To make the oak pantry appear much older than it is, Modern Heritage incorporated turned details, beadboard paneling, and leaded-glass panels.
This New Hampshire pantry was inspired by the all-wood pantries common in New England during the early 1900s.
“When a kitchen is so visible from the rest of the house, it’s nice to have another space where food can be prepped and dishes can be stacked,” says architect Christopher Hall.
The pantry supports the main kitchen during a party but also functions for everyday use—especially for the clients’ children, who can easily grab their own snacks and dishware.
The other, a working island, has prep space, a sink, and barstools for casual dining.
The kitchen contains two islands: one features stained white oak and soapstone and is built for entertaining, with beverage fridges, an ice maker, a bar, and plenty of countertop space for serving food and drinks.
Lighting is a critical component in any kitchen, and designer Meg McSherry chose a mix of classic pendants, aged-brass sconces, and art lights, all from Ann-Morris. “We wanted to warm up the kitchen with different finishes,” says McSherry. “When just the sconces are on at night, they create such a soft feel. It changes the mood entirely.”
The new archways in the kitchen match the historic architecture.
“The coffee bar is just as important as the cooking area,” says Venegas. “We even measured the particular coffee the client buys so it’s all laid out in the drawer.”
Opposite the wall with the range is a coffee bar complete with a sink, microwave, and storage for snacks.
The varied materials palette—which was inspired by a classic men’s suit—incorporates mahogany, burlwood, and painted charcoal cabinetry with brass and marble accents. The lighting is from Visual Comfort.
Interior designer Ana Bonilla and kitchen designer Donna Venegas collaborated on this Brookline kitchen, transforming what was historically a working kitchen for support staff into a custom kitchen that reflects the rest of the highly detailed 1905 Tudor Revival residence.
he kitchen opens to the family room, which has a similar palette and includes cabinetry with the same metal mesh doors that appear in the kitchen.
The clients requested a coffee bar.
Interior designer Anne Rubin worked with kitchen designer Melinda Guglietta of Bespoke of Winchester on the layout and organization of the long, narrow space.
The starting point for the kitchen was Kelly Wearstler’s Liaison Hillcrest floor tile for Ann Sacks, customized with Arabescato, Nero Marquina, Silver Ebru, Verde, and Grigio Carnico accent tiles.
Photograph by Bruce Rogovin
Photograph by Michael J. Lee
Photograph by Peter Vanderwarker
Shop owner Carolyn Piccirelli stands at the ready behind the flower bar.
Fluted plates from Amsterdam each feature a wildflower portrait.
Because mantels often pose a design challenge for customers, Piccirelli loves to offer accessorizing hints in the shop.
A vintage hutch filled with candles and artichoke sculptures provides “a snapshot of how we do things at Honeychurch Home,” says Piccirelli.
The milky glaze of a handmade footed bowl from Japan accents a white pumpkin.
Inspired by Dutch tulip vases, an innovative stem vase from Italy displays a grouping of ranunculus.
Birds perch on a whimsical ceramic bowl from Malta.
Stools from all eras surround a vintage French table holding a prewar Hungarian scale and other goodies, while cut flowers wait to be composed into bouquets.
A display of gift items and bedding from Matouk at Margo Moore.
A custom chair upholstered in a nubby carpet complements A Little Moore’s signature floral wallpaper.
The inviting exterior of A Little Moore at 25 Main Street lures shoppers.
Clients meet in the second-floor design studio where fabric samples are at the ready.
Cheerful bedding from Pine Cone Hill tops a classic bobbin-style bed.
A Cowtan & Tout wallpaper provides an elegant backdrop for painted furniture, a sofa from Lee Industries, and a navy leather chair influenced by midcentury modern design.
Margo Moore is located at 74 Elm Street, just up the hill from Camden’s town center.
Megan van der Kieft Carozza, owner of Margo Moore and A Little Moore, leans against a wall adorned with Ralph Lauren’s Shipping Lanes Map wallcovering. The paper depicts Maine locales.
Conti chose the Clarence House wallpaper in the bathroom for its brushstroke pattern.
Beyond the puzzle table, a barn light illuminates a sliding door that hides the attic’s only remaining unfinished space: the closet containing the HVAC system.
Labrecque can perch on a Pierre Frey-upholstered sofa and stream guitar lessons on the big screen above the Flare double-corner fireplace.
