A hungry osprey picks up his dinner ‘to go’ from a pound net.
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The Limbourg brothers, Herman, Paul, and Jean, born between 1385 and 1388, were Dutch painters from Nijmegen, but they were active in Burgundy and other parts of France. King Philip the Bold of France employed Paul and Jean to paint manuscripts in February 1402. When Philip died in 1404, his brother Jean du France, Duke de Berry, employed the Limbourg brothers. Their first commission was the Belles Heures (beautiful hours). They completed the work in 1409, followed by the Tres Riches Heures du Duke de Berry, the Grandes Heures du Duke de Berry, and others. The more famous Tres Riches Heures had not been finished when the brothers died in 1416, possibly of plague.
Belles Heures of Jean du France, Duc de Berry, was intended for the duke’s private devotion. It contained prayers to be said at the nine canonical hours during the day. The manuscript contains nineteen different story cycles. Duke de Berry was an avid collector who wanted and could afford the very best. The fine parchment that was used has been critical to maintaining the rich colors of the illuminations. J.D. Rockefeller, Jr., purchased the manuscript in 1954 and gave it to the Metropolitan Museum, where it is installed in the Cloisters. The only manuscript entirely completed by the Limbourg brothers, it is considered to be one of the finest illuminated manuscripts of the Middle Ages.
There are too many images of the Easter story to include here. The Limbourg brothers were thorough in their illustration. They enclosed the pictures with elaborately detailed frames and extended the frames with borders of flowers.
“Garden of Gethsemane”
“Garden of Gethsemane” illustrates the artists’ interest in creating a realistic background. Properly proportioned figures, use of light and shadow to create depth, and interest in nature were new. In their manuscripts, the Limbourg brothers melded the existing International Gothic style with new ideas of the Renaissance. With the exception of the red and gold background of tree branches, the figures and landscape, including a road leading up to the city and a river flowing by, appear to be three-dimensional. Peter, John, and James, the three figures with Christ, have fallen asleep. Peter, the oldest with the white beard, has a red sword, around which a snake has coiled. Next to Peter is the young John. Christ touches James’s head. In the background, behind the wattle fence, Christ prays to God to take away the cup. God presents Him with a cross, a symbol of what is to come. The snake slithers up the nearby hill toward the town.
“Betrayal by Judas”
The Limbourg brothers concentrate on various participants among the crowd in the “Betrayal by Judas.” The figures get full attention, while the background is a simple flat pattern of dark blue and gold to indicate the scene takes place at night. Jesus and Judas are at the center. Judas gives the betraying kiss. Halos are placed above both figures. A Roman soldier, in blue and yellow armor, grabs Christ’s robe. Another soldier has been pushed to the ground in front, and several helmeted soldiers stand in the background holding spears. One soldier holds a lantern just above Christ’s head. The Jewish official in pink, the same color as Judas’s cloak, holds a torch.
Peter, standing at the right of Christ and Judas, has cut off the ear of Malchus, a servant of the high priest. Christ reaches down with his right hand to heal Malchus’s ear. Christ says to Peter, “Live by the sword, die by the sword.” (Mathew 26:52) The blue dragon, at the border of the manuscript, spits red fire.
“Christ Before Caiaphas”
After his arrest, Christ was taken to the home of Caiaphas, the high priest of the Jewish Sanhedrin. In “Christ Before Caiaphas,” the pattern of the dark blue and gold night sky is repeated. However, the scene is placed indoors. Caiaphas sits on an elaborate, three-dimensional throne with a gold canopy above him. The artists have paid great attention to the throne. It has three steps, leafy carvings on the sides of the steps and the chair, and a row of arches beneath the gold canopy.
Caiaphas is depicted as an elderly man, holding an exceptionally large sword. Two figures, among the scribes and elders who have come to examine Christ, whisper their suspicions to Caiaphas. Christ is surrounded by soldiers holding flags and spears. On questioning, He will state that He is the expected Messiah, will be condemned for treason, and will be sent to the Roman governor. The blue dragon spits fire in the direction of Caiaphas.
Pilate Washing his Hands
“Christ Before Pilate” is the first of three scenes with Pilate. The second scene in the sequence is “Pilate Washing his Hands.” Both scenes take place in an elaborate interior setting. Pilate sits on a carved stone throne similar to the throne of Caiaphas. However, the artists have created additional levels: three columns supporting the gold canopy, the back of the throne and onlookers, and a roof and second-story addition. The basin into which the water is poured for Pilate to wash his hands of the condemnation of Christ is a mishap in perspective. It does not sit flat. The next scene will show Pilate offering to release Christ, but the crowd selects Barabas the thief instead.
“Carrying the Cross”
“Carrying the Cross” is a depiction of the event as a parade. At the front, Jews blow trumpets and carry banners. Christ looks back at his mother who is accompanied by John, the young disciple. Others follow out the city gate to Calvary Hill. Judas has hung himself from a tree on a green hill in the background. Several events during the crucifixion are depicted next.
“The Death of Christ”
The Limbourg brothers created an unusual scene for their time in “The Death of Christ.” They included all the events recorded by Matthew 27:45, 51-54: “From noon until three in the afternoon darkness came over all the land.” (45) ”At that moment the curtain of the temple was torn in two from top to bottom. The earth shook, the rocks split, and the tombs broke open. The bodies of many holy people who had died were raised to life. They came out of the tombs after Jesus’ resurrection and went into the holy city and appeared to many people. When the centurion and those with him who were guarding Jesus saw the earthquake and all that had happened, they were terrified and exclaimed, ‘Surely he was the Son of God!’ “ (51-54) In the background, the unrepentant thief is blasted by fire, and the repentant thief is saved.
“Soldiers Asleep at the Tomb”
After the crucifixion, Christ’s body was taken to the tomb of Joseph of Arimathea, a wealthy Jew and follower of Christ. It was newly completed and unused. “Soldiers Asleep at the Tomb” contains the largest landscape attempted in this manuscript. The three soldiers who were sent to prevent the Christians from removing the body are asleep. Each has a weapon: a sword, a pike, and a shield. The shield, bearing a grotesque face, is prominently placed at the lower right. Unfortunately, the artists’ depiction of the carved stone tomb defies the rules of perspective. Instead of diminishing in size as the tomb recedes into space, it appears to become larger. Perhaps its location on a slight hill led to the mistake.
