Historic House Museums of
Charleston and Savannah
And
A Primer on How to Hang Pictures
in Historic Houses
As well as
SALE & CLEARANCE Items!
Arts & Crafts Carpets - Discontinued and Clearance!
Welcome to our readers!
Welcome to our tenth newsletter. In time for late fall decorating projects, and before the busy holiday season, we are sending this Newsletter.
We receive many questions from our customers, and one area of interest is how to hang pictures in an appropriate manner in a historic house? Our Historic Design Article for this Newsletter is about that – as the answer lies in how old your house is. Read more to learn about hanging pictures.
Under ‘Business News’ we tell you which two new movies will soon be featuring our wallpapers in their productions. Also, information is now available on our ‘Eco-friendly’ wallpapers.
As promised, we have an introduction to the riches of Historic House Museums in the southern cities of Charleston and Savannah.
In our SALE & CLEARANCE section, we are including some final Arts & Crafts carpets. See the full list of the available carpets (with pictures) below in this newsletter!
So, please take time for some quiet autumn reading, and enjoy our tenth Newsletter.
(As always, if you wish to unsubscribe, please return your email notification with the word “unsubscribe” in the subject line.)
Thank you all for your continuing interest in the subject of historic design!
Stuart Stark
Design Director
Charles Rupert Designs Limited
On with the Newsletter…
Charles Rupert Business News:
Charles Rupert goes to the Movies!
Charles Rupert Designs frequently supplies our historic wallpaper to museums and historic sites, but we also frequently supply wallpaper for set decoration for movies.
We have recently supplied wallpaper to two movies: 
The Spiderwick Chronicles, coming in February 2008. and 
3:10 to Yuma, starring Russell Crowe and Christian Bale (now playing).
(left) Vine WP 1301-2 purchased for The Spiderwick Chronicles
(right) St. James's Damask WP 1322-1 purchased for 3:10 to Yuma
You can always play “Spot the wallpapers” during the movie!
Eco-Friendly wallpapers?
Charles Rupert has been getting inquiries from our customers about eco-friendly wallpapers. We have now marked our exclusive wallpapers with a special logo:
that marks certain wallpapers as being environmentally friendly. They are printed on paper, (not vinyl), with water-based inks and coatings, and hung with wheat or cellulose adhesives.
Please see our new
page to learn more on paper sources, ink contents, and recommended pastes for hanging the wallpapers.
Click here to see the Eco Product Information page
Special Article: Travel and History
The Historic House Museums
of Charleston and Savannah
Sometimes the best way to learn about historic houses is to visit them. Some areas of the country have few historic houses open to the public, while others seem to be blessed with them.
The Southern cities of Charleston and Savannah are two cities that cherish their history, and open the doors of several outstanding historic house museums to visitors to those cities and nearby countryside.
From the amazing Drayton Hall near Charleston – a 1738 Plantation House being meticulously and carefully preserved by the National Trust for Historic Preservation – to several 1850’s and 1860’s historic house museums in both Charleston and Savannah – to the wonderful and less well-known Old Governors’ Mansion in Milledgeville, Georgia, which has just completed a $ 9 million restoration, (right down to the horsehair upholstery fabrics), we were very impressed with the quality of these Southern restoration projects.
For inspiration, education, or simple appreciation, these sites were all worth visiting.
There are many more Historic House Museums in these two cities and nearby than we can cover in this brief introduction, but hopefully this taste of three Historic House Museums that are included in this article will encourage you to visit Charleston and Savannah.
Charleston
The skyline of Charleston – few buildings are over 4 stories tall
Charleston is a delightful city when visited on a delightfully warm day in February. After being in the frosty mountains of North Carolina at the 20th Annual Arts & crafts Show in Asheville, it was a treat to be welcomed by the palm trees and tropical ambience of Charleston. Streets of white wooden houses with distinctive double-height side porches called ‘piazzas’ on narrow streets made strolling around the city delightful.
Still imbued with the history of the Civil War, Charleston today features hidden gardens, narrow streets, and wonderful architecture from many historic periods. They make Charleston a “must-see” city for architectural enthusiasts.
A typical Charleston House with a ‘front’ door actually leading to a side-facing open porch called a ‘piazza’
The historic house museums in Charleston are presented as either fully furnished or as ‘preserved’ where the wear of the ages is in full view for your enjoyment.
The Aiken-Rhett House - Charleston
The Aiken-Rhett House in Charleston is an example of a Historic House with remarkable ‘preserved’ interiors.
One of the most interesting houses to see in Charleston is the Aiken-Rhett House. Built in 1817 for merchant John Robinson, this twelve-room mansion (four on each floor) also has a distinctive “piazza” - a Charleston term for a double verandah. Carefully preserved, the exterior features examples of recreated sanded paint finishes, to simulate stone construction, and graining, which is a method of painting that simulates more expensive woods.
The house gets its name from William and Harriet Aiken Jr. who moved to the house in 1833, and their daughter’s husband’s name Major. A.B. Rhett.
The Aiken and Rhett families lived in the house, making few changes, until 1975, when it was donated to the Charleston Museum, who owned the property until 1995, when the Historic Charleston Foundation purchased it.
The main floor ‘piazza’ of the Aiken-Rhett House overlooking the garden, with special triple-hung windows providing access to the outside from the Drawing Room.
Sanded paint and Grained woodwork at the Aiken-Rhett house
The interior of the Aiken-Rhett house is special to visit. It retains original painted finishes, worn furniture and an air of real, and not recreated, history.
The rear garden of the Aiken-Rhett House still retains its Slave quarters, Carriage House, and this Gothic-style outdoor privy in a brick structure at the rear corner of the garden.
