in THE Jansen expert, Mr. James Archer Abbott who is responsible for these definitive tomes on Maison Jansen (see here & here). He did confirm that M. Fernand did trompe l'oeil painting work for Jansen and thought he had an example of a signed/attributable piece. However, we discovered that this too was not 100% clearly attributable.

So after asking my Father the same question several different ways, and getting a little more information each time, I finally got more than tweet-length answers: M. Fernand was friend of my Grandfather's, they exchanged Christmas cards and ate at Clark's together with Paul Manno (of Jansen), and that my Father remembers my Grandfather telling him M. Renard worked for Jansen. And (perhaps more widely known, but not to me) he also was responsible for Bunny Mellon's famous "potting shed." This was Mrs. Mellon's garden house, her very own Trianon, completely decorated in trompe l'oeil gardening scenes by M. Renard. My father followed up by telling me that he had a small collection of Renard's work, included one or two Christmas cards M. Renard had sent my grandfather...

And, full-disclosure, I have walked by some of these since I was a kid - taking them for granted - completely unaware of their provenance until I asked... Apple doesn't fall far...

All thanks to this initial conversation, we discovered a piece of information which my Father took as a given (that M. Renard did the trompe l'oeil work for Jansen), but was not widely known and in fact hard to prove. However the circumstantial evidence was there: the link was backed up by an Jansen expert, M. Renard worked for some of the same clients as Jansen, M. Renard was friendly with Paul Manno and my Grandfather who sometimes worked for the firm. So now we could tenatively link Fernand Renard to not only Bunny Mellon and the Duchess of Windsor, but Jansen as well!

Below are some of M. Renard's well-known work as well as some pieces from Tony Victoria's collection. And many, many thanks to Mr. James Archer Abbott for his help with this post!!

 Bunny Mellon's greenhouse with trompe l'oeil painting by F. Renard. Image from Architectural Digest

Bunny Mellon's greenhouse with trompe l'oeil painting by F. Renard. Image from Architectural Digest

 A pair of commodes by Jansen for the Duke & Duchess of Windsor, which may show the work of Fernand Renard. 

A pair of commodes by Jansen for the Duke & Duchess of Windsor, which may show the work of Fernand Renard. 

 A Trompe L'Oeil painted commode by Maison Jansen, featured in “Jansen Furniture” by James Archer Abbott, page 252, and seems to show Fernand Renard's style of painting.

A Trompe L'Oeil painted commode by Maison Jansen, featured in “Jansen Furniture” by James Archer Abbott, page 252, and seems to show Fernand Renard's style of painting.

 Fernand Renard, oil on canvas. circa 1950, from Tony Victoria's collection

Fernand Renard, oil on canvas. circa 1950, from Tony Victoria's collection

 A Christmas card from Fernand Renard, gouache on paper, 1968, from Tony Victoria's collection

A Christmas card from Fernand Renard, gouache on paper, 1968, from Tony Victoria's collection

 The inscription of the preceding work, from Tony Victoria's collection

The inscription of the preceding work, from Tony Victoria's collection

 Fernand Renard, gouache on paper, cabinet study, from Tony Victoria's collection

Fernand Renard, gouache on paper, cabinet study, from Tony Victoria's collection

 Two works by Fernand Renard for Fred Victoria, oil on canvas, circa 1955, from Tony Victoria's collection

Two works by Fernand Renard for Fred Victoria, oil on canvas, circa 1955, from Tony Victoria's collection

World of Interiors!

A wonderful project by M Group is featured in, and on the cover of (!), the August issue of World of Interiors. We were lucky enough to have been a part of this project. Tony and Freddy visited the project site, and as the article makes abundantly clear, M Group took great care in selecting their textures, materials and designs. It was a fun, intelligent, and challenging job that fits perfectly with the historic NYC location. Congratulations M Group! 

 From World of Interiors, Aug. 2017, one of the Barroux chairs we made for "Mrs. X" in silk velvet. 

From World of Interiors, Aug. 2017, one of the Barroux chairs we made for "Mrs. X" in silk velvet. 

