Oliver M. Furth contains many striking elements. First, though, the backdrop: To offset his collection of art and antiques, he went with a bold choice, Regatta Blue by Benjamin Moore Pratt & Lambert. He explains, "The room is rather dark, as it faces into a courtyard. So I went with that bright, bright peacock blue. I used a black primer underneath, in order to both tone down the intensity and heighten the richness of the color,"
The ceiling is enveloped in Oliver's go-to color for low ceilings: Snow Goose, again by Pratt & Lambert. He describes it as a very pale blue bordering on a cool white. "Cool colors recede, so this makes the ceiling appear to be taller than it actually is," he adds.
For the doors shown here, as well as all the doors throughout the apartment, he mixed his own color inspired by a specific blue that Parisians often use to paint their front doors. In Oliver's mind it's a close relative of navy blue, but with less black in it. The trim is Pratt Lambert's Silver Lining.
[Doors in Paris photographed by dicktay2000.]
In case you're wondering what he means by cabinet 'carcass,' he means that the piece would have gone on to have veneer applied, but for some reason never made it to that stage. Oliver told me that he was drawn to the rawness, especially on such a sculptural shape. This Louis Philippe cabinet came from dealer Christopher Chew.
Keeping in mind Oliver's background, and his approach to mixing high and not-so-high, I thought it would be interesting to identify most everything in the room:
The 18th-Century Italian walnut arm-chairs were purchased from Christie's, at the estate of Oliver's late mentor, Greg Jordan. "He had bought them in Paris in the early 1990s. They were in his former New York apartment, and then in his Los Angeles office."
The 1940s lamp has a sort of a faux porphyry finish, with little mirrored panels in the base. And on top of the chest are several pieces of Imari porcelain. To the immediate left of the window is Nautilis, a radiograph by Albert Koetsier. Further to the left is Wall Street, a 1915 photograph by Paul Strand, and underneath that is an anonymous etching found at a flea market.
Oliver describes his dining chairs as inexpensive reproduction Chinese Chippendale-style. He had them upholstered in acid-green wool/silk fabric from Prelle. The 1970s table is by Paul Evans. "It's his signature brass tile top, with bass wrapped in chocolate-brown leather."
While he keeps the art books in the PB bookcases lacquered in an olive-ish green color, design and architecture titles stay in his office and fiction is in his bedroom. The paper lantern is by Isamu Noguchi.
To see much more of Oliver's place, stay tuned to the Balustrade and Bitters blog or visit the B and B Encyclopedia described in the previous post.