#the huntington interior

[the-huntington]

𝐼 𝑙𝑜𝑣𝑒 ℎ𝑜𝑤 𝑒𝑣𝑒𝑟𝑦𝑡ℎ𝑖𝑛𝑔 𝑐𝑜𝑚𝑒𝑠 𝑡𝑜𝑔𝑒𝑡ℎ𝑒𝑟 𝑖𝑛 𝑚𝑦 𝑛𝑒𝑤 𝑃𝑎𝑟𝑖𝑠 𝐴𝑝𝑎𝑟𝑡𝑚𝑒𝑛𝑡. 𝐻𝑒𝑟𝑒 𝐼 𝑠ℎ𝑜𝑤 𝑦𝑜𝑢 𝑡ℎ𝑒 𝐷𝑖𝑛𝑖𝑛𝑔𝑟𝑜𝑜𝑚, 𝑜𝑛𝑒 𝑜𝑓 𝑚𝑦 𝑓𝑎𝑣𝑜𝑟𝑖𝑡𝑒𝑠.💋♥️💋

[skyseoroundtable]

Ace Interior Painting Services in Bellmore and Babylon: All Pro Painting Co.

Elevate Your Home with Professional Interior Painting Services in Bellmore and Babylon

Introduction:

When it comes to transforming your living spaces, few things have the power to make as dramatic an impact as a fresh coat of paint. Whether you reside in the picturesque town of Bellmore or the charming Babylon neighborhood, the experts at All Pro Painting Co. are here to provide you with top-notch interior painting services that will breathe new life into your home. Our skilled team of interior painters is dedicated to turning your vision into reality, delivering a seamless and stylish transformation that will leave you awe-inspired.

The Art of Interior Painting: Creating Aesthetic Masterpieces in Bellmore

If you're looking to reimagine your home's interior aesthetics, our interior painters in Bellmore are your trusted partners. We understand that every homeowner has a unique vision for their living spaces, and our experienced professionals are adept at translating your ideas into beautifully painted realities. From selecting the perfect color palette to utilizing the latest painting techniques, we ensure your home reflects your personality and style.

Unveiling the Charm: Interior Painting Services in Babylon

In the heart of Babylon, our interior painting services stand as a testament to refined craftsmanship and attention to detail. Whether you're aiming for a cozy ambience or a contemporary vibe, our team meticulously prepares your surfaces and applies paint with precision. Our dedication to quality ensures that your walls not only look stunning but also stand the test of time.

The All Pro Painting Co. Difference: Excellence in Every Stroke

At All Pro Painting Co., we pride ourselves on our commitment to excellence. Our interior painters are not merely tradespeople; they are artists who take pride in their work. With a keen eye for detail and a passion for perfection, we transform your interiors into personalized masterpieces that seamlessly blend beauty and functionality.

Elevate Your Space: From Dull to Dazzling with All Pro Painting Co.

Has your home been yearning for a makeover? Our interior painting services in Bellmore and Babylon are designed to elevate your space from dull to dazzling. Whether you're looking to create an inviting atmosphere for guests or a serene sanctuary for yourself, our skilled painters use their expertise to transform your vision into an awe-inspiring reality.

Experience Matters: Trust the Leading Interior Painters in Bellmore

When it comes to enhancing your home's interior appeal, experience matters. All Pro Painting Co. boasts years of experience serving the Bellmore and Babylon communities. Our track record of delivering exceptional results speaks for itself, making us the preferred choice for homeowners seeking reliable and top-quality interior painting services.

Conclusion:

Your home deserves the best, and All Pro Painting Co. is here to provide just that. With a passion for artistic expression and a commitment to delivering unparalleled results, our interior painters in Bellmore and Babylon are poised to revitalize your living spaces. Say goodbye to dull walls and hello to a world of vibrant color and beauty. Contact us today at https://www.allpropaintingco.com/  to embark on a journey of transformation with All Pro Painting Co.