 The pair of Barroux chairs in the Victoria & Son studio

The pair of Barroux chairs in the Victoria & Son studio

 An in-situ photo of our Barclay's model Louis XV style open armchair. 

An in-situ photo of our Barclay's model Louis XV style open armchair. 

 One of a pair of heavily carved Chippendale style console we made on the left hand side of this World of Interiors, Aug. 2017 photo. 

One of a pair of heavily carved Chippendale style console we made on the left hand side of this World of Interiors, Aug. 2017 photo. 

 The same consoles, with its marble template and before finishing in our workshop.

The same consoles, with its marble template and before finishing in our workshop.

 A photo from World of Interiors, Aug. 2017 featuring our Windsor cove-back chairs, made for M Group 

A photo from World of Interiors, Aug. 2017 featuring our Windsor cove-back chairs, made for M Group 

 The Windsor chairs in M Group's cut silk velvet in the Victoria & Son studio

The Windsor chairs in M Group's cut silk velvet in the Victoria & Son studio

 A custom circular bergere with 3 seating sections Victoria & Son made for the same project, but not shown in the article. 

A custom circular bergere with 3 seating sections Victoria & Son made for the same project, but not shown in the article. 

 A carved eagle form console base by Victoria & Son, based on our model inspired by eagle form torcheres from Versailles, also not shown in the article. 

A carved eagle form console base by Victoria & Son, based on our model inspired by eagle form torcheres from Versailles, also not shown in the article. 

Victoria & Son nominated by NY Spaces Magazine for Home Products Design!

We are very excited to have been nominated as a "Leader in Home Product Design" by New York Spaces Magazine! We are in the Arts & Antiques category (along with the likes of 1stDibs - weird right?...) and listed as "Frederick Victoria". BUT we need your support - please VOTE for us here:

https://www.newyorkspaces.com/vote2017.cfm

Voting ends on March 2nd 2017 - so please get to it! Also, remember to click thru each category (you don't have to make a selection, just click "Continue") and at the end you will need to enter a NYC-area zip code. 

THANK YOU FOR YOUR SUPPORT!

New Molten Gypsum Finish

We are very excited by our new Molten Gypsum finish. It adds subtle, usable texture to a project, can take any color (1 or more!), has an organic quality that can be enhanced or minimized and it's super durable to boot!  The images here are of the finish in Crimson and the texture is from the gypsum chunks that are embedded in the lacquer/resin mixture. 

 Crimson Molten Gypsum

Crimson Molten Gypsum

 The textured surface of Molten Gypsum can be increased or lessened.

The textured surface of Molten Gypsum can be increased or lessened.

 A 3-tier low Cole Porter etagere in crimson molten gypsum. 

A 3-tier low Cole Porter etagere in crimson molten gypsum. 

Tables for Alex Papachristidis's Kips Bay 2016

Whenever we have a chance to be part of the Kips Bay Showhouse, we consider ourselves lucky. This year, we were particularly excited when Alex Papachristidis asked up to supply a special pair of our Cole Porter Coffee Tables. What would make these tables special is that, above the parchment lower shelf, would be panels featuring the work of Nancy Lorenz! Ms. Lorenz studied lacquer techniques in Japan and creates amazingly vibrant works. We were not sure if her work had ever been used as a table surface, but like all of Alex's projects, it worked spectacularly well! His final touch was for us to finish the brass frames in a rose-gold tinted lacquer, which bring the tops and the frames together perfectly. Thank you Alex! 

 Custom pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz

Custom pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz

 One of a pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz

One of a pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz

 One of a pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz

One of a pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz

 Custom pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz in Kips Bay 2016

Custom pair of Cole Porter coffee tables by Victoria & Son for Alex Papachristidis featuring the work of Nancy Lorenz in Kips Bay 2016

Project for Howard Slatkin

We recently found a file of in-situ photos from a wonderful project of Howard Slatkin's which we were a part of. The project was in New Jersey and completed in the late 1990's, one of the last major projects we produced from our old 55th street location. Hope you enjoy them!

