How an ‘appetite for the best’ fuelled the Rothschild family’s renowned collecting style

Since the 19th century, the Rothschild name has been synonymous with a world-class collection of art and objects, characterized by an unparalleled taste and approach to collecting that continues to influence today. Baron James Mayer de Rothschild and his wife Betty meticulously curated their residences in Paris and the grand Château de Ferrières, filling them with treasures that rivaled the most opulent European courts. The interior design at Ferrières was largely orchestrated by Eugène Lami, considered the first modern decorator. Lami's aesthetic, a blend of historic styles from the Renaissance to Rococo, prominently featured marble, gilding, and ornate textiles, creating dramatic yet comfortable spaces that served as both showcases for their patrons and functional living areas. The Rothschild interiors established a stylistic benchmark for the era, built upon the concept of the _kunstkammer_—the treasure houses prevalent among German Renaissance princes. This foundational approach led to what is now known as _le goût Rothschild_, a style distinguished by an exceptional sense of sophistication and comfort, deeply rooted in global curiosities, French decorative arts, and Old Master paintings. The Rothschilds were known for showcasing their extensive collections within luxurious, impressive, yet comfortable homes. However, their 'goût' was not solely about extravagance; it was primarily about discerning and acquiring the finest works of art, appreciated for their historical and cultural significance. This sumptuous and erudite style permeated generations and various branches of the Rothschild family. Upcoming sales, such as 'Rothschild Masterpieces' at Christie’s in New York, will offer a diverse array of objects embodying all facets of this celebrated aesthetic. This marks the first North American auction of the family’s esteemed collection, providing an opportunity to acquire rare pieces that have shaped this iconic style. Central to the Rothschild collection was the _kunstkammer_, or cabinet of curiosity, which emerged in the 16th century as spaces dedicated to exotic and notable objects. The Rothschilds emulated Renaissance princes by creating their own, such as Alphonse’s room of curiosities in his Parisian _hôtel particulier_. This room housed Limoges enamels by renowned artisans like Léonard Limosin and Pierre Courtoys, Renaissance ceramics including Italian maiolica, an exquisite suite of Sèvres porcelain, and Dutch silver. The Rothschilds consistently sought out the finest examples, including significant pieces of Hispano-Moresque pottery and Italian maiolica from the 15th and 16th centuries, often with royal or noble provenance, as evidenced by coats of arms. The collection also includes unique items that reflect both historical importance and a sense of amusement, such as a covered bowl for a new mother or a whimsical ewer in the form of a harpy. Another notable piece is a silver-gilt mounted Nautilus Cup from 1607, one of only six recorded Delft Nautilus cups, showcasing the beauty of the shell in an ornate goblet form, made popular by expanding Asian and Middle-Eastern trade routes. The furniture within the collection epitomizes the Rothschild interiors' signature blend of sophistication and comfort. They favored 18th-century French craftsmanship and a distinct '_goût tapissier_', or taste for fabrics. This is exemplified by a needlepoint-upholstered slipper chair from around 1860, adorned with a crowned ‘R’ for Rothschild. Lavishly upholstered in crimson damask with tasseled fringe, it also served a practical purpose, designed without arms for easy access to the sitter's feet. Provenance was paramount to the Rothschilds, and their collection boasts items previously owned by prominent families and royal households. This includes a pair of fauteuils commissioned by Madame du Barry, Louis XV’s last mistress, from Louis Delanois, a leading _menuisier_ of his time and an early adopter of the neoclassical style. Delanois’s works for du Barry are also displayed at Versailles. The collection further incorporates Old Master paintings by artists such as Gerrit Dou, Adriaen van Ostade, and Aelbert Cuyp, illustrating a continuous tradition of collecting. Alphonse expanded upon the categories initially curated by James and Betty. Adriaen van Ostade’s 1658 painting, _Peasants smoking, drinking and playing