We recently re-discovered a custom pair of our model R644 end tables and it got me thinking it might be fun to see how we have adapted the model over the years. Fortunately, we have images of some the various ways we have made this model for clients.
This black and white image below is of the original my grandfather made in the 1950’s with a Rouge Royale marble slab top over a single drawer with 2 drawer fronts and a partially enclosed shelf.
Above is a short video of Tony discussing Pichon pottery. Pichon à Uzes is a family owned factory founded in 1802 in the town of Uzes. The firm is still in business under Chirstophe Pichon, more information is available here:http://www.ceramique-pichon.com/ . In the video, Tony shares some examples of Pichon’s work from his own private collection as well as 2 pieces from our current inventory (http://www.fpvictoria.com/store/index.php/catalogsearch/result/?q=pichon&x=0&y=0)
What drew us to this potter was their wonderful mixed earth ceramics and use of color. Similar to the more well-known Apt ware (http://collections.vam.ac.uk/item/O256569/bowl-and-cover/), which is only about 100miles or so from Uzes in the south of France, Pichon combined different types of clay to create a “marbleized” look to the finished piece. Below is an example we owned previously of various cream, brown and red earths from about 1930.
Pichon à Uzes is truly adept in their use of earths in their ceramics. While some earths, such as greens, whites, browns, and yellows, are more commonly found in mixed earth pottery, Pichon was able add blues and reds. Below is a wonderful example from about 1900.
Here is what we love about Pichon à Uzes:
We had quite an exciting discovery last weekend - Tony found this old holiday card from Elsie de Wolfe to my grandfather, Frederick Victoria! It seems to be from 1950, and shows a super-imposed bust of Lady Mendl between her two dogs, all of which is supper-imposed on a, rather nice, marble mantel piece. Moreover, it confirms Elsie de Wolfe as a pioneer since she appears to have started photoshopping before the program even existed!
Here are some photos from the opening evening at our pop-up installation at The Silver Peacock last week. The pop-up is a collaboration between FPV and The Silver Peacock, so most of the furniture you see is ours, while most of the objects and linens are from The Silver Peacock. With all the pieces we brought in and the abundance of items already there, the whole effort could have easily fallen into chaos. But we were very fortunate to have the talented Christopher Boshears's eye to style and edit the space so harmoniously - not an easy task!
We promise to post more images, and perhaps a video, of the space itself soon! In the meantime, please come by and visit it for yourself if you are in town. The Silver Peacock is located at 1110 Park Avenue, between 89th & 90th streets, 212.426.2610.
Here is a pair of fountain-head sculptural masks listed as being from Chateau du Fontainebleau in the booth of the London-based deal, Daniel Katz, Ltd. Wonderful detail. Reminded me of our own, latter, bronze mask that you may recognize as our main image on Facebook.
This is the booth of NYC-based dealer Jim Elkins and Lost City Arts. In the front center there is a great, rare sculpture by Paul Evans, from very early in his career.
This really speaks for itself. A striking late Art Deco French lounge chair in the booth of NYC-based dealer Carolle Thibaut-Pomerantz.
The show runs through January 30th.
The last few weeks of 2010, as I try and think about what we might expect from 2011, reading the headlines alternating between recovery and recession themed stories has been frustrating. For every legitimate story evidencing the nascent recovery, there is at least one or more that cause me to pause. Most recently, the holiday shopping period was generally considered successful and stronger than last year, but how much of this was due to steep discounting is hard to tell. Is this really a sign of economic strength or is it an illusion created by significantly reduced prices?
There are some encouraging metrics that support the recovery side of the debate. As of October, disposable income and personal consumption were both up slightly less than 4% year on year, and consumption of durable goods was up 8.5% year on year (according to the Bureau for Economic Analysis). All this while inflation is hovering around 1%. Consumers are also continuing to reduce their overall debt levels.
But on the negative side of the ledger, there is relatively high unemployment, which no one expects to substantially improve any time soon; relatively tight credit; and seemingly no pricing power. So we have something happening that intuitively is not what you’d typically expect: significant areas of weakness along with pockets of legitimate strength, sometimes in areas that you would expect to be dragged down by that same weakness.