 A custom vanity based on a Louis XVI commode by Victoria & Son for Howard Slatkin

A custom vanity based on a Louis XVI commode by Victoria & Son for Howard Slatkin

 A provincial Louis XV style desk with gold tooled leather fronted cartonier superstructure by Victoria & Son for Howard Slatkin

A provincial Louis XV style desk with gold tooled leather fronted cartonier superstructure by Victoria & Son for Howard Slatkin

 A Directorie style mahogany bed with brass inlay details by Victoria & Son for Howard Slatkin

A Directorie style mahogany bed with brass inlay details by Victoria & Son for Howard Slatkin

 A pair of Directorie style etageres with brass details and Georgian style coffee table with mosaic marble top by Victoria & Son for Howard Slatkin

A pair of Directorie style etageres with brass details and Georgian style coffee table with mosaic marble top by Victoria & Son for Howard Slatkin

 A provincial French Bordelaise style vanity with superstructure by Victoria & Son for Howard Slatkin

A provincial French Bordelaise style vanity with superstructure by Victoria & Son for Howard Slatkin

 A custom single pedestal extending dining table and French Empire-style chairs by Victoria & Son for Howard Slatkin

A custom single pedestal extending dining table and French Empire-style chairs by Victoria & Son for Howard Slatkin

 A custom Louis XVI style bed and canopy by Victoria & Son for Howard Slatkin

A custom Louis XVI style bed and canopy by Victoria & Son for Howard Slatkin

 A Regence style vanity by Victoria & Son for Howard Slatkin

A Regence style vanity by Victoria & Son for Howard Slatkin

 A Russian style bar cabinet with crotch mahogany and brass details by Victoria & Son for Howard Slatkin

A Russian style bar cabinet with crotch mahogany and brass details by Victoria & Son for Howard Slatkin

A Bespoke Louis XVI Style Bookcase

We recently completed a custom version of our Louis XVI style bookcase with more restrained decorative detail (compared to the floor model, pictured further below). The client selected brass rosettes from our collection of custom cast brasses to use in the capital and for the keyhole escutcheons. Below are images from the installation as well as the floor model and design sketches for 2 variants of the design. 

 Victoria & Son Louis XVI style bookcase, model R650, in mahogany with gold leaf details. 

Victoria & Son Louis XVI style bookcase, model R650, in mahogany with gold leaf details. 

 A detail of the finish and custom cast brass rosettes. Victoria & Son

A detail of the finish and custom cast brass rosettes. Victoria & Son

 Victoria & Son Louis XVI style Bookcase floor model R650

Victoria & Son Louis XVI style Bookcase floor model R650

 A breakfront variation of Victoria & Son model R650, Louis XVI style bookcase

A breakfront variation of Victoria & Son model R650, Louis XVI style bookcase

 A variation of Victoria & Son model R650 with open lower cabinets. 

A variation of Victoria & Son model R650 with open lower cabinets. 

Hello Atlanta!

We are very excited to be working with Ainsworth-Noah in the Atlanta Decorative Arts Center! This is our very first showroom outside of New York and we are lucky to found such great partner. If you are in Atlanta, please stop by and say hello to Hal, Winton and their wonderful team!

Veranda August 2015

Victoria & Son was lucky enough to be included in the July - August issue of Veranda! They featured a custom full-round circular bergere we made a few years ago for M Group. The bergere was actually based on some of our corner bergere designs, which we adapted into a 3 section circular form, which you can see in the computer rendering of the frame below. Researching the design, we discovered a pair of one of the corner bergere designs in a 1950's photo of my Grandfather's apartment in the Dakota. Veranda published this photo, but a fuller version of it is below. He made most of the pieces seen in the image, including the tole flower-form candelabra crawling out of the wall, which of course I want to make now...

 Veranda August 2015 cover

Veranda August 2015 cover

 Our write-up in Veranda featuring our Godfather-esque photo

Our write-up in Veranda featuring our Godfather-esque photo

 A circa 1950 photo  of Fred Victoria's early apartment in the Dakota including a pair of corner bergeres and many other pieces made by his firm.

