Style Guide: Country Kitchens (Part II)

The Warmth of White

Natural-fiber textiles and old painted furniture distinguish a Midwestern farmhouse kitchen.

Several years ago the owner of this Midwestern farmhouse, a longtime collector of colorful painted furniture, discovered the many shades of white. "It was as if I had had blinders on," she says. "Suddenly I became conscious of a whole new palette."

When remodeling, she and her husband selected antique painted furniture and 18th- and 19th-century collectibles to provide subtle color hues and textures. Today the room serves as a classic study in white . . . beautifully styled, artfully functional, and invitingly warm.

Subtle Hues and Textures

Although the owners spent three years transforming their Illinois kitchen into an oasis of white walls, furniture, and accessories, they realized that subtle, complementary hues and natural textures were needed to warm it up.

Collectibles Display


While the Windsor chairs around the antique hutch table are newly crafted, the cupboard that displays a collection of antique French and English conservatory pots dates from the 18th century.

A birdhouse with shingled roof and chimney creates an unusual tabletop centerpiece. On the wall above, newly made lard candles made to look old are hung from a peg rail in Shaker fashion.
Shaker peg rail: Constance Greer. Candles: Nancy Settel. Chandelier: The Seraph.

Room to Spare


In the adjacent sitting room the owners added the fireplace; the bricks are from southern Illinois, the surround and mantel were purchased at a flea market, and the fanlight hails from New England. "I always said that if I could have only one fireplace in the house, I wanted it to be in the kitchen, where I could enjoy it most," remarks the owner.

To that end they turned to the age-worn patina of antique painted furniture -- like the early-1800's cupboard at right and the old dry sink now serving as a center island. A collection of antique homespun towels and 18th- and 19th-century wood bowls and pantry boxes were also added for color and textural interest.

Topiaries and selected antiques throughout: Mary de Bhur.

Style Guide: Mexican Folk Art

Early American and Mexican treasures distinguish a 1920's adobe dwelling in Little Rock.

The owners of this 1927 Spanish adobe home in Little Rock, Ark., created a showcase that reflects their passion for antiques and folk art. It is the type of furniture styles and collectibles that makes this Collectors' Showcase so unique.


When remodeling their home, the owners drew inspiration from dwellings they admired on travels through Mexico. They created an interior courtyard, embellished surfaces with painted tiles, and selected an expressive color palette.

What they found when they began mixing New England antiques with authentic Mexican pieces was that the two styles actually complemented one another, with the simplicity and warmth of one playing off the intriguing forms and colors of the other.

Although sombreros are not required for this home tour, they would hardly seem out of place. Olé!

Courtyard


Looking at the interior courtyard, you would think you were in Mexico rather than Little Rock. Tropical plantings frame the space occupied by an umbrella-shaded iron table and chairs. The umbrella -- made of burlap and featuring a graceful hand-crocheted edge -- was made in the Mexican village of San Miquel de Allende.

As in the kitchen, hand-painted decorative tiles appear on the tabletop and the wall beneath the windows. A jardinaire, now brimming with the tendrils of a lush fern, complements the blue and white design. The "lacey" porcelain candlesticks on the table were handcrafted nearly 100 years ago by Mexican artisans.

Dining Room


Displayed in an early Welsh cupboard, contemporary Mexican ceramicware from the village of Delores Hidalgo carries South of the Border spirit into the dining room. The Sheraton drop-leaf dining room table is surrounded by Rhode Island Windsor chairs. As a centerpiece, purple sage from the garden provdes an unusual look and unusually fragrant scent.

Keeping Room

Hung above the keeping room's faux marble mantel is an 1820 portrait and hand-lettered meeting hall sign, both from New England. A century -- or pilgrim -- chair claims one corner of the hearth. On the opposite side, a New England drop-leaf table displays a variety of collectibles, including a tin maple-sugar mold. A floral painted firescreen is mounted on the wall above.

The sofa's flame stitch upholstery complements the color and design of the oriental carpet, table linens, and decorative throw. The coffee table at center is a c.1800 tilt-top table, cut down and valued for its original blue paint.