A rocky ledge separates the foreground from the background landscape. The green trees and barren Calvary hill work well, except for the three slightly over-sized crosses. The thieves remain hanging on their crosses. The center cross of Christ is empty. Behind the hill, the towers of Jerusalem stand against the blue sky.
“Resurrection”
“Resurrection” repeats the scene of the soldiers sleeping beside the tomb. The resurrected Christ emerges from the tomb, carrying a red banner attached to the staff of a gold cross. It is a symbol of His victory over death. Red is a reference to the blood He has shed. His chest is bloodied where the Roman soldier Longinus pierced His side to confirm death. An angel supports Christ as He rises from the tomb. The golden globe of heavenly light is placed above Christ in the clear blue sky.
Happy Passover and Happy Easter
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
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The distinctive mansard roof and bay windows showcase this home’s Second Empire style charm.
As I was searching for this week’s feature, I had just finished watching Season Five of “The Parisian Agency” so France was on my mind and this house spoke to me. The Second Empire style became popular in France during the reign of Napoleon III, France’s “Second Empire”. Its origin was actually in the 17th century designs created by the French architect Francois Mansart, for whom the distinctive roof style is named. The mansard roof with dormers, flared, shallow eaves and the bay window are the most recognized Second Empire design elements that made this style the dominant one in America between 1860 and 1880.
Historic photograph revealing the house’s traditional architectural elegance
Some Second Empire houses also had full front porches, but this house’s front porch has been modified and infilled with windows. The mansard roof with its very low upper pitch and steep lower pitch is both stylish and functional since the steep lower pitch enables the entire third floor level to be fully usable.
The rear addition with flared box bay and decorative fretwork adds a touch of whimsy.
Slate was the common roofing material for the steep lower slope of a mansard roof but this house’s horizontal cladding in a contrasting color to the siding accentuates the roof’s form well. I admired the two-story bay wall projection that was probably a later addition and how the upper portion flares out to create a box bay with decorative fretwork.
The rear addition contains the kitchen and the laundry on the main floor and two bathrooms on the second floor. This clever solution both upgraded the house and also consolidated the plumbing layout for cost savings. I was sorry that my visit was too early to see the majestic Magnolia in bloom!
Formerly a porch, now a cozy four-seasons room with easy-care brick flooring.
The original front porch now has a new life as a four seasons room with easy care brick flooring and the mix of furnishings creates a cozy space for relaxation.
The elegantly curved stairway provides a grand entrance steeped in southern charm
When I opened the front door, the magnificent curved stair reminded me of historic houses in Charleston or Savannah. I especially admired the detailing of the two curved lowest treads, how all the stained wood treads stand out against the white risers and the contrast of the dark and sinuous cap rail. I especially liked how the sunlight from the side window cast its shadow onto the wall and the jamb of the front parlor’s doorway and the window on the second floor cast another shadow that caught the curvature of the cap rail.
Original entry door with transom and sidelights highlight intricate trimwork.
The front entry’s original door, transom and half paneled/half glass sidelights with layers of molding and trim introduces the extensive trimwork found throughout the house. Even though my tour was on an overcast day, the entry had ample daylight from the large window at the side wall and the door surround. The period pendant light fixture was the perfect touch.
Beautifully detailed stair molding showcases craftsmanship from another era
Before exploring the house, I walked around the stairs to fully appreciate the curvature of the stair’s molding and the interlocking decorative trim underneath the treads. I especially admired the dual curvature of the stair trim below and the cap rail above.
Open-plan living creates harmony throughout parlor, family room, and dining room
From the stair hall, a doorway leads to the front parlor with its focal point of the stunning stained oak mantel infilled with a mirror and iron firebox cover. Three windows wrap around the corner of the room and a wide wall opening connects the parlor with the adjacent family room and dining room to create an open plan. The family room and dining room are separated by a partial wall of storage with a center opening framed by partial height columns and pilasters at each corner. The nine and half foot ceilings make the main floor rooms look larger than they are.
Family room bay window provides panoramic views and a perfect breakfast nook.
The family room’s focal point is the wide bay wall projection infilled with windows for panoramic views of Trappe’s Historic District. The space is furnished with a tabletop chess board and two chairs but its solar orientation would also make it a charming spot for breakfast. The wall opposite the sofa and coffee table can easily accommodate a wall mounted TV. The beautiful white moldings and cornices tie the room together to complement the wall color. The window and door openings are trimmed in fluted trim with rosette corners throughout the house.
Deep shelving adds dimension while the mirror reflects light from the beautiful bay window
Standing between the columns in the partial height wall, I savored how the family room’s bay wall projection is on axis with the identical bay wall projection in the dining room. The beautiful wood antiques add warmth to the space and the round dining table is the perfect choice to complement the angled wall. The deep open shelves on the side wall can easily accommodate platters or serving pieces. The console table is tucked into the recessed wall space with accent lamp lighting and the mirror above becomes another window.
Modern kitchen upgrades blend seamlessly while also elevating the historic home
Passing through a doorway in the family room, I discovered the powder room, kitchen and laundry areas located in the addition to the house. The window next to the sink overlooks the rear yard so the cook can watch children at play and the side exterior door leads to a porch at the side street for ease of unloading groceries from one’s car. The kitchen’s stylish upgrades of stainless steel appliances, white cabinets and black granite countertop and full backsplash that surround the center island appealed to this cook. The breakfast table and chairs are next to another stair to the second floor.
Functional mudroom with rear yard access, ideal for busy families.
The laundry/mud room has an exterior door that leads to a small deck overlooking the rear yard. If one needed counter space, the dryer could replace the sink and a shallow shelf or table could be placed under the high window.
The staircase’s elegant geometry leads naturally to spacious upper floors.
Instead of using the kitchen’s single flight of stairs to the second floor, I returned to the entry hall’s original staircase so I could again admire its geometry of curves and angles. Another full flight of stairs leads to the third floor.
Light-filled front bedroom with high ceilings and ample daylight.
The second floor of the original part of the house contains a center hall between two back to back large bedrooms and a smaller bedroom across the hall. Both of the large bedrooms have windows on two exterior walls for ample daylight. The nine foot ceilings create very pleasing spatial volumes.