Mosaic stone tile from Artistic Tile on the kitchenette backsplash references paint cans stored nearby. The countertops are soapstone for easy cleanup.
Conti designed the bathroom’s barn doors, which glide on Emtek tracks, to echo the custom metal stair balusters. Colonial Bronze in Connecticut made the leather-wrapped brass door handles.
Homeowner Elaine Labrecque collaborated with Steven Adam of Platt Cabinetry on a wipeable workstation with double-tiered drawers for her pastels and custom canisters for her paintbrushes.
To access built-in shelves above the curly-maple computer desk, interior designer Sage Conti devised a rolling library ladder.
railblazing Women Printmakers, by Elena M. Sarni, was released in August.
Little House by Virginia Lee Burton features a motif she also used for a children’s book.
Zaidi and Her Kittens, by Virginia Lee Burton, reflects the group’s focus on the pleasures of their immediate world.
Blueberry Hill, by Mary Maletskos, shows a blueberry-picking expedition.
Aino Clarke’s Musicale design, block printed on a skirt.
The artists (wearing Folly Cove designs) stomped on the blocks to print them before they acquired presses.
Deciduous by Peggy Norton.
Deciduous by Peggy Norton. Gossips, one of Virginia Lee Burton’s most popular designs.
A jury of the more experienced designers had to approve the designs before printing, thus establishing and maintaining the quality.
A block print of an exhibition at Folly Cove’s retail barn, which were wildly popular events.
Some of the artists at the barn circa 1949, with Virginia Lee Burton at far right.
My Friday by Aino Clarke. Mostly mothers, the artists drew from their daily lives.
An abstract white painting above the bed acts as a “resting point for the eye and breaks up the pattern,” notes Shadrick.
A California Closets system, concealed by a matching custom curtain, maximizes storage.
In the bedroom, Shadrick took a more traditional tack and covered the walls in Lewis & Wood’s damask-like pattern Pomegranate Fresco; a RH mirror at the foot of the queen bed reflects the Charles River back into the space.
The abstract artwork in the living room is a vintage piece Shadrick scored at Ramble Market in Waltham, Massachusetts. “It fit the loose nautical theme,” she says, and complements the condo’s overall palette of blues, grays, and whites. The wall sconces, though new from Visual Comfort, nod to the past.
Shadrick searched high and low for swivel stools with a back that can still tuck under the counter to save space (they’re by McGuire for Baker); “I like them so much I bought them for my own kitchen,” she admits. The custom sliding door on the far wall conceals a washer and dryer.
Designer Meghan Shadrick reimagined the previously all-white high-gloss kitchen. “It needed a wood tone,” she says of the walnut base cabinetry. “It’s subconsciously nautical.”
The living room, which peers out to the Charles River, is anchored by a pair of sofas from Highland House and two swivel chairs from Ambella Home Collection. The walnut coffee table is from Room & Board and the chandelier above is a vintage find.
The circa-1790 shingle-sided barn houses Nicola’s Home, Manganello’s design collective.
Manganello’s bath contrasts a zellige mosaic from Tiles of Lucca on the wall with Waterworks marble tiles on the floor.
The powder room’s whimsical wallpaper is from Pierre Frey; its vessel sink, from Made Goods, sits on dramatically figured stone.
A Torrie Dorsey painting, also from Moss Galleries, hangs above a Hickory Chair bed, which features a mix of patterned pillows and linens, in the primary bedroom.
Daughter Maeve’s bedroom gets a graphic punch from an overscaled floral wallpaper from Anthropologie and an ABC Carpet & Home area rug. The bed is from Thos. Moser in Freeport, Maine, and the chest is from Noir Furniture.
A guestroom showcases a leafy Schumacher wallcovering, a quirky lamp from Anthropologie, and an armchair from Hickory Chair.
In the living room, two large abstract paintings by Geoffrey Dorfman, purchased through Moss Galleries in Portland, Maine, hang behind extra-wide chaises from CR Laine. The chaises sit on a Stark area rug layered atop a Stanton braided-wool carpet.
Two white-washed white-oak islands topped with Vermont Danby marble anchor the kitchen with its Blu Dot Laika pendants and barstools from Crate & Barrel.
Heatsail pendants warm the three-season porch, which features a swing from Lowcountry Originals and a driftwood mirror from Currey & Company.
The breakfast area combines a chair upholstered in one of the quilts Manganello designed for Garnet Hill, an antique Swedish settee, and midcentury modern-style chairs.