Corner Cupboard


Collections require display space, and the antique corner cupboard in the living room provides a beautiful showcase for patterned tableware. Made in New York and dating from 1820, the cabinet is unusual for many things, not the least of which is its original blue paint finish.

Guest Bedroom


In the guest bedroom a profusion of floral blooms and vines decorate the vintage fabric used for the sumptuous bed hangings and linens. Deep green-colored walls and dark wood floors add a dramatic richness to the setting. On the windows, embroidered panels serve as decorative valances, with sheer draperies providing a translucent filter for natural light.

The room showcases a number of treasured family heirlooms -- like the Victorian taffeta-upholstered couch and feathered hat. Other unique vintage textiles include the early patchwork quilt on the bed and 1840's silk taffeta dress hanging in the corner.

Three bandboxes sit atop the cupboard, each featuring a primitive American scene in shades of blue and white. To complement the rich texture of the whitewashed adobe walls, drapery panels are stenciled with repetitive vertical patterns and hung from branch-like metal rods.

The yellow-painted adobe walls complement the room's furnishings and architectural details, like the exposed ceiling timbers and wood-plank flooring. During the evening a tin chandelier -- which the owners claim is of "mysterious date and origin" -- gives the room a special ambiance.

Master Bedroom


From the checkered bed linens, toile patterned table skirts, assorted blankets and throws, and buffalo plaid drapery panels, the master bedroom relies on shades of blue and white to unify the rich interplay of texture and pattern. The solid blue coverlet and painted louver doors add balance to the pattern-rich scheme, and contrast to the cream painted walls and ceiling.

The room features a number of early American country accents, including the spinning wheel and child's Windsor chair shown in the foreground; both were handed down from the owner's mother. An unsual lace canopy dresses the Shaker-inspired pencil-post bed.

Scandinavian Chests

Most surviving Scandinavian immigrant chests date from early in the 19th century through the early 20th century; the most coveted examples predate modern machinery. Because not all chests were dated, the following tips may help the alert collector spot an early-19th-century example:

Examine the chest's surface

Early examples appear somewhat bumpy and have notches and irregularities not often seen on those made later in the century, when machines were able to achieve a smoother, more even surface.

Run the tips of your fingers over the wood

Hand-planed boards have thin grooves running in the direction of the grain. Boards planed by machines that cut across the width of the wood have faint ripples going against the grain.

Inspect dovetailed joints

Corners with small gaps and slight protrusions are more likely to have been joined before the age of machines, when mortise and tenon construction could be done with more precision.

Count the number of boards in the lid

As forests were harvested, trees large enough to produce wide boards became scarce. Therefore, while only two boards may have been needed for an early-19th-century lid, four or more may have been necessary by the end of the century.

Look for mellowed colors in the painted decorating

Chests decorated late in the 19th century and beyond have colors that sill appear bright today and do not have the same arm patina that collectors admire.

The 'America Chest'


Before the 17th century, when cupboards and chests of drawers first came into use, standing chests provided storage for linens, documents, and other household valuables. In Scandinavia, the pieces remained popular long after other forms of storage were available.

The most elaborately decorated chests were generally wedding, or dowry, chests. Made for prospective brides by their fathers or fiancés, these treasured heirlooms were used to store linens and other household items. The painted designs that covered the exterior of the chests often included the intended wedding date and initials of the young woman for whom it was made.

This dowry trunk dated 1845 features female figures in Victorian dress surrounded by rosemaling.The strong sentimental value these handcrafted trunks held for their owners made it almost certain they would have been packed and brought to America. Other chests made specifically for the transoceanic journey often resembled wedding chests in size, construction, and purpose but generally lacked their intricate, allover designs.

Author Vilhelm Moberg described the importance of immigrant chests like these in The Emigrants*: "It was the roomiest and strongest packing case they could find — five feet long, three feet high, wrought with strong iron bands three fingers wide. The four oak walls of this chest were for thousands of miles to enclose and protect their essentials; to these planks would be entrusted most of their belongings. The ancient clothes chest which was about to pass into an altogether new and eventful epoch of its history was even given a new name in its old age. It was called the 'America chest.' "

Construction and Decoration


Long winters and an abundance of natural woods gave Scandinavian craftsmen much opportunity to make furniture. The want of sunlight throughout much of the year also led Scandinavians to rely on color and painted surface decorations to brighten dark interiors.

