Lost Art Press

Sometimes I think my taste in furniture comes from the fact that I’m easily startled. I’ll sometimes spit a mouth full of toothpaste onto the mirror when my wife appears behind me in the bathroom.

I don’t want to be alarmed or injected with adrenaline when I look at a chair, table or a sideboard because of its car-like surface finish, carving, inlay or dizzying grain patterns.

Furniture should be as natural as your fingers. Your hands are logical, unadorned and familiar. Yet when you choose to examine them closely you will be amazed at every aspect of their mechanics and form.

So when I look at furniture, I mentally divide what I see into pieces that are “red” and those that are “green.” This is all standard color theory stuff that you can learn about in an introductory psychology class.

Colors in the “warm” spectrum – red, orange and yellow – tend to excite us. Colors in the “cool” spectrum – blues and greens – tend to relax.

The first time I visited Winterthur Museum – Henry Francis du Pont’s amazing collection of high-style furniture from the entire timeline of American history – I felt like I needed a stiff drink afterward. While there are some fine vernacular pieces in the collection, the entire experience left me wrung out and on edge. That was a red day.

Seeing one carving by Grinling Gibbons inspires awe. Seeing an entire room of his work induces nausea.

I don’t mean to pick on Winterthur. It’s one of the most fantastic furniture collections on the planet. To be fair, I get the same unpleasant blood buzz in European castles and manor homes. There is only so much of the stuff I can endure.

Contrast that with my first visit to the Aiken-Rhett House in Charleston, S.C. The 1820 house is opulent in many ways, but much of that is muted by the fact that many rooms were empty of furnishings during my visit. For me, what’s most remarkable about the house are the slave quarters and work areas on the building’s ground floor. And the work yard.

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