games before an inn_, highlights the Rothschilds’ appreciation for artistic refinement and esteemed provenance. This work, appearing at auction for the first time in over a century, has a distinguished ownership history, including successful merchant Gerrit Braamcamp, politician Pieter de Smeth van Alphen, and the Leuchtenberg Collection before its acquisition by the Rothschilds. The Rothschild collecting habits were defined by an appreciation for virtuosity, discernment, and a profound understanding of historical context. This enduring style has influenced prominent American families like the Vanderbilts and Morgans, and contemporary figures such as Yves Saint Laurent. The upcoming series of sales offers modern collectors the opportunity to continue this distinguished legacy. #RothschildStyle #ArtCollection #DecorativeArts #EuropeanFurniture #OldMasterPaintings #Kunstkammer #ChateauDeFerrieres #LuxuryInteriors #CollectingTradition

In 2025, 'bookshelf wealth' has emerged as a significant interior design trend, elevating books beyond mere literary treasures to symbols of affluence, intellect, and refined personal style. This trend, gaining popularity on platforms like TikTok with millions of views, emphasizes the aesthetic and cultural value of well-curated bookshelves within a home. It's not just about owning many books but about showcasing them thoughtfully as part of a sophisticated living space, often alongside other tasteful decor elements such as sinkable armchairs, patterned wallpaper, sophisticated objects, and fine artwork. The core of bookshelf wealth lies in the deliberate curation and display of books. This involves selecting a diverse collection that reflects the homeowner's interests and values, encompassing everything from classic literature to contemporary art books. The quality and appearance of the books are also important, with an emphasis on beautiful editions, whether leather-bound or aesthetically pleasing hardcovers, chosen to add visual depth and act as decorative elements. Organizing these books can be approached in various ways, such as by color for a visually cohesive display, or by genre and author for practical accessibility. Achieving the bookshelf wealth aesthetic involves several key design principles. Custom shelving is often a foundational step, allowing for personalized and luxurious displays tailored to the space and collection. High-quality materials like rich woods, glass, or metal, along with integrated lighting, can create a seamless and sophisticated architectural look. Beyond books, personalizing the display with artifacts is crucial. This includes incorporating meaningful objects like travel souvenirs, vintage pieces, or family heirlooms, mixing textures and materials such as ceramics, metals, and wood, and adding decorative accents like marble bookends, gold or brass elements, and crystal decor. These items contribute to the narrative of the space, showcasing cultural depth and personality. Integrating artwork further elevates the design, with small framed pieces or prints propped on shelves or leaned against the back. Larger artwork can even be hung directly over the shelves, balancing proportions to create an artistic blend of literature and visual expression. Strategic lighting, such as LED strips, spotlights, or statement lamps, is essential for highlighting the books and decorative items, creating a warm and inviting ambiance. Finally, comfortable and opulent seating, like velvet armchairs or chaise lounges, coupled with soft, textured textiles such as throw pillows, blankets, and rugs, transforms the area into a cozy reading nook that embodies both style and substance. Regularly rotating and refreshing the display with new books, artwork, or seasonal decor helps maintain the dynamic and interesting nature of a bookshelf wealth arrangement. #BookshelfWealth #InteriorDesignTrends #HomeDecor #Bookshelves #LuxuryInteriors #PersonalizedDecor #HomeLibrary #CuratedBooks #DesignElements