Rear bedroom with windows on two sides offers brightness and coziness.
The space on either side of the parlor’s chimney contains closets for each large bedroom and this bedroom at the rear of the house also has a window on each exterior wall for ample daylight.
Charming small bedroom-office with panoramic views from the box bay.
It is easy to be charmed by diminutive spaces and the small bedroom has a big asset in its box bay infilled with windows for panoramic views of Trappe’s Historic District. At the left side of the box bay is a recessed area that could accommodate a crib for a nursery or a desk for an office.
Spacious family bathroom featuring wood wainscot and plenty of storage.
The second floor’s two baths are side by side and this large one with its wood wainscot, lavatory cabinet and lower cabinets for storage is a great family bathroom so the smaller bath could be a dedicated primary bath.
Staircase to the unrenovated third floor—a blank canvas for future imagination.
The view from the third-floor stair landing highlights the continuous railing that unwinds itself down to the first floor. The third floor has not been renovated and is a blank canvas awaiting one’s imaginative use-playroom, teen hangout, studio long-term storage…? The views through the windows of the rooftops and treetops is truly a bird’s eye view!
Even though the Lakeside development offers new homes, I much prefer Trappe’s Historic District gems like this Second Empire-style three-story house that offers both historic charm and a newly renovated condition. Its location equidistant to both Oxford and Easton in a quiet town has great appeal. High ceilings, extensive moldings, beautiful wood floors and the stunning staircase with its continuous handrail that rises to the third floor, open plan parlor-family room-dining room and newly renovated kitchen offers a great layout for family living. The deep corner lot also has a detached storage building and the house’s furnishings may be purchased separately from the real estate!
For more information about this property, contact Bob Shannahan with Shoreline Realty, Inc, at 410-822-7556 (o) 410-310-5745 (c) or [email protected]. For more photographs and pricing, visit www.shorelinerealty.biz , “Equal Housing Opportunity”.
“Where Land and Water Intertwine, An Architectural History of Talbot County, Maryland”, by Christopher Weeks, with Contributions by Michael O. Bourne, John Frazier, Jr., Marsha L. Fritz and Geoffrey Henry.
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Images of Mary and Christ are plentiful, as are images of them sitting in a rose garden. Since most of the population from the Middle Ages onward through the 17th and 18th centuries could not read, religious painting and sculpture served to educate the congregation of believers. Iconography was a significant aspect of painting and sculpture. Images and everyday objects related to the stories helped the faithful remember the lessons as they went about their daily lives.
“Madonna in a Rose Bower” (1440-1442)
Images of the Madonna and Child in a rose garden were popular. “Madonna in a Rose Bower” (1440-1442) (20”x16”) (oil and tempera on wood panel) by German painter Stefan Lochner (1410-1451) is a stunning example. Mary and the infant Jesus sit on a red velvet bolster in an enclosed garden. The ground is a green carpet of perfectly patterned leaves. Young angels lean on the garden bench, looking adoringly at the mother and child. Four angels play music on a harp, a small organ, and two stringed instruments. Roses grow on a square metal trellis behind them. Above them, two angels hold a gold cloth of honor, placed on thrones of kings and for Mary, Queen of Heaven. God, the father, and a white Dove, the Holy Spirit, look down on the scene from above. God, hands raised in blessing, and Jesus on Mary’s lap, represent the Holy Trinity. Lochner used gold lavishly to represent the heavenly space.
White roses are symbols of Mary’s purity, and red roses are symbols of the Passion of Christ. Jesus holds an apple which has been given to him by one of the young angels. Apples represent the original sin of Adam and Eve in the Garden of Eden, and Mary and Christ are referred to as the second Adam and Eve, who take away sin. Strawberry plants in the garden produce both flowers and fruit at the same time, a reference to Mary as both a mother and a virgin.
Mary’s broach and crown are examples of a painting technique used by Lockner, en rende-bosse, or encrusted enamel. In the 14th Century, encrusted enamel was applied to create three-dimensional pieces. Mary’s broach and crown are encrusted with gemstones. The figures on Mary’s broach are a virgin and a unicorn, both symbols of purity.
“Madonna and Child and Saints in an Enclosed Garden” (1440-1460)
“Madonna and Child and Saints in an Enclosed Garden” (1440-1460) (47”x58”) (oil) (National Gallery of Art) is by Netherlands painter Master of Flemalle, who has been identified as Robert Campin (1375-1444). He was a contemporary of Jan Van Eyck and teacher of Rogier van der Weyden. He settled in the Belgian city of Tournai in 1405-06, and he was a free master in the Guild of Goldsmiths and Painters. He purchased a house in Tournai in 1408. Campin was a popular artist who received numerous commissions from individuals, guilds, the Church, and civic groups. Records show he owned several houses, bought city bonds, and invested in mortgages. He was a prosperous artist.
“Madonna and Child and Saints in an Enclosed Garden” illustrates the tradition of symbolism in religious art along with increasing interest in depicting nature. The Madonna and Child are again placed in an enclosed garden, a reference to Mary’s purity. Although she does not wear a crown, she is placed on a golden throne with an elaborate cloth of honor behind her. Her feet rest on a brocade pillow. She wears the traditional blue robe, this time a rich dark blue with a gold embroidered border. Jesus reaches for a quince held out to him by St. Barbara. The quince is a symbol of the resurrection of Christ. It also is associated with love and fertility. From the Greeks onward, it was presented to the bride on her wedding night.
St. Barbara, dressed in red, was an early Christian saint. Her father was a rich pagan who locked her in a high tower to protect her from the world. While he was away, she had three windows built into the tower instead of the two he had planned, because the number three was the symbol of the Trinity. She secretly had become a Christian. Discovering her conversion, the prefect of the province had her dragged from the tower and tortured for several days. Her wounds healed overnight. Ultimately, she was beheaded. Her tower stands behind her in the garden.
In the corner of the painting, St Catherine of Alexandria, Egypt, reads an illuminated manuscript. She is the patron saint of students, teachers, and librarians. The daughter of the governor of Alexandria, Catherine went to the Emperor Maxentius to protest when he began the cruel punishment of Christians. He threw her into prison and subjected her to numerous tortures intended to kill her. She was fed by a dove from heaven, and her wounds were tended by angels. After these attempts failed, Maxentius ordered her run over by a wheel with spikes. The wheel broke. Catherine then was beheaded. The sword used to behead her and a broken wheel are placed at her feet in the painting.