[froggyfriendsworld]

Fireplace and Door Surround from the Huntington Mansion by Francis Lathorp and the Herter Brothers

[sky-seoroundtable]

Interior Painters Bellmore | All Pro Painting Co.

[lechapardeur]

Teen - Kids Room An illustration of a medium-sized transitional boy's room with blue walls and carpeting.

[fashionsfromhistory]

Side Chair from the Worsham-Rockefeller Dressing Room

1881-1882

George A. Schastey & Co.

In 1881, Arabella Worsham, then-mistress of railroad magnate Collis P. Huntington, hired George A. Schastey & Co. to decorate her townhouse at 4 West Fifty-Fourth Street in New York City. The resulting artistic interiors would have been considered the height of cosmopolitan style in the early 1880s and were emblematic of Worsham’s quest to fashion her identity as a wealthy, prominent woman of taste. When Worsham married Huntington in 1884, she sold the house, fully furnished, to John D. and Laura Spelman Rockefeller, who made few subsequent changes to the decorations. Following Mr. Rockefeller’s death, the house was demolished in 1938, yet some furnishings, large-scale architectural elements, and three interiors were preserved, and the rooms were donated to local museums by John D. Rockefeller Jr.

This side chair of satinwood and purpleheart, one of a pair, is part of the suite (2009.226.1–.4) that furnished Worsham’s elaborately decorated dressing room, one of the preserved interiors now installed in The American Wing (Gallery 742). These objects were part of a decorative program that encompassed every aspect of the room, including the architectural woodwork, lighting, stenciled wall-treatment, painted ceiling and frieze, textiles, and other furnishings. On the chair’s back, the marquetry decoration of grotesque masks and vines echoes the ornamental motifs in the dressing room’s architectural woodwork. The overall form is light and rectilinear. The tapered front legs with cascading bellflowers channel the spirit of English Neoclassical designers such as Robert Adam and George Hepplewhite. It rests on castors, allowing it to be moved easily within the room.

Although few objects can be attributed to George A. Schastey & Co., the high quality of their work – as seen in this fine example – was comparable to other prominent firms of the Gilded Age, including Herter Brothers and Pottier & Stymus. At its peak in the early 1880s, the firm employed at least 125 people in its workshops. Their distinctive designs are steeped in Renaissance sources with flourishes from the Islamic world and the British design reform movement.

The MET (Accession Number: 2009.226.3)

[history-of-fashion]

ab. 1770 Attributed to Strickland Lowry - Young Woman in an Elegant Interior

(Huntington Library, Art Museum, and Botanical Gardens)

[retropopcult]

"Marshall Field estate at Lloyd Neck. Interior view of polo stables." Photographed at Huntington, Long Island in 1933.

Marshall Field III's home wasn't just an estate, but a self-contained community. Built by architect John Russell Pope on 2,000 Lloyd Harbor acres -- the largest of the country tracts -- the Chicago-department store heir's 1925 compound included a working dairy farm with a herd of Guernsey cattle, stables, docks, cabanas, power plant and 25 miles of internal roads.

It should be noted this photo was taken during the depths of the Great Depression and millions were living under bridges, in boxcars, Hoovervilles, waiting in soup lines and sleeping in doorways. The horses of Marshall Field enjoyed living conditions many humans would have found luxurious at the time.

[grandmaster-anne]

Gone to rack and ruin?

By Vice Admiral Sir Timothy Laurence | Published 29 July 2020

Country Life Guest Edited by HRH The Princess Royal

What on earth do you do with a ruined, but historically significant country house?

This is a question that plagues the average workaday heritage chairman, causing headaches, insomnia and occasional bouts of teeth-grinding. Here, I will use four examples from the English Heritage portfolio to illustrate the challenges we face. Country Life readers may have their own views about how we should deal with them; if so, I anticipate a flood of letters offering advice. Each site is different and no one solution fits all.