The passion for collecting within the Rockefeller family, particularly for Chinese porcelain, spanned multiple generations, much like their tradition of philanthropy. John D. Rockefeller, Jr., son of the dynasty's founder, developed a significant interest in Chinese porcelain. His first major art acquisition in 1915 involved 65 pieces from J.P. Morgan’s collection, which included tall Kangxi-period ‘beaker’ vases prominently displayed in the family's Manhattan townhouse. John D. Rockefeller, Jr. was also drawn to high-quality Chinese export porcelain, specifically a pattern then known as ‘palace ware.’ This pattern is characterized by rich decoration, extensive gilt borders, and intricately enameled Chinese court scenes, each of which is unique. John D. Rockefeller, Jr. began acquiring pieces of this ‘palace ware’ in the 1920s, assembling a nearly complete dinner and tea service through esteemed dealers like Alfred Rochelle Thomas of London, J.A. Lloyd Hyde of New York, and Yamanaka of New York. This porcelain collection was initially used in the 54th Street house and later moved to the family's apartment at 740 Park Avenue, where it was featured in a 1930s photograph of the ‘China Room.’ Following his father’s death in 1937, John D. Rockefeller, Jr. and his wife, Abby, brought the ‘Rockefeller’ porcelain to Kykuit, the house built by his father in the Pocantico Hills. After John D. Rockefeller, Jr.'s passing in 1960, Peggy and David Rockefeller acquired a substantial portion of this service from his estate. The porcelain gained further prominence when dealer and collector J.A. Lloyd Hyde featured pieces from John D. Rockefeller, Jr.'s collection in his 1964 scholarly book on Chinese export porcelain. The collecting community took notice, and due to its association with the prominent American family, the pattern, with its lavish gilt and sepia borders enclosing unique Chinese figure scenes in colored enamels, became known as the ‘Rockefeller’ pattern. Peggy and David Rockefeller also inherited ‘Rockefeller’ porcelain from David’s aunt, Lucy Truman Aldrich, who shared a passion for both European and Chinese export porcelain with her sister, Abby Aldrich Rockefeller. Lucy frequently purchased pieces for both of them during her extensive travels. Peggy and David acquired seven pieces from Lucy’s estate in 1955 and later added eight more pieces at a Morton’s auction house in New Orleans in 1982, further expanding their already extensive service. This collection was displayed in a large bookcase cabinet in the dining room of their 65th Street townhouse. It is understood today that this ‘Rockefeller’ porcelain likely originated from three or four very large dinner services, produced at slightly different times in the early 19th century. Two of these are known to have descended through wealthy Scottish China trading families. The journey of this porcelain, from China to Scotland in the early 19th century, and its subsequent reassembly by two generations of Rockefellers over several decades, created a magnificent dinner service. The article concludes by imagining the service reflecting candlelight in the Rockefellers’ 65th Street house, surrounded by antique Chinese wallpaper, and contributing to the family’s entertainment of friends and family. #RockefellerFamily #ChineseExportPorcelain #DinnerService #PorcelainCollecting #DecorativeArts #HistoricalAntiques #ChristiesAuction #ChinaTrade #HomeDecor

This article explores how three Westchester homeowners master the art of chic collecting, blending formidable treasures and flawless taste to create truly livable homes rather than museum-like spaces. Each homeowner or couple showcases a unique approach to integrating extensive and diverse art collections into their personal residences. Karen Schlansky's Chappaqua home, which also functions as a gallery for her business, Rose Court Asian Antiques, exemplifies how Asian art can be seamlessly integrated into various decors. Her 1987-built "country barn" style home, characterized by wide-planked pine floors and exposed-beam ceilings, eclectic furnishings, and diverse collections. Schlansky's collection includes Tang Dynasty pottery sculptures, a third-century pottery lokapala, and Ming Dynasty musicians, which she skillfully mixes with contemporary furniture and art from other cultures like African masks and Southwestern paper collages. Her journey into antique dealing began with a passion for Chinese history and culture during her travels, leading her to establish Rose Court Asian Antiques in 1997. Initially, her gallery was in the lower level of her home, but she later moved it to the first floor to better demonstrate how the pieces would look in a living space. While most of her pieces are for sale, a cherished Qing Dynasty lacquered leather box, representing her family's leather business, remains a permanent fixture, symbolizing her past, present, and future. Dr. Lewis