While some early examples were made of oak, most Scandinavian chests were made of pine and featured simple dovetailed construction and measured about three to four feet in length by about two feet in height and depth. A flat or domed lid extended slightly over the sides.

Chests were often strengthened by the addition of hammered-iron straps, bands, and corner braces. A lock was sure to have been attached and sometimes featured a wide iron backplate. Iron handles at either end of the trunk made it easier to move. These handles were especially important on chests that sat directly on the floor rather than on feet.

Linens, clothing, cookware, and books numbered among the items transported in 19th-century immigrant chests.

The amount of painted decoration on a chest often depended on the piece's intended use. Simple toolboxes or those chests made specifically for the trip to the United States may have been finished with a single coat of paint or false graining and a minimum of decoration. Wedding chests and immigrant chests made by a father or grandfather as a parting gift for a beloved child, on the other hand, generally displayed elaborate painted decoration.


Decoration on Swedish chests tended to be more subdued than that on Norwegian examples. Norwegian craftsmen favored bold, undiluted colors, intricate carving, and the detailed painted decoration known as rosemaling. One popular Swedish design, by contrast, featured a solid background of robin's-egg blue with a simple painted circle of flowers. Typical features incorporated into the overall design of both Norwegian and Swedish chests include the date the piece was made or the date of the event it was intended to commemorate and the name and initials of the owner.

Collecting Today

Although immigrant chests from Norway and Sweden can be found in antiques shops around the country, the majority of these pieces surface in the Upper Midwest and other regions where Scandinavian immigrants settled in large numbers.

Prices range from about $500 for a small chest with little or no painted decoration to about $3,000 for a large chest covered with intricate rosemaling that incorporated a name and/or a date into the design. In addition to size, age, condition, and degree of detail, a knowledge of the maker or the family history can also favorably affect the value of a chest.


Depending on their own family heritage, most collectors tend to concentrate on either Norwegian or Swedish chests. There are those, however, who appreciate the chests more for their painted finishes than for their historic or sentimental value; these collectors seek the most visually appealing examples, whatever their nation of origin. Chests with flat lids are thought to be more versatile in home decorating, as they can double as small tables, but if all other factors are equal, the shape of the lid will not dramatically affect a chest's price.

Style Guide: Country Kitchens

Bold color and custom detailing define a kitchen inspired by painter Claude Monet's home in France.

In 1883, when Impressionist painter Claude Monet moved his large family to Maison du Pressoir ("House of the Cider Press"), a rambling farmhouse in Giverny, the kitchen and the room that was to be his studio were the first areas subjected to major renovation.

Well known for his bold use of color, the artist painted each room in his farmhouse a different hue, creating a vibrant escalation of color as one progressed through the dwelling.

Inspired by this house in the Gallic countryside, our newly designed kitchen includes an adjoining dining room, pantry, and laundry room. It features rich shades of blue on the cabinetry and walls as well as on window frames and mullions. Graphic tiles in five patterns add visual interest to the room.



Cabinetry, kitchen island, and woodworking throughout: Heritage Custom Kitchens. French doors and windows throughout: Andersen. Kitchen fixtures and faucets throughout: Kohler. Major appliances throughout: Jenn-Air. Color Passions Flooring throughout: Armstrong. Gibraltar solid surfacing: Wilsonart. Ceramic tiles throughout: Ann Sacks. Painting throughout: Gliddens. Beaded board and wood trim throughout: Georgia-Pacific. All task lighting: Hera. Mixer: KitchenAid. Scale and weights, egg timer, book stand, egg rack: Chantry. Knives: J. A. Henckels Zwillingswerk. Bottled vegetables: Morgan & Co.

French Customs

Well suited for entertaining, the spacious kitchen features a stainless steel commercial style cooktop, a double sink, a freestanding island constructed of cherry, and a wealth of copper molds and cookware. The easy-to-maintain inlaid vinyl flooring was custom designed to mimic the pattern of the large octagonal tiles Monet used to pave the floor of his kitchen. Following French custom, the cooktop hood is decorated with tiles.