Kirby Hall

Kirby Hall in Northamptonshire was built in the 1570s by Sir Humphrey Stafford and, after his death, by Sir Christopher Hatton, Lord Chancellor. This magnificent house shows all the creative energy and architectural innovation of the first Elizabethan age.

In the 17th century, it hosted five royal visits and boasted one of the finest gardens in England. After four generations of Hattons (all called Christopher in that charming, if rather confusing, English way) it passed to the Winchilsea family, who lived there until the 1770s. Abandoned in the 1830s, it is now roofless, but retains enough of its form for us to imagine how astonishing it would have looked when first built.

John Summerson wrote: ‘The beauty of Kirby’s decline is that it was private and without violence. The house was never burnt, ravaged, used as a quarry or assaulted by mobs.’ English Heritage looks after buildings that suffered exactly those fates, but because Kirby was spared all of them, one can still appreciate there the romance of a lost grandeur.

What should we do with it? The Ministry of Works in the 1960s did its usual thorough, if, by current standards, a little over-zealous, conservation job. Part of the house is still roofed, but leaks are threatening the ceilings underneath. One proposal was to re-roof a further part of the house — the Great Gallery — and use it to display a collection of contemporary furniture, paintings and so on.

That idea has not yet passed the ‘value for money’ test. We are currently working on a modest new exhibition, which will be completed later this year. Major additional work would require a substantial funding package to match.

Sutton Scarsdale Hall

Sutton Scarsdale Hall in Derbyshire is another example of the rise and fall of a noble country house and is one of our greatest conservation challenges.

It was a Baroque masterpiece, built in the 1720s for the 4th Earl of Scarsdale using some of the notable craftsmen of the day. The splendid exterior stonework was carved by Edward Poynton of Nottingham; the Italian master craftsmen Arturi and Vasilli carried out the fine stucco decoration in the principal rooms, remnants of which are still visible.

The cost of the building over-stretched the Scarsdales — an all-too-familiar story, I’m afraid — and the house was sold in the 19th century to a local family, the Arkwrights. In turn, they were forced to sell in 1919 to a company of asset strippers.

Despite the fact that Lord Curzon’s 1913 Ancient Monuments Consolidation and Amendment Act had by then provided the Government with protective powers, many of the hall’s finely decorated rooms were sold off as architectural salvage.

Amazingly, some still survive, but sadly not in Derbyshire: three interiors are displayed at the Museum of Art in Philadelphia and a pine-panelled room is at the Huntington Library in California. The latter was given to the library by a Hollywood film producer, who had used it as a film set for Kitty in 1934. He had bought it from the newspaper magnate and collector, William Randolph Hearst.

More happily, the hall was saved from intended demolition in 1946 by Sir Osbert Sitwell. His descendants handed it to the nation in 1970.

The roofless hall stands proudly on a prominent hill, an important part of the visual landscape of the area and visible from Bolsover Castle across the valley. However, the exposed hilltop location and lack of protection from a roof or glazed windows make the building itself, and especially the exceptionally important plasterwork, acutely vulnerable.

We are currently spending considerable sums patching and making good, but, for a charity such as us, this cannot be a long-term solution. What should we do? One option would be to re-roof the whole hall — at huge expense. Another would be a partial re-roofing to cover the best areas of plasterwork.

A third would be to devise some form of tailor-made protection for the plaster-work in situ, but anything of this nature would have significant aesthetic impact. We have even thought of a private investor taking it over and turning it into a hotel or apartments. All options remain under consideration.

Witley Court

My third example presents a very different set of issues. A new house was built on old foundations at Witley Court in Worcestershire in the early 1500s, but eight generations of the Foley family (all called Thomas — rather proving my earlier point) progressively modernised the Tudor original in Jacobean, then Palladian style, enlarged the park, built a new parish church next door and, in the early 19th century, commissioned John Nash, the leading Regency architect, to remodel the house extensively.