John the Baptist, in the bright green cloak, stands beside the throne and holds a lamb. He traditionally is painted with unruly hair and a beard, representing his time spent in the wilderness. Under his green cloak he wears only a short tunic of animal skins. The lamb is the symbol of Christ. John the Baptist recognized Christ when he baptized Him, and called him “Lamb of God.”
St Anthony of Egypt, the elderly bearded man in the dark gray robe and leaning on a cane, was raised as a Christian and preached the teachings of the Church for many years. He later became a semi-hermit, living a life of solitude and prayer. He helped to found several monasteries. He overcame numerous temptations visited on him by the Devil. St Anthony may have been a pig herder at one time. However, he ate no meat during his lifetime. The pig, a symbol of the sin of gluttony, most likely is a reference to his surviving all the Devil’s temptations. St Anthony is the patron saint of swineherds, domestic animals, and monks.
The paradise garden contains several other flowering plants. Behind St Catherine is a purple iris, also known as a sword lily. The purple iris traditionally represents nobility.
“Virgin Among Virgins” (1475)
“Virgin Among Virgins” (1475) (43’’x67’’) (oil) was painted by the Master of the Legend of St Lucy, whose known work is dated between 1480 and1510. Although his name remains unknown, several paintings have been attributed to this Netherlandish painter from Bruges. Mary and Christ are seated in the center of a partially enclosed rose garden. The cloth of honor behind her is held by two angels. Her feet rest on a black and gold cushion, and she wears the traditional blue gown and a crown. The background is a panoramic scene of the city of Bruges. Dating for the Master of St Lucy’s paintings is often determined by the continued construction of the tower of Bruges.
Eleven virgin saints are presented in a semi-circle around Mary and Christ. Next to Christ is St Catherine, her red gown decorated with wheels and her hand raised as she marries Christ. Opposite is St Barbara in blue velvet with her black cloak decorated with towers. She too became the mystical bride of Christ. Mary Magdelene kneels on the ground, her bare feet toward the viewer. She holds the gold pot of ointment with which she anointed Christ’s body in the tomb.
St Agnes, in a red gown, is seated on the ground and holds a lamb. Her beauty was so extraordinary that she had many suitors, all of whom she refused, claiming she was mystically married to Christ. She holds up the wedding ring. Imprisoned and tortured, she was sentenced to death by burning. The fire went out, and a soldier cut off her head, or stabbed her in the throat.
St Ursala, who wears a gold and black brocade gown and is reading a book, undertook a pilgrimage from Britain to Rome with 1000 virgins. Having traveled as far as Cologne, they were attacked by Huns and killed with arrows. The point and fletching of an arrow can be seen under her gown, and an arrow rests on the border of the painting.
Three martyred saints sit behind St Agnes. St Cunera, in a light blue gown, holds a small cradle and an arrow. A companion of St Ursula, she may have survived the massacre of the virgins on the pilgrimage. St Agatha, in black, holds a pair of tongs with her breast. As a Christian she also refused to marry, and her suitor was so angered that he had her breasts cut off to disfigure her. St Margaret of Antioch, in white, was to be cast into the belly of a dragon sent by the Devil. She raised her cross and the dragon’s skin parted, freeing her. Behind her, in the distant landscape, St George kills a dragon.
“Virgin Among Virgins” (detail)
Behind St Ursula and dressed in white is St Apolonia, who holds a tooth in tongs. St Lucy, in green, holds a plate on which her two eyeballs are placed. She was beautiful and much desired, as were all the female saints, but she refused all marriage proposals because of her faith. According to several stories, she plucked out her own eyes to prevent men from desiring her, or their removal was part of her torture. The last saint, who has not been identified, holds a crown and a bell. Behind them are red roses, an apple tree, a grape vine, and a quince tree.
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Highfield’s historic charm nestled in the tranquility of five acres.
As an ardent proponent of historic preservation, I am honored that today’s feature is “Highfield”, the home of Michael and Ann Bourne since 1989. Michael Bourne was a giant in the field of historic preservation in the Mid-Atlantic region. His research and drawings of historic structures and sites in Kent County are now housed in the Historical Society of Kent County. His dedicated effort to document for future generations almost every historic building in Chestertown led to the formation of the non-profit group, Preservation. Inc. and many philanthropic projects that rescued houses in danger of demolition. His book “Historic Homes of Kent County”, and his contribution to “Chestertown Maryland, An Inventory of Historic Sites” are my go-to sources for background information on historic houses I have featured.
The five-acre site offers peace and privacy and includes two outbuildings; one is outfitted as a wood-fired brick oven bakery and the other is a storage building for lawn maintenance.
A beautifully landscaped brick path leads to the welcoming front door.
The design of this special house was a labor of love for the Bournes; his degree in architecture and the couple’s fondness for the vernacular farmhouses of Suffolk County in England they had admired during many visits to that region resulted in the design of this one of a kind house. Details including the steep pitched roof, “catslide” roof slope at the east end of the house, the tall, articulated chimney, multipaned windows, and enclosed front entry reflect their sophisticated taste and serious attention to every detail. The landscape design was also carefully considered and includes multiple perennial beds, including this border along the brick path leading to the front door which starts with daffodils in the spring and moves to columbine and yellow lilies in late summer.
I especially admired the careful attention to the window arrangement and how the sill of the tall and wide window above the stair aligns with the headers of the first-floor windows.
Elegant rooflines and dormers blend effortlessly with nature.
Every elevation of this house is beautiful; I loved the massing of the main roof’s hip to the vent just below the roof’s ridge and how the lower pitched roof over the screened porch also provides a wide dormer for the primary suite above. The house’s colors of nature in shades of brown blend into the surrounding trees.
Stunning rear elevation with two-story windows and a quaint mini-conservatory.
The rear and other side elevation is my fave one-the wide two-story window dominates the façade and the trim caramel color accentuates each window and the eaves for contrast against the light lap siding. From my weekly viewing of the BBC House and Garden Network’s architect George Clarke, the Brits love their conservatories and the corner wrap around windows of the mini-conservatory await the flowering plants of spring.