Stainless steel cooktop: Jenn-Air. Copper pots and cookware: Old Dutch. Basketry throughout: Vintage Baskets. Wooden salt and pepper mills: Chantry. Japanese print: Ronin Gallery.

Decorative Utility

Decorative yet practical, this brass gooseneck faucet services a small utility sink built into the kitchen's center island. The round sink is under-mounted -- set below -- the countertop, giving it a more finished look. Although the countertop appears to be granite, it is actually a solid-surfacing material that offers the look of stone, but the benefits of easy cleanup and lasting beauty.

Sunburst plates: Holdenby Designs.

Architectural Style

Fitted with crystal knobs and painted in intense, saturated hues of blue, a freestanding cabinet unit serves as a partition of sorts between the kitchen and the bright yellow dining room beyond. An arched cutout above the cabinets adds an interesting architectural detail, contrasting the angular pitch of the ceiling with the linear elements of the cabinets and suspended lighting.



Brass lighting fixture: Original Cast Lighting. Recessed beam light: Juno.

Style Guide: American Folk Art

An evolving collection of hand-crafted works enlivens a 20-year-old Illinois farmhouse.


When the owner of this welcoming Illinois home first began collecting, she gravitated toward unusual antique accessories. Through the years, however, she developed a special preference for the odd pieces of American folk art that now fill her home -- inside and out.

Throughout the dwelling, collectibles of every size reflect the owner's fondness for animals as well as her sense of humor. A cow weather vane and polka-dotted wooden chicken honor pets that reside on the five-acre farm. In addition to the rustic charm and hand-crafted quality of the pieces, the owner simply explains, "I love things that make me smile."

Although we wouldn't normally welcome you through the back entrance, we thought the patio was an ideal starting point for this home tour. Shaded from the afternoon sun, it seems to capture the essence of our story: the appeal of rustic styling, the beauty of natural surroundings, and the unique charm of American folk art.

Great Room


Cypress-twig garden furniture and abundant greenery integrate the great room with the woodsy patio located just ouside the multipaned glass doors. During the summer, the room becomes a natural extension of the outdoors, taking full advantage of garden parties and garden views. In the colder months, the room is a natural for combating the winter blues.

A 1920's wooden horse that once stood in a Maryland saddle shop now keeps company with a folk art couple created by a Georgia carver. Other unusual collectibles include a carved totem pole, a wood and iron plant stand, and various weather vane designs.

Family Room


Traditional upholstery, earth-tone fabrics, and cherry occasional tables set the backdrop for the family room's display of folk art figures and flags -- all dating from the early part of this century to the present day.

The beige and white flag, framed in gold and hung to the right of the fireplace, was made by the homeowner using cotton remnants for stripes and rhinestone buttons for stars. The homeowner believes the wooden V may actually date from the First World War.

Corner Detail


In this corner of the family room, Old Glory makes additional appearances in everything from pillow cushions to window displays. The framed poster represents a commemorative work by Jasper Johns celebrating the 50th anniversary of the Whitney Museum of American Art. Even the floorcovering mirrors the flag motif with its alternating stripes of red, white, and blue.

Among the more unusual art pieces is the airplane visible in the corner. It was ingeniously fashioned from soda-can tabs by an unknown artist.

Dining Room


The homeowner had the table custom built to fit the dining room's generous dimensions, then surrounded it with caned chairs she collected one by one. In front of a Log Cabin quilt in the Barn Raising arrangment, a papier-mâché eagle from Virginia surveys the room from its birch-log perch.

The copper horse-and-rider weather vane, manufactured by A. J. Harris & Co. of Boston, Mass., was salvaged from the homeowner's grandfather's barn. Pantry boxes, a wooden moose head, and a reproduction copper chandelier from Connecticut reflect the owner's eclectic eye.

Guest Bedroom


The guest bedroom, with its painted beams and high angled ceiling, features an unusual mix of colors, textures, and collectibles. The dark-stained wicker bed is dressed in floral and plaid linens and a colorful Beacon blanket -- much to the liking of Foxy, the owner's pet Corgi. Additional linens are stored in and above an antique pie safe near the room's entrance.

