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Published in: Lifestyle. The Guardian. Retrieved 7 May — via www. The New York Times.
Writers at Work: The Year in Collected Essays | Literary Hub
Retrieved 7 May — via NYTimes. International Center of Photography. Retrieved 2 September British GQ. Windham—Campbell Literature Prize. Retrieved 25 February Namespaces Article Talk. Views Read Edit View history.
Working the Room: Essays and Reviews: 1999-2010
This scheme was further elaborated by the decorative painter Maurice Jacques — , who placed the medallions on a crimson and dark pink ground patterned with flowers and leaves simulating silk damask and suspended them from a frame -like border resembling carved and gilded wood. The new design could be adjusted to fit any size wall, allowed for endless variation of animals and flowers in the decorative surrounds, and could be complemented with matching furniture covers.
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Coventry was the first to see the new scheme and brought several sketches back to Croome to show Adam, who took the basic idea and provided his own drawings with Neoclassical, rather than Rococo, motifs. The earl ignored these, the tapestry set went into production at the Gobelins in , and Coventry and Adam continued their somewhat bumpy working relationship. The ceiling design used in this room was made by Adam in and intended for the adjoining library, but Coventry, as was his wont, changed his mind.
The work was executed by Joseph Rose, one of the best plasterers of the time, but the result is not entirely successful. Stylistically incompatible with the tapestries and overscaled for the room, it seems symptomatic of the difficulties possibly inherent in this Anglo-French venture. Early accounts of the Croome tapestry room credit the design of the seat furniture to Adam, but recent research suggests that it must have originated at the Gobelins, perhaps by Soufflot.
The chairs Below it stood a pier table with a carved and gilt six-legged base Mayhew and Ince replaced the original base with the present one in In addition to supplying the top for the pier table, Wildsmith executed in the chimneypiece with white-marble decorative elements on a ground of orange Veronese marble. The large tablet of lapis lazuli set in the center was provided by the sculptor Joseph Wilton, who specialized in richly ornamented chimneypieces and, in , became Sculptor to His Majesty.
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