A mudroom boasts plumbing fixtures from Waterworks and a standout soapstone farmhouse sink.
The front entrance and porch were added in 1990.
Manganello and Vinnie on the side porch next to a pair of Sebastian Herkner for Dedon MBRACE rockers.
In the dining room, designer Nicola Manganello repurposed old shutters as doors for built-in cabinets. The Chinese bamboo chair is from Chairish, while the others, which Manganello refinished, came with the home. A chandelier from Arteriors hangs above it all.
Manganello’s dog Vinnie greets visitors at the four-foot-wide front door.
Just inside the barn’s entry is a chest from Sarreid Ltd., a custom sisal rug, and a table found at Brimfield Antique Flea Markets stacked with wool blankets woven in New England.
In the daughter’s primary bedroom, muted seaside colors echo the exterior palette.
In this Watch Hill, Rhode Island, home, large communal spaces alternate with more intimate rooms like this library, whose bookcases are backed with an embroidered fabric from Schumacher that’s also repeated on the pillows.
The pool and spa overlook the twelve-acre property, which includes a pair of ponds and views of the ocean beyond.
A covered living space adjoining the pool features a sink and refrigerated drawers concealed behind sliding doors; showers and a bathroom are tucked in the rear.
The library’s book-lined window seat frames ocean views.
Visual Comfort pendants illuminate the leathered-granite countertop on the kitchen’s oak island.
A girl’s bedroom is bright and whimsical but sophisticated enough to age with the child.
In the game room off the library, a custom table and Serena & Lily chairs rest on character-grade engineered oak from The Hudson Company.
An outdated home from the 1980s was demolished to make way for this new Shingle-style house designed by Arthur Hanlon, Bayard Cutting, and Matthew Lopes of Shope Reno Wharton.
Wave-like scrollwork adds a nautical touch to the entry hall staircase; the vintage table sits atop a rug from Landry & Arcari Rugs and Carpeting.
Oak inserts installed in different directions animate the coffered ceiling in the dining room, where contemporary rattan-back chairs from Brooke & Lou are paired with flouncy upholstered seats under a Visual Comfort chandelier; the art consultant was Hadley Powell.
To maximize storage, the steps double as drawers.
Guest rooms are augmented by a bunk room over the garage, where a pair of Serena & Lily hanging chairs permit views in either direction.
The ombré effect is repeated in the room’s watery wallpaper.
Motorized ombré blackout curtains surround a window bay in the son’s primary suite; the chandelier is from Visual Comfort.
Vanities painted Benjamin Moore Gunmetal are paired with mirrored walls concealing medicine cabinets.
The terrace is accessed from the dining area.
Interior designer Jon Hattaway worked with Steven King Decorative Carpets to design the stair runner, a compilation of three Chinese art deco rugs strategically cut into pieces and reassembled. “It set the tone for my entire design,” says Hattaway.
The primary bedroom opens to a sleeping porch, a favorite spot for the homeowner to read a book or take in ocean sunsets.
A rear view of the exterior highlights the new terrace, which provides the second-floor bedrooms with their own outdoor deck.
A mix of patterns—the bed frame is upholstered in Schumacher and that’s a Pierre Frey fabric on the duvet—creates a soothing sense of harmony in the primary bedroom.
The brick floor extends beyond the dining area to the terrace, where the sky is flush in the pink aftermath of the sunset and the fieldstone fireplace stands ready for an evening fire.
A coffered ceiling inset with anaglypta lightens the once-dark living room. The blue-red of the Verellen sofa and chairs from Artefact Home|Garden plays to the orange-red tones of the original fireplace. Jim Anderson Stained Glass custom designed the window. Far left: Architectural designer Jennifer Birnstiel modeled posts and brackets on the front porch after Felsted, the 1897 Maine summer home built for Frederick Law Olmsted.
Brick floors in the dining area and butler’s pantry reflect the home’s casual sensibility. The pantry and kitchen cabinets were built by Nine Points Woodworking and finished by Wayne Towle Master Finishing and Restoration.
The kitchen eating area blends an American primitive rack on exposed brick painted white with a pedestal table and chairs from West Barnstable Tables.
Architectural designer Jennifer Birnstiel modeled posts and brackets on the front porch after Felsted, the 1897 Maine summer home built for Frederick Law Olmsted.