The room features an assortment of carved wood folk art, from miniature houses to a wall-mounted steer's head. The unusual horse and rider was carved from an evergreen root by a Canadian folk artist.

Exterior View


The exterior of the farmhouse is picture perfect with its weathered clapboard siding and wood-shingled roof set against a lush landscape of black-eyed Susans, bee balm, winter clematic, and tall natural grasses. A sign from a Girl Scout camp in the Adirondacks provides a clear message of welcome for guests.

In the foreground, the owners have provided a welcome for feathered friends as well: A lodge-like birdhouse made of weathered logs and wood shingles is mounted on an existing tree stump.

Style Guide: Colonial Farmstead

A restored 1740's dwelling near Valley Forge exhibits an artistic mix of old and new.


In 1968, a single owner -- an artist by profession -- moved into this 1742 farmhouse in Audubon, Pa., with a vision and penchant for restoration.

She took on the project of reviving the old house wholeheartedly, doing it over one room at a time. She made numerous visits to Washington's 1777-1778 winter headquarters in nearby Valley Forge, where she borrowed ideas for restoring architectural details and the historical accuracy of her color palette.

Ten years ago, she met a fellow devotee -- a restorer of furniture and crafts accessories -- and rallied him to her cause. In the barn that now houses the art studio, the couple work together to arrange antiques into room settings, which they either incorporate into the house or sell at antiques shows. They also tend to five acres of gardens.


Living Room


To offset the massiveness of the 20- by 40-foot living room, the owner divided the space into sections based on activities. A trio of wing chairs -- two with matching blue moiré upholstery and one a classic check fabric -- is grouped with a Chippendale sofa to form a cozy sitting area. A piano and desk, not visible here, provides balance to the other end of the room.

Despite the dark wood tones of decorative moldings, ceiling beams, plank floors, and furniture, the cream-colored walls and large mullioned windows make the room bright and cheery. The stepback cupboard provides useful storage for collections of copperware and pottery. A bird's-eye maple Queen Anne gateleg table is positioned in front of the Boston rocker, just left of the fireplace.

The property has been named Colonial Yard. Join us on a tour of the house, and see how one homeowner combined two loves -- art and restoration -- to transform a mid-1700's farmhouse into a comfortable home for today.

Dining Room


Like the living room, the dining room features a wonderful blend of cream-colored walls and dark wood antique furnishings. A seven-drawer walnut Sheraton chest, still with its original brass hardware, serves as a sideboard to the 18th-century three-board pine hutch table. Four restored spindle-back chairs surround the dining table, while a single bow-back Windsor occupies the far corner.

Given the depth of the original plaster walls, the windowsills provide a deep display space for welcoming candles and special pottery pieces. The jabbots and side panel draperies -- made by the homeowner -- help to soften the graphic grid of the mullioned windows. Together with the tabletop homespun linens, they provide visual interest and historical accuracy to the room.

Master Bedroom


The bedroom features an unusual mix of pattern, color, and design. A black and white plaid wing chair keeps company with an 18th-century pine hooded cradle. The Queen Anne Highboy -- a 19th-century piece -- gives a dramatic design focus to the room, while providing plentiful drawer storage.

Although the fireplace mantel is a standard height, Wilson (the owner's Boston Great Dane) makes it look small by comparison. A Chinese rug unites the room, with its intricate pattern and rich color theme.

Bed Detail


The portraits mounted above the headboard in the master bedroom reflect the artistic talents of the owner. Even though they are contemporary interpretations, shown here on the aged plaster walls, they look very much like the Early American originals. In addition to portraits, the owner also paints bucolic pictures -- rustic, pastoral scenes -- of animals.

The headboard itself offers a unique design statement. Crafted of mahogany wood and featuring a rich red finish, it combines top-capped corner posts with a graceful arabesque scroll cut-out and double-ended finial top detail. The navy and white coverlet was woven in the 1860's.

