THE RUGS
James Tufenkian discovered these antique rugs in China in the 1990s. The Peking carpet, on floor, and Pao Taos rugs from Mongolia, on walls, are composed of handspun wool and natural dyes woven in the late 19th century to early 20th century. tufenkian.com
THE CHAIR
As an ode to Jayne Wrightsman, who popularized the Napoleon III style of upholstery, the Wrightsman chair by Jonas epitomizes high style. The arm’s spiral, reminiscent of a ram’s horn, is a symbol indicative of the period. The piece is shown left upholstered in Dedar’s Adamo & Eva Cotton Velvet in Bouteille with trim in Argentina Taffeta in Olive. jonasworkroom.com
BACKDROP: ROMEO & GIULIETTA SILK VELVET IN ORO BY DEDAR
THE TUREEN
Tasked by de Gournay to create a magical dinnerware service, designer Jeffrey Bilhuber imagined Alchemy. Handmade and painted by artisans in its Jingdezhen studio, the vivid botanical motif is inspired from Dutch still life florals with a whimsical splash of molten gold. The porcelain tureen commands the tablescape, sparking conversation and wonder. degournay.com
BACKSPLASH: LIMEWASH PAINT IN JACARANDA BY RESSOURCE
THE MIRRORS
Influenced by the forest surrounding the Saint-Louis factory in Moselle, France, French designer Noe Duchaufour-Lawrance created limited-edition mirrors to accompany his widely successful Folia Collection. The mirrors feature deep-beveled cuts–creating dramatic, geometric shapes and shadows in the clear and chartreuse crystal shells. saint-louis.com
SHOWN ON DELGATIE FROM THE MARBLE COLLECTION BY CAMBRIA
THE NECKLACE
Florals are at the heart of Colette Steckel’s eponymous brand. Represented in 18-karat pink gold, champagne diamonds, gray pearls and multicolored stones like emerald and ruby, the Burning Thistles Collar by Colette is a timeless tribute to nature in its most delicate forms. modaoperandi.com
SHOWN ON COLOZZO IN PALE AQUA BY DESIGNERS GUILD
THE SCULPTURE
This one-of-a-kind hand- hammered 1041 piece takes shape from a single sheet of fine silver and is hand- polished to a silk-matte finish. Shortly after creating the piece for Georg Jensen’s 50th anniversary in 1954, Henning Koppel destroyed the original 1041 because he was unsatisfied with the proportions and shape of the piece. In honor of what would be Koppel’s 100th birthday, Georg Jensen revived the sculpture with the help of three-dimensional modeling tools. georgjensen.com