Red-and-white gingham-pattern chairbacks are a playful signal that this is a laid-back place. The scene on the canvas screen depicts the phases of the moon.
In the den, muralist David Faust painted each panel with a scene from nature, overlaying some with favorite quotes.
A chaise longue on the sleeping porch is upholstered in Ecole Chinoise by Brunschwig & Fils, a pattern found throughout the primary suite. The wall is new beadboard, an element that adds to the casual vacation house vibe.
Once a porch, the first-floor guest suite has a vaulted ceiling, painted floor, and views of marsh and sea.
Both the primary bedroom and bath have stenciled walls hand-painted by artist David Faust in a reed-and-shell motif that recalls cattails found in saltwater marshes.
In the wife’s third-floor office, which is wrapped in vibrant geometric wallpaper by society6, a small settee tucked under the eaves offers a space for repose.
The design team treated the main stairway, with its custom Stark stair runner and Tom Dixon pendants, as an objet d’art.
Landscape architect Ryan Wampler says the backyard was “about creating a series of intimately scaled ‘rooms’ that support the family’s needs for a flexible indoor-outdoor lifestyle with a garden that acts as plinth for the restored home to stand prominently upon.”
The powder room off the mudroom is papered in Pierre Frey Otomi and tiled in a tomato-red Ann Sacks ceramic tile.
Prudential Lighting’s O pendants in vibrant primary colors—Interstate Blue, Sunset Red, and Orange Matte—make a statement in the playroom.
“The kitchen backsplash and the stairwell’s brass pendants make encore appearances in the butler’s pantry.
In the husband’s third-floor office, the design team preserved the defunct fireplace’s herringbone tile.
In what might be the moment that solidifies the theme of the home, the family room’s Missoni Trevi rug by Stark echoes the foyer’s colorful stair runner and stained-glass windows.
To marry old and new in the living room and brighten up what was once a dark space, interior designer Dean Sawyer replaced a carved oak ceiling with an elegant tray ceiling.
The original dining room morphed into a dazzling library with its drawn-plaster ceiling—an in-kind replacement of the original—and navy grasscloth-covered walls.
On the second-floor landing, the midcentury modern mirror is from West Elm while the half-circle sconces are from Lawson-Fenning.
To satisfy his clients’ craving for contemporary, architect Kyle Sheffield devised a glass addition in the back of the house that includes the kitchen, dining area, and family room. “This space is such an extension of them,” he says. “It really embraces the point-counterpoint dialogue between modern and traditional.”
Sawyer introduced pattern into the kitchen in the form of a Kelly Wearstler for Ann Sacks backsplash.
A Gothic brick archway, another original element, connects the third-floor offices with the kids’ playroom; recessed floor lighting keeps the space bright, even after the sun goes down.
Sawyer stripped the dark stain from the room’s original oak paneling to reveal how pretty it could be. Kate Spade for Visual Comfort sconces add modernity.
The Overlay Runner by Paul Smith for The Rug Company in the wife’s dressing room nods to the playful carpet on the central stairway.
“In a project of this scope, sometimes the minor details that were rebuilt to match the originals get overlooked,” says builder Jim Youngblood. He points to the facade’s ornate copper leader heads as an example.
2267 Gary McBournie 40 Shakemo Rd
2267 Gary McBournie 40 Shakemo Rd
Twin stainless-steel refrigerators give the space an industrial flavor. A glass front with an X detail in the upper cabinets echoes the X base of the kitchen stools.
The open kitchen holds a spacious breakfast area with a scratch-resistant table and faux leather chairs for easy cleanup.
The tall bank of white oak cabinetry houses the refrigerator, a microwave, lots of storage cupboards and drawers, and an appliance garage.
A wide pocket window above the sink slides away to forge an indoor-outdoor connection.
A Westport kitchen’s white palette gets a warm boost from oak lower cabinets and black accents, including Kelly Wearstler pendants. For a clean, modern look, designer Merrin Jones went with a waterfall island in white quartz and kept cabinetry details to a minimum.
The black pocket door leads to a well-stocked pantry. White-oak floors and lower cabinets add depth to the white palette.
Gaelle Dudley’s subtly eclectic design incorporates classic farmhouse, modern, and industrial elements in this Southport kitchen. Against a backdrop of slick Enigma white-quartz surfaces, she added texture with the shiplap oak hood, woven-rope island stools, and bell lights that look like cast clay.
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