The custom front door opens to a foyer flooded with natural light.
The custom front door opens into a foyer tucked under the stairs and the “bridge” that links the two bedroom ensuites on the second floor. The tall triple window unit above the stairs floods the stairs with sunlight and the warm butter yellow walls with the stained floors and trim enclose a cozy space for relaxing.
Throughout the house, the Bournes’ art collection includes many of their daughter’s works, including four miniatures in the Great Room.
Unique wrought iron hardware reflects the home’s blend of antiques and reproductions.
The front door’s artisan unique wrought iron hardware introduces both the antique and reproduction hardware found throughout the house.
The living room’s Hamstone fireplace and thoughtful window design exude warmth and elegance.
The spacious living room with its warm blue walls, custom grey carpet, and red accents spans the depth of the house. Its focal point is the Hamstone fireplace surround with detailed beveled trim that forms a gentle ellipse around the opening to the firebox’s lining of oversized brick. Front and side windows offer direct views of the landscape and the pair of French doors between full height windows leads to the adjacent screened porch.
A perfect retreat for seamless indoor-outdoor living with charming flagstone flooring.
The deep screened porch is a wonderful outdoor room for easy outdoor-indoor flow to the living room and to the terrace. I admired the flagstone flooring with a brick border and the slight elliptical shape of the header trim of the screened panels. The dark structural framing and the darker screened framing contrasts with the warm white of the ceiling planks.
Soaring two-story windows fill the Great Room with light and landscape views.
To fully appreciate the spatial height of the two-story Great Room, I walked back under the one-story foyer and then into the magnificent two-story space with its triple height windows in a 5-4-3 vertical pattern overlooking the landscape. As I was mesmerized by the window wall, the side warm butter yellow wall appeared to change color as a ray of sun cast its shadow on the wall. This room blends historic elements and the Bournes’ love of British vernacular design with energy efficiency of the window wall’s SSE solar orientation combined with a six-zone heating system results in low energy bills!
The earth tones of the interior design are enlivened by accents of color in the deep slate blue freestanding Danish stove and the discreet Runtal panel radiator underneath the window sill along with the red wing chair. Having written an article several years ago about Chestertown’s talented Deep Water Landing’s artisan chandeliers, I recognized their work floating above in the space.
The dining room features simple elegance with a stunning landscape view.
The simple elegance of the wood table, Windsor chairs, and centerpiece of a copper container of African violets between two brass candles sets the scene for memorable meals with views through the window wall to the landscape beyond. I especially liked how the window muntins cast a checkerboard of shadows onto the tabletop.
Wide wall openings create an open, airy flow between the Great Room and kitchen.
The very wide wall opening between the Great Room and the kitchen creates an open plan for easy flow between the rooms. The spacious “U” shaped kitchen with another row of cabinetry behind the island appealed to this cook. I admired the contrast of the butcher block countertops for chopping or kneading bread with the darker cabinetry, another accent of red in the walls and another Deep Water Landing artisan chandelier.
An open, sunlight-filled kitchen with beautiful contrasts of cabinetry and countertops.
I admired the openness of the kitchen with the pairs of double units at the rear wall and the triple window overlooking the adjacent mini-conservatory. The space is full of sunlight since there are no upper cabinets! I much prefer the Brits’ preference of a pantry off the kitchen that this layout has. =
A practical mudroom with easy-care flooring, wrap-around windows, and convenient storage.
At the corner of the house next to the kitchen is a space divided into a stairwell to the basement and a mud room. The wrap-around window sills will soon be adorned with colorful plants. The stairwell leads to the full basement with a large ante-space, laundry room, playroom, and workshop.
The mud room’s easy care quarry tile flooring flows through the space with pegs for jackets, a bench for taking off one’s Wellies after time in the garden and an umbrella stand. At the end of the mud room is a powder room. The exterior door leads to large stone pavers that curl around the corner of the house to the terrace and the screened porch.
A quiet, cozy study nook perfect for work and relaxation.
The study at the front of the house is accessed from both the Great Room and a short hall between the kitchen pantry and a row of kitchen cabinetry. The projection of the pantry’s side wall creates a nook in the study. With a cushion and pillows, the nook becomes a cozy break from computer work or a spot for the cat to bask in the sunlight from the quad window unit. The ergonomic chair, leather-topped mission oak desk and the bespoke millwork are all one needs in a quiet corner study for work.
A knee-high bridge connects the bedroom ensuites that takes advantage of the large window wall and high ceilings
The bridge at the top of the stairs is offset from the front wall to allow open space for the large window at the front of the house to provide daylight for both the foyer below and the bridge. The windows at the rear wall of the Great Room below also provide daylight and views of the landscape. Beyond the bridge is a wall opening leading to the guest ensuite and the stairs to the second guest ensuite on the third floor.
The primary bedroom is a serene retreat with ample natural light and elegant furnishings.
The primary bedroom is located over the spacious living room at the west end of the house. The tray ceiling, triple unit window on the west and two double unit windows provide ample sunlight throughout the day. The room’s focal point of the canopy bed with its delicate leaf pattern, the oversize chair for reading before bedtime, the antique wood pieces and the expanse of the teal carpet create a restful retreat. Since the laundry is located in the basement, there is a laundry chute hidden in the built-in cupboards next to the chimney wall behind the bed.
Primary bath features luxurious fittings and elegant tile accents.
The five piece primary bath has two lavatory cabinets with hexagonal Kohler sinks, an over-sized soaking tub, shower, and toilet and is handsomely accented by deep blue Portuguese delft tiles, several delicate watercolors, and pots of plants.
Tranquil guest ensuite with charming reclaimed elements and serene color palette.
The second floor guest ensuite bedroom has serene light green walls and mix of wood, rattan, and upholstered furnishings. The mahogany closet doors for this bedroom were reclaimed from an antique armoire. A full bath and a dressing room with a laundry chute complete the ensuite.
Charming architectural details and vibrant décor bring character to the third floor bedroom.
The third floor guest bedroom has delightful interior architecture from the knee walls and the sloped ceiling. The spatial geometry creates chamfered corners for both the wood doors and trim. I admired the four-poster bed’s colorful bedspread and the wooden trunk that is now a stylish table.