In 1837, ownership passed to Lord Ward, later Earl of Dudley. During the Dudleys’ tenure, the house was transformed into a ‘Victorian palace’ in the Italianate style made fashionable by Prince Albert at Osborne.

The whole house and church were encased in Bath stone; a new wing and a conservatory were added. Among many additions to the gardens was the magnificent Perseus and Andromeda fountain, fed from a new reservoir in the hill behind.

As happened so often elsewhere, the estate began to be broken up after the First World War and, in 1937, a serious fire gutted much of the building. From then until it was taken into public guardianship in 1972, it was stripped of materials and vandalised, but, thereafter, it was stabilised and made accessible. The great fountain continues to operate for an hour each day and looks magnificent after a major restoration in 2004 and further work in 2016, the latter generously funded by Unilever.

Visitors can now enjoy the park and gardens and wander through the house, where the fire has revealed the various stages of its development.

There are no plans to re-roof the main house, but how can we enhance the pleasure of visiting the place and bring more of its history to life? For example, we are considering digitising the many excellent photographs of the interiors taken during its heyday, so that people can call them up on their mobile phones as they walk round.

We would like to refurbish the conservatory as a cafe. This would require expensive works to bring in services, yet those might enable us to produce more events there, following the very successful art exhibition held in 2019 — perhaps that was a harbinger of things to come.

Belsay Hall

Now, at last, for something with a roof — Belsay Hall in Northumberland. The site comprises three distinct, but related elements: a medieval castle, a 19th-century hall and, linking the two buildings, an outstanding garden. The Middleton family has owned the estate since 1270 and still lives nearby.

The hall’s designer, Sir Charles Monck, drew on the classical ideal he had seen on honeymoon in Greece and transposed the style of a Greek temple into an English villa from 1807 (Fig 6). Its sense of space, balance and rigorous architectural logic were unlike anything seen in Britain. Incidentally, Monck demolished the old village of Belsay on the site and rebuilt it in its current position outside the park — the sort of thing you could do in those days.

He deliberately quarried the stone for the hall in a way that left space for a unique garden, the ravines, pinnacles and sheer rock faces he created inspired by the ancient quarries of Syracuse, Sicily. The gardens still showcase the interplay between natural beauty and the sublime, between wild and tame, from natural woodland through the exotic-ally planted quarry to the more formal terraces and garden rooms near the house.

The family moved from the draughty castle to the new hall on Christmas Day 1817. Sadly, flaws in Monck’s internal guttering system led to wholesale infestation with dry rot. By 1980, when the family handed the buildings and garden into public guardianship, it was unoccupied, unfurnished and stripped of much internal wood and plasterwork. The silver lining of this cloud is that it is now possible better to appreciate features of its design. Standing in the beautiful central atrium,

it does feel more like a temple than a house. The windows are huge, allowing in plenty of natural light, and the acoustics are exceptional, thanks to the empty rooms, vast cellars and a network of flues.

Sound, light and empty space may hold the key to its future use; it is an ideal place for creative programming. We have in the past held innovative fashion and art shows there and have staged acoustic experiences, one with voices broadcast down the chimneys. There will, I am sure, be more of this.

We are in the middle of a major project, part funded by the National Lottery, which includes urgent conservation work, a full restoration of the gardens and a new cafe. The Middleton family and its trustees remain engaged, supportive and, I hope, appreciative of the promise of a new lease of life for Belsay.

These four examples illustrate the enormous technical and financial challenges we face with these and other houses. It’s not unreasonable to ask: why are we doing this? What is the purpose behind a heritage body preserving and/or conserving a building?

Well, we want the places to be informative — to tell us something about the people who built them, about their architectural style, about the people who lived in them or who visited them. It’s all part of explaining the story of England to current and future generations, not only to please or inform expert historians and architects, but to encourage a much wider body of people to see and enjoy our buildings.

From school groups (we host many) to local enthusiasts and anyone who has become fascinated by these places — perhaps after reading about them or seeing a Google arts fly-through online. We hope they will all want to see more, to learn more and enjoy (that word again) the experience.