Child's Room


In one of the children's rooms, dark wood paneled walls and sand-colored painted floorboards create a perfect setting for the furnishings and collectibles contained within. The vintage clothing hung on the wall and on the door of the antique red cupboard, c. 1850, fits life-size dolls that the homeowner makes. The hand-painted bridebox on top of the cupboard was also made by the owner.

For childhood amusement, a wheeled Shetland pony, partially visible at right, keeps a watchful eye on the woolly bear seated in the 1880's wicker baby carriage across the room. The coverlet on the four-poster rope bed is also from the mid 1800's. A hooked rug continues the color theme at the foot of the bed.


Chair Detail


The house offers a number of unique antique furnishings and accessories, among them this 19th-century plank bottom chair. Simply crafted with only minimal carved detailing on back supports, the chair is enhanced by authentic hand painted embellishments. The stenciled designs appearing on the plaster walls and painted floorboards are more recent additions -- hand-painted by the home's resident artist. The framed portrait resting on the chair seat is another example of her work. It is only one of several original portraits featured throughout the house.

A Brief History of Medieval European Joinery

The techniques used to join pieces of wood together evolved significantly between the 12th and 15th Centuries. This evolution was in response to both the technical problem of making strong joints that would resist wood movement and the demands of the customer base. This evolution in technique was part of the general evolution of woodworking from the relatively crude and utilitarian objects of the early Middle Ages to the highly decorated furniture in use at the dawn of the Renaissance.

The Technical Problems

Wood is a living material composed of a mixture of cellulose, which makes up the cells, and lignin, which joins the cells together. As the cells absorb or release water from the environment, they expand and contract, causing the wood to move. Due to the orientation of the cells, movement perpendicular to the grain of the wood is usually several times that parallel to the grain. When end grain is joined to long grain, the differential wood movement can cause the joint to fail. (see Figure 1)




A second problem is caused by the need to make a mechanically strong joint without the use of external fasteners. Medieval hide and casein glues were not especially strong and metal fasteners, such as nails, were expensive. Complicating the matter is the fact that nails do not hold well in end grain.

The Butt Joint


The Butt Joint, shown in Figure 2, is the simplest way of joining two pieces of wood together. It is also one of the weakest since is prey to the greatest amount of wood movement. Due to the lack of mechanical strength, the butt joint needs to be nailed. Despite the presence of more sophisticated joinery techniques, the butt joint persists due to its inherent simplicity and ease.

The Mortise and Tenon


One of the earliest solutions was adopted from the timber framing used for large buildings. As shown in Figure 3, the tenon fits into the mortise providing a mechanically strong joint. Wood movement can be coped with by leaving the mortise slightly longer than the tenon, thus giving the tenon room to expand. Mortise and tenon joints used in the Middle Ages are frequently pegged. This technique is found on furniture pieces starting in the late 11th Century.

Dovetails


While the mortise and tenon works well on relatively narrow pieces of wood, this technique becomes cumbersome when attempted on wider pieces. The medieval joiner�s solution to this problem was the dovetail joint shown in Figure 4. While somewhat demanding to cut, dovetails provide a mechanically strong joint that is unaffected by wood movement. More advanced forms of the dovetail can be cut so that the joint is concealed from one or both sides.

Frame and Panel


An alternative to dovetailed joinery is the frame and panel technique shown in Figure 5. This provides an elegant means of covering a large area. The panels "float" in grooves in the frame, allowing them to expand and contract as necessary. Medieval craftsmen frequently used simulated frame and panel construction on chests, covering a dovetailed or butt jointed frame with thin pieces of wood to simulate the presence of frames and panels.

Sources

Blanc, Monique. Le Mobilier Fran�ais: Moyen �ge Renaissance. Paris: �ditions Charles Massin, 1999.

Boccador, Jacqueline. Le Mobilier Fran�ais du Moyen Age a la Renaissance. St. Just en Chausee, France: �ditions d�art Monelle Hayot, 1987.

Eames, Penelope. Furniture in England, France, and the Netherlands from the Twelfth to the Fifteenth Century. London: The Furniture History Society, 1977.

Hoadley, R. Bruce. Understanding Wood: A craftsman's guide to wood technology. Newtown, CT: The Taunton Press, 1980.