Shapiro and Linda Swanson, after downsizing from a rustic Briarcliff Manor home to a two-bedroom condominium in Trump Tower at City Center, faced the challenge of displaying their extensive global art collection. Their collection, which began in 1985 after Swanson acquired African art from Sotheby's, includes 20th-century wooden masks from Western Africa, thousand-year-old Casas Grandes pottery from Mexico, and antique Chinese snuff bottles. They enlisted Scarsdale interior designer Linda Blair of Blair Interiors Group, Ltd., who, as a collector herself, understood their desire to integrate art into their living space rather than merely displaying it. Blair designed the apartment with a neutral color palette of cream, beige, and caramel to highlight the art and used traditional yet comfortable furniture. Custom cabinetry in the living room showcases a range of their prized pieces, such as a painted gold Ashanti staff finial, a Kuba cub, and a Dan chimpanzee mask. A concrete pillar was transformed into a display for intricately carved Yoruba twins, and an illuminated niche in the entry foyer highlights ancient Roman artifacts, flanked by 16th-century French church columns. The entrance also features framed illuminated miniatures from Les Très Riches Heures du Duc de Berry, holding both artistic and sentimental value for Swanson. Blair's goal was to unify and organize their diverse collection, creating a livable space that avoided feeling like a museum. Marc and Denyse Ginzberg, homeowners in Rye, have transitioned from collecting African art to focusing on Ethiopian crosses. Their sleek, modern home, designed by Charles Forberg in 1993, offers spectacular water views and features custom-made shelves, antique armoires, and chests to display their collections. Initially, their collection included world-class African art such as ceremonial combs, hairpins, hats, sword handles, spoons, clubs, and whistles. After collecting for over 35 years and amassing an impressive collection of authentic African masks and sculptures, the Ginzbergs decided to sell their figurative works due to rising prices. They then shifted their focus to non-figural, abstract objects of use, known as "forms," which were featured in Marc's book, African Forms. After auctioning off a significant portion of this collection at Sotheby's Paris, breaking records for non-figurative African art, the Ginzbergs have now turned their attention to intricately designed Ethiopian crosses from the 12th to 19th centuries, composed of bronze, iron, wood, and silver. This new passion reflects their continuous engagement with collecting and their ability to identify emerging areas of interest in the art world, often ahead of museums and other collectors. #ArtCollection #HomeDesign #InteriorDesign #AsianAntiques #AfricanArt #EthiopianCrosses #ArtCollecting #DecorativeArts #HomeDecor

The thrill of discovering unique furnishings and the regret of missing out on a coveted piece are common experiences for interior designers, as recounted by nine professionals in the field. These designers share their personal anecdotes of both significant acquisitions and elusive 'holy grail' items, offering insight into the passion and pursuit involved in curating exceptional interiors. Will Meyer, a devotee of Danish design, recently acquired a Hans Wegner daybed but continues his quest for the perfect Papa Bear chair, an iconic piece he believes will eternally remain stylish. Amy Lau's 'big find' was a set of sculptural Dommus chairs by Joseph Walsh, which she commissioned for her New York apartment after a studio visit in Ireland, impressed by their handcrafted and expressive design. Pierre Yovanovitch expresses a long-standing desire for a rare and expensive Uno Ahren masterpiece, specifically his 1927 inlaid Mahogany Secretaire, admired for its flawless execution and unique Garden of Eden imagery. Nate Berkus laments multiple missed opportunities to purchase a Picasso ceramic owl. He first encountered one while working at an auction house in Chicago, unable to afford it then, and later saw others in Paris and on 1stdibs, observing its increasing value with each sighting. Miles Redd's most significant discovery is a mirrored bathroom by David Adler, found in a Chicago salvage warehouse. This unique piece, which he uses as both a bathroom and a dining room, holds special value due to its singular nature and the emotional connection it provides, making him feel as