We have to ask: should we preserve such buildings as they are now, strip them back to their original state when first built or restore them to how they appeared at the height of their glory? With our intact houses — such as Osborne, Apsley or Audley End — the answer is as self-evident as it is with a completely ruined castle or abbey: there really is no option. However, my examples here and others fall between those stools. There are no straightforward answers; we have to look at each on its own merits.

Total returns to past glories are rarely feasible, but allowing further decline is not in our DNA. More commonly, we seek to stabilise each place in a state of ‘sustainable conservation’ — a condition that we can maintain in the long term, avoiding costly repeated repairs. It is an evidence-based way of prioritising work according to historical significance, current condition and a better understanding of the specific causes of deterioration. Once in that state, the typical approach is ‘adaptive re-use’: bringing a building back to life by giving it new uses, which complement, rather than obscure the original.

Above all, these houses must be nurtured and loved so that they can tell their part of the story of England. English Heritage will do what it can, helped by the communities living nearby, many of which provide terrific support — and, perhaps, by the occasional generous benefactor.

[vintage-every-day]

October 12, 1933. Huntington, Long Island. Marshall Field estate at Lloyd Neck. Interior view of polo stables. Gottscho-Schleisner photo

[safefins]

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[the-huntington]

𝐻𝑒𝑟𝑒 𝐼 𝑠ℎ𝑜𝑤 𝑦𝑜𝑢 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑔𝑙𝑖𝑚𝑝𝑠𝑒𝑠 𝑜𝑓 𝑚𝑦 𝑃𝑎𝑟𝑖𝑠 𝐴𝑝𝑎𝑟𝑡𝑚𝑒𝑛𝑡. 𝐹𝑖𝑟𝑠𝑡 𝑜𝑓 𝑎𝑙𝑙 𝑡ℎ𝑒 𝐿𝑖𝑣𝑖𝑛𝑔𝑟𝑜𝑜𝑚, 𝐼 𝑙𝑜𝑣𝑒 ℎ𝑜𝑤 𝑡ℎ𝑒 𝑡𝑒𝑥𝑡𝑢𝑟𝑒𝑠 𝑐𝑜𝑚𝑏𝑖𝑛𝑒 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒 𝑚𝑎𝑡𝑒𝑟𝑖𝑎𝑙𝑠 𝑎𝑛𝑑 𝑑𝑖𝑓𝑓𝑒𝑟𝑒𝑛𝑡 𝑠𝑡𝑦𝑙𝑒𝑠 𝑎𝑛𝑑 𝑓𝑜𝑟𝑚 𝑎 𝑢𝑛𝑖𝑡, 𝑏𝑢𝑡 𝑜𝑛𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑚𝑜𝑠𝑡 𝑏𝑒𝑎𝑢𝑡𝑖𝑓𝑢𝑙 𝑡ℎ𝑖𝑛𝑔𝑠 𝑎𝑏𝑜𝑢𝑡 𝑡ℎ𝑖𝑠 𝑟𝑜𝑜𝑚 𝑖𝑠 𝑡ℎ𝑒 𝑣𝑖𝑒𝑤 𝑡ℎ𝑟𝑜𝑢𝑔ℎ 𝑡ℎ𝑒 𝐴𝑝𝑎𝑟𝑡𝑚𝑒𝑛𝑡. 𝑁𝑜𝑤 𝐼 𝑘𝑛𝑜𝑤 𝑎𝑔𝑎𝑖𝑛 𝑤ℎ𝑦 𝑖𝑡 𝑎𝑙𝑤𝑎𝑦𝑠 ℎ𝑎𝑑 𝑡𝑜 𝑏𝑒 𝑡ℎ𝑖𝑠 𝐴𝑝𝑎𝑟𝑡𝑚𝑒𝑛𝑡.🥂💋

[skyseoroundtable]

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Introduction:

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The Art of Interior Painting: Creating Aesthetic Masterpieces in Bellmore

If you’re looking to reimagine your home’s interior aesthetics, our interior painters in Bellmore are your trusted partners. We understand that every homeowner has a unique vision for their living spaces, and our experienced professionals are adept at translating your ideas into beautifully painted realities. From selecting the perfect color palette to utilizing the latest painting techniques, we ensure your home reflects your personality and style.