Pastoral views and colorful flower beds provide a peaceful outdoor haven within the landscape.
Walking around the grounds, I appreciated the pastoral views and marveled that this peaceful haven was only three miles from downtown Chestertown! I lingered on the terrace by the flower bed bursting with texture and color from the arrangement of low to tall plants and flowers that are beginning to awaken from their winter dormancy.
As I strolled through the grounds of this five acre property and the rooms of this unique house, I felt I was visiting one of Great Britain’s National Trust properties. ”Highfield” personifies the Bournes’ deep commitment to both preservation and their appreciation of Great Britain’s historic architecture. The Bournes’ attention to detail is evident in the planning of the gardens and every room of the house. Details like the Hamstone fireplace, newel posts in the stairs, antique doors and antique hardware, stained floors and trim, etc., give the house its inviting warmth and unique character that make “Highfield” a rare gem. The outbuilding that is equipped as a bakery with a brick oven could be transformed into a charming guest house, but guests would be reluctant to leave this peaceful haven, only three miles from downtown Chestertown. Lucky indeed is the person who becomes the next steward of this magnificent property. My highest praise for “Highfield”-Bravissimo!
For more information about this property, contact Nancy McDonald McGuire at Maryland Heritage Properties , 410-778-9319 (o) ,443-480-7342 (c), or [email protected]. For more photographs and pricing, visit www.marylandheritageproperties.com/home , “Equal Housing Opportunity.”
Contractor: Phillips Home Builders
Photography: Stephen Buchanan, Nancy McDonald McGuire, and Ann Bourne.
Aerials: Stephen Buchanan, buchananphotography.com
Selected botanical art by Atwater Designs, www.atwaterdesigns.com
“Chestertown Maryland, An Inventory of Historic Sites” , based upon an historic site survey conducted by Robert Neill, Michael O. Bourne, and Kathleen B. White, with additional survey information by Marsha Fritz, Robert J.H. Janson-La Palme and Peter Newlin
“Where Land and Water Intertwine”, An Architectural History of Talbot County, Maryland, by Christopher Weeks, with contributions by Michael O. Bourne, John Frazier, Jr., Marsha L. Fritz and Geoffrey Henry; published by the Johns Hopkins University Press and the Maryland Historical Trust.
The Historical Society of Kent County, www.kentcountyhistory.org, 301 High Street, Chestertown, MD, (410) 778-3499
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
It is Primavera, or Spring in English. The term is derived from the Latin primus tempus. Spring began this year on March 20, and it will come to an end on June 20. Jonquils, forsythia, and cherry blossoms are beginning to bloom in Chestertown and surrounds.
“Primavera” (1487)
Sandro Botticelli (1445-1510), born in Florence, Italy, became one of the most renowned painters of the Renaissance. His painting “Primavera” (1487) was commissioned by Lorenzo di Medici. The work is tempera on a wood panel (80”x124”). Botticelli enlisted several Greek writers’ mythological sources for the painting, including Ovid, Virgil, Hesiod, and Plato. He also was influenced by the then popular philosophy of Neoplatonism as proposed by Marsilio Ficino (1422-1499). The Medici’s interest in Classical Greek and Roman literature led them to embrace Neoplatonism which valued the teachings of the ancients. The Medicis sought to integrate Neoplatonism into the teachings of the Catholic Church. The Church did not agree or approve.
“Primavera” (the coming of Spring) is not a depiction of any one story, rather it is a combination of many. The painting is read from right to left starting with Zephyrus, the god of the west wind, painted in cold blue. He represents the March wind. He chases and captures the beautiful wood nymph Chloris. She is dressed in a diaphanous gown, and her blond hair and gown are blown by the wind. She represents the beginning of Spring, a rose vine in her mouth. Zephyrus marries her and changes her into Flora, the goddess of Spring. As Flora, her hair is fashionably styled with a crown of flowers, and her dress is patterned with numerous flowers.
She carries a large bouquet of white, red, and pink roses. The symbol of the three colors of roses often appears in Christian art. In the Old Testament Song of Solomon (2.1), the declaration “I am the Rose of Sharon, and the lily of the valley” establishes Mary’s identification with the rose. The rose is also called the queen of flowers, associating it with Mary as Queen of Heaven. The connection between Mary and the rose continued in the writing of many Medieval scholars. The rose was linked with Mary’s purity, glory, and sorrow. The white rose is a symbol of her purity; she often is referred to as the rose without thorns because she is without sin. The pink rose is a symbol of her joy at the birth of her Son, Jesus. The red rose is a symbol of her passion, when blood was shed by Christ’s sacrifice.
Paintings in the Middle Ages and Renaissance often depicted Mary and other female saints in a rose garden, a paradise. The ground on which they stand is a Flemish millefleur (thousand flower) carpet design, often interpreted as paradise. The image is not intended to be realistic. The base color is a solid dark forest green with perfectly painted flowers of all seasons and types. According to one report, 190 plants and flowers are depicted in “Primavera,” of which 130 are identifiable.
The central figure is Venus, the goddess of love and beauty, with Cupid and the three Graces who often accompany her. Cupid is blindfolded and aims his arrow at one of the three Graces, who dance in a circle. Here, Venus represents the month of April. Fully clothed, she represents not earthly passion, but married women and motherly love. Her head is surrounded by the loose foliage of a myrtle tree. Hesiod described the birth of Venus as she arises naked from the sea and moves on land, clothing herself with the branches of a myrtle tree. The tree became sacred to Venus. Neoplatonists believed Venus ruled over both earthly passion and heavenly love, connecting this aspect of Venus with Mary. The goddess looks directly at the viewer, her hand raised in the peaceful gesture of welcome often seen in paintings of Mary.
The other trees forming the forest background are orange trees. The Medici crest contained five gold balls, and orange trees became symbolic in Florence of the Medicis. Venus’s bodice is decorated with gold chains decorated with flames. The flame was the symbol of St. Lawence who was martyred by burning. The painting was commissioned by Lorenzo (Lawrence) de Medici.
The three Graces were sisters who often accompanied Venus. Hesiod wrote that the three graces were Aglaea (Splendor), Euphrosyne (Joy), and Thalia (Good Cheer). Mercury, messenger of the gods is placed at the far left. He is dressed in red and wears winged sandals and carries a sword. Many scholars agree that he is modeled after Lorenzo di Pierfrancesco di Medici, cousin to Lorenzo the Magnificent. The painting was commissioned to celebrate his wedding. Mercury leads the entourage forward into the beauty of a new Spring.