A circa 1950 photo  of Fred Victoria's early apartment in the Dakota including a pair of corner bergeres and many other pieces made by his firm.

 Another corner bergere model in the Louis XVI style 

Another corner bergere model in the Louis XVI style 

 The reference sketch from our design library for one of our corner bergere designs, reflecting more of an English style

The reference sketch from our design library for one of our corner bergere designs, reflecting more of an English style

 A rendering for the frame of the full-round bergere based on our existing designs. 

A rendering for the frame of the full-round bergere based on our existing designs. 

 The finished full-round bergere

The finished full-round bergere

Christopher Spitzmiller's Clove Brook Farm

Christopher Spitzmiller's magical Clove Brook Farm is featured in the July issue of Architectural Digest. The interiors were a collaboration with  Harry Heissmann and are just as stunning as the views below.  Needless to say, Tony and I were very excited to see one of our Sunburst Sconces included in such a wonderful project!

 The view from Christopher Spitzmiller's Clove Brook Farm

The view from Christopher Spitzmiller's Clove Brook Farm

 I never realized I wanted a fireplace in the kitchen until I saw this room.

I never realized I wanted a fireplace in the kitchen until I saw this room.

 I love that our Sunburst sconce hangs above Francis Elkins style chairs and the ceramic swan adds Harry Heissmann's signature touch of whimsy. 

I love that our Sunburst sconce hangs above Francis Elkins style chairs and the ceramic swan adds Harry Heissmann's signature touch of whimsy. 

Coffee table for Alexa Hampton

We consider ourselves lucky to be a part of any project. However, when a client comes to us for work in their own home, we must admit to being particularly grateful. Especially when the client relationship goes back a few generations! Alexa Hampton commissioned us to make the coffee table pictured below for her home last year. The most prominent features of the table are hand-carved anthemion on either end of the table. We went through a number of carving models to get to the final one, as you can see below. And we couldn't be happier to see it in such a beautiful home (thank you Architectural Digest)!

 Alexa Hampton's home as featured in April 2015 Architectural Digest

Alexa Hampton's home as featured in April 2015 Architectural Digest

 Some brass anthemion from our collection of mounts which we used as inspiration for our anthemion design

Some brass anthemion from our collection of mounts which we used as inspiration for our anthemion design

 carving notes

carving notes

carving notes 2
 An initial carving model with notes

An initial carving model with notes

 Assembling the table with the finial carving

Assembling the table with the finial carving

 Gold leaf finishing in-process

Gold leaf finishing in-process

 The final product

The final product

Source: http://www.architecturaldigest.com/decor/2...

Desk for Lauren Bacall

Bonhams will be holding the estate sale for the late Lauren Bacall on March 31st, 2015 in New York City. You can find the complete catalog here. We were happy to find lot 116, which is a desk our founder, Frederick Victoria provided to his friend and client, Ms. Bacall. This is something Mr. Victoria would have called in the "chateau" taste; a provincial piece that reflected a bit more of the Parisian sophistication than your average provincial piece of furniture. The design is one of a few chateau-style desk designs with a superstructure from our archive. Some of these superstructures have open cubby-style openings, leather fronted "cartonnier" style drawers, or as in the case of this design, wooden drawers and doors. 

 Image of Victoria & Son desk 38, from the Bacall estate sale at Bonhams, 3.31.2015

Image of Victoria & Son desk 38, from the Bacall estate sale at Bonhams, 3.31.2015

 Victoria & Son file image of Desk 38 model

Victoria & Son file image of Desk 38 model

 Blue print and reference sketches for Desk 38 from Victoria & Son design archive 

Blue print and reference sketches for Desk 38 from Victoria & Son design archive 

 The unfinished brass mount used on the knees of the legs for Desk 38

The unfinished brass mount used on the knees of the legs for Desk 38

 The raw brass mount used at the corners of the desk surface

The raw brass mount used at the corners of the desk surface

 Desk 38 with a later mounted cabinet in Lauren Bacall's Dakota Apartment

Desk 38 with a later mounted cabinet in Lauren Bacall's Dakota Apartment


Source: http://www.bonhams.com/auctions/22741/lot/...