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When it comes to enhancing your home’s interior appeal, experience matters. All Pro Painting Co. boasts years of experience serving the Bellmore and Babylon communities. Our track record of delivering exceptional results speaks for itself, making us the preferred choice for homeowners seeking reliable and top-quality interior painting services.

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[gogmstuff]

1770s dresses (from top to bottom) -

ca. 1770 Young Woman in an Elegant Interior attributed to Strickland Lowry (Huntington Library, Art Museum, and Botanical Gardens - San Marino, California, USA), From tumblr.com/nellielcvetts/702005685477670912/history-of-fashion-ab-1770-attributed-to. Enlarged by half 796X1200 @72 249kj.

1774 Marie-Louise de Robien by Élisabeth-Louise Vigée-Lebrun (Musée Cognacq-Jay - Paris, France). From tumblr.com/sims4rococo76; fixed obvious spots w Pshop 983X1236 A72 412kj.

1777 Jeune musicienne by Élisabeth-Louise Vigée-Lebrun (location ?). From tumblr.com/sims4rococo76 1080X1196 @72 165kj.

Marie-Anne Révérend by Antoine Vestier (location ?). From tumblr.com/sims4rococo76 766X1000 @72 384kj.

[insomniac-jay]

DC OC | Jobs

Billie Sunday | Faerie: For the first half of her story, Billie is a junior at Huntington Beach High. Once she graduates, she goes to Miami to study medicine and become a doctor.

Jahzara Nwadike | Fatale: Jahzara primarily works as a vigilante then becomes a lawyer as an adult (idk if I would also make her a student bc idk how old Duke is supposed to be).

Vicia Lopez | Crimson: Vicia works as a trucker to support herself as she goes through trade school to become a mechanic.

Greynasha Wiley | Crypt: For a majority of Nyctophilia (Back From the Dead), Greynasha is a student at Ernest Hemingway High. After graduating high school, Greynasha becomes a freelance graphic designer.

Sophia Evangelista | Angeknight: Sophia works as an interior designer at the Star City location of Nneka Nwadike's interior design firm. She eventually goes back to college and becomes an architect. During this time, she still works at the firm but leaves once she graduates.

Marietta Brooks | Glamor: Marietta is an actress, singer-songwriter, model, and TV personality. With how much she's doing, it's not a stretch to assume that she's got a lot on her plate. Nevertheless she's found a way to make time for school and education.

Venus Parks | Star Sapphire: Venus is a famous DJ with the alias DJ V.

Daliah Yukimura | Snow: Student at Saint Elias School for Girls and junior competitive figure skater. If DC would let YJ become adults then she'd be an Olympic figure skater.

Diandra Sykes | Virus: Diandra is an info broker and hacker. She never gives up this life even after she gets older and after her and Mia get together.

Flordelis Munoz: Flordelis works as a botanist at a local flower shop.

Sasha Ray | Wavedancer: Sasha works at an arcade until she heads back to her homeland. There, she is coronated as queen.

Elyon Morningstar | Pandora: After the war in Hell ends and it's safe for Elyon to leave the Titans, she goes to school and becomes a kindergarten teacher.

Lilith Morningstar | Hex: To avoid having to join the war in Hell, Lilith became the tech girl for the Outlaws. She goes on to become a programmer for Kord Industries.

@calciumcryptid @peachyblkdemonslayer @autisticichihime

[giokuehn]

Rose Garden Tea Room at The Huntington Botanical Gardens, San Marino, CA. Interior design in collaboration with DL English Design