though he is 'inside of a diamond' every morning. Alexandra Champalimaud recalls admiring the Mattia Bonetti Rock dining table at a design fair, describing it as extraordinary and full of personality, but ultimately passed on it due to not having a suitable space. Martyn Lawrence Bullard shares an auction disappointment involving a Jacques Adnet Hermès Saddle leather daybed. Despite thorough research and a set budget, he missed the piece by two bids, regretting his hesitation and emphasizing the importance of passionate pursuit in auctions, as he has been unable to find a similar item since. Robert Couturier maintains a detached perspective on objects, viewing himself as a temporary owner and valuing history over intrinsic monetary worth. However, he holds a particular affection for a painting by Jean Baptiste Greuze depicting an angel. This piece, inherited from his great-grandfather and a constant presence in his grandmother's home, evokes profound memories of his upbringing and the love of his grandmother, offering a sense of 'bonheur' and timelessness. Michael Smith expresses his admiration for the Lovö chair, designed by Axel Einar Hjorth in 1932. He had bid on this dynamic and remarkably modern piece at auction but was unsuccessful, wishing he could have incorporated it into one of his classic yet modern projects. #InteriorDesign #FurnitureDesign #HomeDecor #Designers #LuxuryInteriors #ArtAndCollectibles #DesignStories #Acquisitions #LostOpportunities

CB2's new "Design Legends" collection offers authentic reissues of significant midcentury design works, making iconic pieces from designers like Gianfranco Frattini, Paul McCobb, Evelyn and Jerome Ackerman, and Bill Curry accessible to a wider audience. This collection differentiates itself from mere "inspired by" pieces by meticulously recreating designs based on unprecedented access to original archives and specifications, working directly with the designers' estates and families. Each item is crafted to the exacting standards of the originals, ensuring both aesthetic fidelity and the preservation of the designers' original intent. Key reissues include Gianfranco Frattini’s Portofino desk and Memoria lamp. The Portofino desk, a rare design potentially only produced for a private commission, has been recreated from a black-and-white archival photo with features like richly grained walnut, black powder-coated iron legs, and a champagne brass crossbar. The Memoria lamp, a 1961 design, is also reissued, addressing its prior elusiveness in the vintage market. Frattini’s Marconi tufted saddle leather sofa, originally designed for Restaurant St. Andrews in Milan, is also part of the collection, reimagined in full-grain saddle leather with period-authentic details. The collection also features Paul McCobb's Model 1201 Director white boucle accent chair, originally designed in 1950 and featured in MoMA’s 1952 "Good Design" exhibition. This chair embodies American modernism with its sharp angles and minimalist silhouette, now updated with rich Italian ivory boucle and a warm oak frame. McCobb’s Irwin 72" White Marble and Natural Oak Coffee Table Model C7806, designed in 1952, also sees a reintroduction, maintaining its straightforward design philosophy. For those who appreciate more playful midcentury designs, the collection includes contributions from Evelyn and Jerome Ackerman. The Corvo dinnerware collection reproduces Evelyn Ackerman’s distinctive "Stallion" pattern from a 1965 woven tapestry. These ceramic pieces feature reactive glazes applied by Portuguese artisans, creating subtle variations in each item. Bill Curry’s Space Age-inspired designs are represented by the Pill High Gloss Oxblood Red Iron table lamp, which captures an optimistic futurism. CB2's approach to these reissues combines rigorous attention to material authenticity, such as the semi-aniline cowhide on Frattini’s sofa, with contemporary environmental standards, like the use of FSC®-certified sustainable oak for McCobb’s chair. These updates enhance the original concepts without compromising their integrity. The collection aims to democratize design, making these historical artifacts accessible to design enthusiasts without requiring participation in exclusive auctions, allowing individuals to explore and acquire pieces of design history. #MidcenturyDesign #FurnitureReissues #CB2 #DesignLegends #GianfrancoFrattini #PaulMcCobb #EvelynAndJeromeAckerman #BillCurry #HomeDecor