New Custom Brass Mounts

We've finally started cataloging some of the brass mounts we use for custom orders and have rediscovered some wonderful models. These are period style brasses that we cast as needed for custom commissions, and alter as needed as well. For example, if a client likes a keyhole escutcheon, we can turn it into a drawer pull if locks are not called for. We even found some porcelain escutcheon sets! We are currently working on the keyhole escutcheon category, which are the examples below. When we get to the sabot, collars, pulls, galleries, etc, we'll be sure to post them as well!

Cabinet for Howard Slatkin

Thank goodness for social media! Tony Victoria produced this cabinet years ago at our old 55th street location for Howard Slatkin. Collaborating with Mr. Slatkin was one of the all-too rare projects when no level of detail was too small to be considered. Truly a great and challenging professional experience. Neither Tony or I have ever seen it in-situ, but perusing Instagram recently we stumbled upon it in Mr. Slatkin's feed! 

 Nearly complete in-process snapshot in our previous 55th Street location. 

Nearly complete in-process snapshot in our previous 55th Street location. 

 Detail of the match-strike brass and brass rosettes used for this cabinet

Detail of the match-strike brass and brass rosettes used for this cabinet

Old Dog, New Tricks: 3D Printing

We recently took our first dabble into the world of 3D printing. If you are not familiar with 3D printing, imagine your printer at work not only going back and forth as it prints out lines of text, but also "printing" layers upon previous layers making the text 3D. This is why 3D printing is also called "additive manufacturing." So you could theoretically print any 3D object from an electronic file. Needless to say we've been watching the space excitedly because, not only could it significantly cut down on materials waste, but also any of our designs could be printed by whomever has the right file, anywhere in the world...in theory.

Perhaps fortunately, the reality of 3D printing is not up to that scale yet. Most printers simply aren't big enough to print a chair, for example, and the costs to do so compared to current fabrication convention would be prohibitive. However, it is very useful, and fun, for small scale pieces, parts and prototypes.

Inspired by a vintage bar-tool, we designed one electronically with a ice pick, mallet, and bottle opener with a patterned grip. Once the file was complete and the design was ready, we uploaded it to Shapeways. Shapeways is basically a 3D printing outsource firm - we don't have our own 3D printer, so we upload a file on their website, they immediately tell us if the file is printable as well as the costs to do so in various materials. We chose to print our prototype in both a grey finished steel and a hardened plastic. Then, Shapeways shipped them both to us in about 1 - 2 weeks.

Having the full scale prototype was extremely useful - right away I could see the handle was too long, the gauge of the bottle opener neck too thick and the grip pattern not as detailed as I expected. The plastic one was the same except that we left the handle with no grip pattern. We did this because we could carve the plastic the old fashioned way. So the next step could be hand-carving the plastic 3D printed prototype and then "lost wax" casting the hand-carved/3D printed prototype. And in fact one of the materials offered for printing was castable wax in the event you are ready to skip the hand-carving step.  

Currently, this seems to be the way 3D printing will be the most useful to a design firm like us: printing prototypes that we can then cast. The fact that we could in fact print certain items in castable wax was slightly mind-blowing. So metal parts and hardware, frames and more will now be much easier to customize on a project by project basis. But for production pieces, both because of the time required to print and the cost, 3D printing is not there yet it seems. Also, I am not sure how useful it will be for printing small scale prototypes of custom pieces for clients - I'm not entirely convinced how useful today's client would find a miniature, single material, version of their project and they certainly won't be thrilled by the added time they require. Prototypes may be useful for production pieces as we develop them, however full-scale prototypes seem like they will remain more useful. But we will see - it is fun and invigorating to have another tool for the design process. And like most tools, a year or 10 from now, we'll probably be using it in a number of different ways. 

 This vintage inspiration piece. 

This vintage inspiration piece. 

 A 3D perspective view of the bar-tool design in Rhino

A 3D perspective view of the bar-tool design in Rhino

 The metal and plastic bar-tool prototypes. 

The metal and plastic bar-tool prototypes. 

Most importantly - the prototype works!