Discounting has been especially interesting in the luxury market. Technology and mobile phones have made price information and comparison a reality and sites like Gilt and One Kings Lane have made high priced luxury goods available at bargain prices. Both of these trends have helped blur the line between luxury and ordinary. So if luxe and ordinary goods are closely priced, are mass market consumers “trading up” while luxe goods are “trading down”? I am betting that when anybody gets a luxe good at discount they still feel like they got a “deal” and value for their money.
That people are more careful with their money today is a foregone conclusion. But that does not mean they are not spending it. In fact, spending on “luxury goods” is at or above pre-Recession levels based on studies by American Express and Bain & Co (stories here: http://www.luxurydaily.com/luxury-sector-sales-rebound-to-historic-high-of-2007-bain/ and http://www.luxurydaily.com/luxury-spending-higher-than-pre-recession-levels-american-express/ )
So just like in the broader economy, we have a bifurcation taking place between strength and weakness, or in this case “true” luxury goods and discounted or mass market goods where luxury goods that can establish their authenticity and value actually have some degree of pricing power. The difference now is people need to understand the value behind a good versus the branded image it is trying to portray. More like an informed and discerning demand vs. conspicuous consumption.
When prices between luxury and ordinary goods are blurred and both high-end and mass market consumers are justifiably taking advantage of discount pricing, the way for a luxury good or service to set itself apart will be to clearly establish its superior quality and originality. If price does not set a luxury good or service apart from their mass market counterparts, then what does? The intense creative development process and an uncompromising attention to detail and quality.
Ironically, how companies convey this will be thru the same medium that this shift to quality is moving away from – the brand. However, instead of the superficial, carefully manufactured brand of the 1990’s, companies will need to let clients into the creative process so that they can see the brand is an accurate reflection of what the company produces. If you want to be associated with quality and authenticity, then clients need to see this in what goes into making their good and throughout their experience with you. Thankfully, the same technology that has made price comparison so easy makes other types of information also available, including information to help them discern luxury versus ordinary.
So, how are we preparing for 2011?
We plan to reinforce our attention to our clients and their experience with us from the first phone call or web visit, through development, and after their purchase or project is complete.
We plan to continue with introducing our own in-house line of limited edition pieces and signature items.
We will continue and broaden our efforts to illustrate to clients our development process and the craftsmanship and level of detail that we put into our pieces.
Hello! We have taken far too long to put this next batch of videos together, but we are happy to finally have one for you to see.
This video is the first of a three part series we are devoting to upholstery. All too often these days, we find chairs that have had some foam thrown on a frame, with some fabric haphazardly stapled over it, accepted as standard practice. Upholstery is truly an art and can, without a doubt, make or break a chair. We have divided the series into "Upholstery Styles and Appearance," "Upholstery Trim," and "Upholstery Construction." Three short video clips certainly aren't enough to cover a broad topic like upholstery, but we hope it will help remind us all of what to look for in high-quality upholstery and how upholstery can enhance the unique character of a piece.
We hope you enjoy the first video on Upholstery Styles and Appearance.
One thing keeping us busy was a trip to visit Todd Romano's new showroom in Los Angeles, which is carrying a few of our pieces. Todd has done a magnificent job with his new space, which includes 2 buildings and an outdoor courtyard and walkway! He has finished the walls of each of the rooms in a different color high-gloss lacquer style finish and even built out a wall for a faux fireplace which he covered in antiqued mirror (on which, I am proud to say, hangs our Faceted Serge Roche style mirror). Todd has brought the same attention to detail and refinement to his new showroom as he does to his inventory selections and decorating jobs.
Todd is in the process of re-doing his website, which will include the new showroom. But until it is ready, here are some snap-shots I took. Enjoy!
Todd Alexander Romano
930 North La Cienega Blvd
Los Angeles, CA 90069
(310) 855-1280
The development of this table has been a bit of an odyssey and a learning experience for me. Believe it or not, we starting working on this table in 2008!
Perhaps “knock-off” is the wrong word to use. It is clearly a bergere form, whereas the back of ours is open. Plus, the original chair was not our design anyway (I believe we are perhaps the only firm with patterns based on the 1870's Napoleon III original, however) and “knock-offs” are a part of this business anyway. What shocked me was the price. The bergere was selling for about $2,000 in the store. 
But at some point you have to ask, does the client signing the check care? Would they rather have the more expensive, detailed example of fine craftsmanship, or would they prefer the inexpensive example that gives a similar idea of the original?
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