“Springtime” (1872)
Although the story of Botticelli’s “Primavera” is still being discussed, Monet’s painting “Springtime” (1872) (12’’x16’’) (Walters Art Gallery, Baltimore) offers the viewer the quiet pleasure of Spring. It depicts Monet’s first wife Camille Doncieux who is reading in their garden at Argenteuil. The couple were married in 1870, and Monet frequently used her as a model. In fact, she was such a good model, Manet and Renoir also employed her. Monet’s garden was a favorite background, enjoyed by him, his wife, and their son Jean. Madame Monet is dressed in a pink muslin dress, partly in shade and dappled by sunlight passing through the branches.
Le Printemps (Springtime). Monet, Claude (French, 1840-1926). Oil on canvas, height 64.8 cm, width 80.6 cm, 1886. Purchased With a contribution from the National Art Collections Fund.
“Springtime” (1886) (26”x32’) was painted by Monet in his garden in Giverny. In an orchard of cherry trees, Monet’s 18-year-old step-daughter Suzanne Hoschede talks with his son Jean. The closeness of Monet with his family is evident in many of his paintings. Suzanne will become Monet’s second wife.
This painting also demonstrates Monet’s advanced techniques in Impressionism. The integration of spring colors throughout the painting presents the viewer with a world filled with sunlight. His brushwork has become looser. The painting presents a field of sweet-smelling flowers, and the peace and comfort in the soft breeze of this spring day.
“Spring Bouquet” (1866)
“Spring Bouquet” (1866) (41”x32”) (Fogg Museum, Harvard University) is an early work by Renoir. The Impressionist style of painting outdoors (en plein air) was a new direction that emphasized how sunlight gave flowers a transient beauty. The still-life with flowers was a tradition with 17th Century Dutch painters who worked inside without the natural light of the Sun. As a student, Renoir had studied Dutch still-lives. Early in his career he was a porcelain painter. He chose a white Japanese vase with blue flowers to hold the bouquet, a tradition of Dutch painters and in keeping with the very popular Japanism of the French at the time.
Renoir’s arrangement is casual and bountiful. Purple lilacs, white hydrangeas, and peonies are included. White and purple iris are at the top of the bouquet. Daisies poke their heads out around the edges. Four bunches of yellow cowslips, or perhaps primroses, draw the eye around the composition and form the necessary complement to the purple flowers.
Instead of the using the dark, almost black background of Dutch paintings, Renoir has set his spring bouquet against a lightly speckled stone wall and on a light stone garden ledge. The sunlight produces the nuance of colors as it touches various petals in the bouquet. The bouquet casts a light gray blue shadow. Whether one knows the flowers or not, the viewer experiences joy, and serenity.
HAPPY SPRING
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Serene home nestled on a picturesque peninsula.
This unique house, designed by its Architect/Owner, is sited on a narrow peninsula between the Honga River and the Chesapeake Bay. The 0.9 acre lot includes a dock with a boat lift across the entry road, a driveway that can accommodate two cars and a bayside outbuilding. The aerial shot illustrates the house’s simple form, but make no mistake, there is nothing simple about this house- it is simply elegant. Every vista and detail have been carefully thought out by thinking inside the box to create a harmonious whole.
Since the Architect was his own client, he was free to incorporate minimalist design elements he always wanted into this house. He chose a metal roof to hear the sound of rain as it hit the metal; maple flooring instead of the ubiquitous oak; “allthread” suspension steel rods and turnbuckles to support the entrance canopy and interior exposed steel structural elements. His finishing touch was the small balcony off the second floor where he could feel suspended in air as he savored mid-summer sunsets on the far horizon.
Thoughtfully arranged windows enhance the home’s facade.
Before I went in for my tour, I admired the front façade’s carefully composed arrangement of large and small windows that identify the hierarchy of the functions within. The uniform color palette of shades of gray from the exposed foundation of concrete masonry units covered in dark gray plaster, lighter gray Hardie lap siding and the very light gray steel roofing makes the building seem larger than it is.
Wall-to-wall windows and sliding doors provide breathtaking bay views from inside the home.
The rear elevation has spectacular views of the Chesapeake Bay and is almost totally transparent except for the solid portion that covers the staircase to the second floor. The elegant grid of the large windows was carefully thought out to utilize stock picture windows and sliding doors from the Home Depot! The waterside outdoor rooms of the first floor’s deck that spans across the length of the house has steps to the lawn and the balcony at the corner of the second floor provides front row seats for the parade of small craft and freighters to and from Baltimore. The small accessory structure was reclad and reroofed to match the house.
High ceilings and crisp white walls reflect the sunlight dancing through the grid windows .
The Architect/Owner greeted me at the front door and even though I had seen the MLS pix, I was mesmerized by the living room’s spatial volume and the play of sunlight through the window grid onto the side wall. Both the detailing of the window wall with steel tubular columns and the minimalist window shades in their fully open position maximizes the view across the Chesapeake Bay to the far horizon.
Minimalist design maximizes spaciousness and light.
The expanse of white walls and ceiling reflect the sunlight on the walls and the beautiful maple flooring. The combination of the first floor being elevated above the grade and the high sill height of the front windows blocks the view of cars on the street. Except for the trim around the entry door, all of the doors are frameless and have latches instead of hinges. That detail and the windows framed in drywall instead of trim maintain the minimalist look.
I admired the juxtaposition of the classic “Arco” light and the antique wood piece from Venezuela. The Architect/Owner told me he meticulously stripped and restored the treasured family piece so it now has pride of place in the living room. I also admired the clever arrangement of holders arranged on the wall near the front door-so easy to drop one’s keys, etc. upon arriving home. The room’s soothing neutrals of the large kilim, the deep caramel seating that picks up the rug’s background color, pillows and the granite top that matches the kitchen countertop create a serene space for relaxing.
Window grid casts creative shadows on bright walls.
The window wall grid wraps around the corner to offer a panoramic view with the bonus of delightful shadows cast onto the wall. The Swedish wood stove that accommodates vertical logs is a sculptural element and does not block the water view from its position diagonally across from the corner structure. I was quite surprised to learn from the Architect/Owner that what I thought was bespoke low sleek cabinetry actually came from IKEA! The mix of the top open shelf and closed door provides great storage for DVD’s and I was lucky that one of my fave Bach pieces was providing background music during my tour.
Triangular pendant lights elegantly frame the dining area.
The open plan living-dining-kitchen’s ceiling plane drops in height at the dining-kitchen area below the second floor loft. Another kilim anchors the glass tabletop and sleek modern chairs. The stylish triangular pendant lighting fixtures are by Fuschia and their transparency blends into window wall beyond.
Contrasting materials highlight the kitchen’s efficient layout.
The partial height wall separates the dining area from the kitchen and I admired the waterfall detail at each end that frames the white insert. The upper cabinets float just under the ceiling plane and their frosted panels both contrasts with the white panels of the other upper cabinets and also expands the space visually. The stairs with the treads’ pine grain contrasts with the monolithic look of the maple flooring and the white risers clearly define each step.
Thoughtfully planned cabinetry and expressive granite counters elevate the minimalist kitchen.
This compact yet highly efficient kitchen also contains IKEA cabinetry and the Architect/Owner carefully thought out the cabinetry layout. He cleverly set an upper cabinet that is usually placed above a range over a base cabinet to house his “wall” oven above the range. The stainless steel appliances, white cabinets and the veined granite countertops pleased this cook very much.
Recessed shelving adds functionality and visual depth to the hall.
Behind the core area of the kitchen and adjacent primary bath is a hall connecting the living room with the primary ensuite. The wall depth was designed to have a recess to accommodate the IKEA adjustable shelving units that are set on casters for ease of cleaning and/or moving. The high square windows provide both daylight and privacy. The break in the shelving units leads to the primary bedroom’s four-piece bath that is also a powder room for guests. The hall vista ends at the full height mirror set against the wall for added perspective.
Soft window treatments filter light into the peaceful primary bedroom.
The spacious primary bedroom spans from the front to back corners of the house. The soft window treatments allow sunlight to filter into the room while maintaining privacy. The kilim anchors the reading and writing area of the bedroom with the stylish woven chaise and IKEA desk with its wood pull down surface. I dearly coveted the stylish lamp with its striped base and mesh metal shade.
Low horizontal windows offer water views from the comfort of the bed.
The low cabinetry is a twin to the living room’s unit and the nightstands are also from IKEA. Sconces above the bed are mounted the perfect height for reading and the simple right-angled uplights above add ambient light. The rear wall facing the water fills half the wall and the low horizontal window is set at the perfect height for a first look at the water each morning before rising to begin the day.
Primary dressing room offers maximized storage and natural light.
The spacious dressing room is outfitted with both a Closet Maid system and wood storage units with ample storage for two. The window tucked below the stair run adds sunlight and a view of the water.
Corner shower complements floating lavatory design.
The four-piece primary bath includes a corner shower and a tub. The IKEA shallow lavatory with a porcelain top and tiled high backsplash floats above the tiled floor that extends around the shower walls.
Seamless tile design visually expands the bathroom.
The mirror with a shelf below extends to the corner of the tub with ample storage for both lavatory and tub. The floor tile continues up and around the tub enclosure for a seamless look that expands the space visually.
Ascending the stairs reveals an increasingly expansive water view.
Retracing my steps back to the stairs, with each step upward I enjoyed an increasingly expansive view of the water, ending at the maximum view at the wide window with its sill just above the second floor landing. I turned around to savor the angled framing like buttresses at the exterior window wall that were the source of the diagonal shadows on the living room’s wall. The Architect/Owner explained how the window wall at the landing is the only unit that was required to have tempered glass.
Symmetrical wrap-around windows provide panoramic views in the versatile room.
At the top of the stairs is a room with another wrap-around window at the corner that matches the living room’s corner unit for symmetry. A sliding door leads to a balcony for a bird’s eye panoramic view of the water, a fresh air break from work or a spot to enjoy spectacular sunsets. The room is currently used as an office-workout area but with some modification it could become a bedroom. Off the short hall from this room to the loft overlooking the living room is a large storage room that contains a stack washer/dryer and a full bath.
Infinity balcony is the ideal retreat for unwinding and enjoying breathtaking sunsets.
The balcony is a perfect spot for a break from work, or for savoring the sunsets at the end of the work day.
Cozy loft with clever shelving for a functional workspace.
The loft area is furnished as a TV room with a grid of open shelving creating a partition separating this area from the drafting area beyond. The splash of the red futon and the black and white accents of the rug and pillows create a cozy space for watching TV. The railing’s glass panels and slim wood cap disappear into the upper wall of the living room.
Cozy loft with clever shelving for a functional workspace.
I dearly envied having this fab workspace with its views of the water for breaks from drawing or writing!
Dynamic sunlight patterns transform the living space.
The view from the loft work space overlooking the living room shows how deep the sunlight penetrates the room to create delightful patterns on the wall through the day. Who needs artwork when you have a daily kinetic play of light on the wall?
Evening illumination showcases the home’s transparent elegance.
One of Le Corbusier’s famous quotes was “ Space and light and order. Those are the things that men (and women) need just as much as they need bread or a place to sleep.” This fab nocturnal shot highlights how well the talented Architect/Owner “thought inside the box” to create a simple yet elegant design through this remarkable house’s transparency, skillful space planning, white walls and ceilings to reflect the sunlight, carefully chosen color accents and stylish lighting fixtures throughout the house.
Great design is not necessarily expensive-in the hands of a master architect and his clever use of materials and products from Home Depot and IKEA, he created a truly unique and tranquil haven without blowing his budget. Bravissimo!
For more information about this property, contact TTR Sotheby’s International Realty agent Joan Wetmore at 410-673-3344 (o), 410-924-2432 (c) or [email protected] or TTR Sotheby’s International Realty agent Melissa Tippett at 410-280-5600 (o), 410-241-7409 (c) or [email protected] For more photographs and pricing, visit redfin.com/MD/Fishing-Creek/2522-Hoopers-Island-Rd-21634/home/14735018, “Equal Housing Opportunity.”
Photography by Moses George Cohen, 202-688-8581, [email protected]
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.