Carriages on display at the Aiken-Rhett house in Charleston – preserved, not restored
Savannah
Savannah is an altogether different City. It is on a river, rather than the ocean, though it is a seaport. The layout of the city, one of the first planned communities in North America, has 24 town squares, and is unique in North America. Savannah retains a marvelous housing stock of historic properties and organizes an amazing, and extensive house tour each year.
Yet, to the first-time visitor, Savannah has an air of neglect that was surprising to see. The downtown was ravaged by redevelopment in the 1950’s and 1960’s, and though there are brave restoration projects in the centre, there are still many inappropriate buildings in the downtown core.
City Hall, Savannah. Designed in 1901, and opened in 1906, the dome is covered with 23 carat gold leaf
However, it was still a pleasure to visit Savannah, which has established a large historic district, and to visit several of the historic houses now open to the public. Just a few blocks from the small downtown area are leafy squares, surrounded by historic houses, many of which are open to the public. Not all of the houses are on the ‘tourist’ maps, so be persistent; otherwise you may miss a special house or two!
Forsyth Fountain in Forsyth Park, Savannah. The Fountain was conceived as the focal point of the landscaped park and installed in 1858. It was restored extensively in 1988 to once again be the major landscape feature in Savannah.
The parks and squares of Savannah are heavily treed with live oaks draped with Spanish moss, giving an other-worldly atmosphere - especially for those from Northern climates.
The Green-Meldrim House - Savannah
The Green-Meldrim House on Madison Square features an exuberant Gothic-style porch, overlooking a small garden with a fountain.
Hard to find, but worth the search, is the Green-Meldrim house which is situated on Madison Square. The House was built in 1850 for cotton merchant Charles Green. In 1892 the home was purchased by Judge Peter Meldrim whose heirs later sold it to St. John’s Episcopal Church, who still use it for church functions today.
Volunteers give wonderful tours of this lavish Gothic-Revival style house which cost $90,000 to build in 1850. Richly decorated with oriels, filigree ironwork, black-walnut woodwork, marble mantles and wonderful Gothic cornices and other features, guests are often stunned by its magnificent style.
The home’s amazing past includes a brief residency by General Sherman after he occupied the city in 1864 during the Civil War. Upstairs in this house is the room where the proclamation supposedly promising “40 acres and a mule” to each freed slave was signed. Although the proclamation indeed promised land, the “mule” part seems to be a mythical addition.
The Entrance of the Green-Meldrim House is worth inspecting for its clever architectural detailing. The exterior Gothic-paneled doors fold back to create paneling on either side of the entrance, which is then closed from the Hall by sliding wood and glass doors.
The Owens Thomas House - Savannah
The Main façade of the Owens Thomas House on Oglethorpe Square in Savannah.
The Owens-Thomas House is a delightful surprise to find in Savannah, as it is a very English style of home, designed in the English Regency style of architecture. Inspired by classical antiquity, this style of architecture takes its name from England's King George IV, who ruled as Prince Regent from 1811 to 1820.
The house was designed by the English architect William Jay (1792-1837), one of the first professionally trained architects practicing in the United States. The house was built for cotton merchant and banker Richard Richardson and his wife Francis Bolton. Mr. Richardson's brother-in-law was married to Ann Jay, the architect's sister.
Overlooking leafy Oglethorpe Square, the symmetrical façade has a portico supported by four columns with Ionic capitals, which shelters a double, curved entrance stair. The house was built over three years, beginning in November of 1816, and finishing in January of 1819.
The Owens-Thomas House, is a National Historic Landmark, and well worth a visit to see the splendidly-restored interiors, while visiting Savannah.
The rear façade of the Owens-Thomas House in Savannah
The garden of the Owens Thomas House from the rear portico, looking toward the carriage house.
The unusual cast-iron side porch of the Owens Thomas House, overlooking the street, is supported by Acanthus brackets, painted green.
Historic Design Article Number ten:
Hanging Pictures in Old Houses© Stuart Stark - Heritage Consultant
The technology of hanging pictures has changed greatly over the years. Depending on when your home was built, the method of hanging pictures will vary.
Hanging pictures from a picture moulding in a c1910 house
Homeowners were always wary about damaging plaster, with the attendant cost and mess of effecting repairs to walls that may also have wallpaper applied on them. So, methods of hanging pictures were used to prevent wall damage.
Picture spikes were sold through mail order catalogues such as the Russell and Irwin catalogue of 1865
Homes of the 1860's and 1870’s used picture spikes to hang their paintings. These were rather clever bits of hardware. Made like a large nail - sometimes round and sometimes square-cut - the tops of the spike had a threaded top. The spike was pounded into place with a hammer, and after it was safely positioned, a decorative, and usually fragile, 'head' was screwed on to the threaded top of the spike.
A porcelain-headed picture spike. This spike is small. Picture spikes varied in size from 2 1/2” to 4” in length, depending on the weight of the item being supported. The brass-collared porcelain head unscrews from the spike itself, and is put back on after the spike is hammered into position.
These heads could vary widely in design. They could be a brass button, or made of silver, or glass. White porcelain - like many doorknobs in period houses - was another popular choice for a decorative 'head' of a picture spike.
Decorative heads of picture spikes. The ‘heads’ on the spikes range from plain white porcelain to fancy glass and brass concoctions. Available from specialist antique dealers online.
The position on a wall for a picture spike was usually unvarying. They were almost always placed at the top of a wall, so the spike would go into the solid wood top plate of the wall framing behind the plaster, to ensure a solid support for a painting. As well, the spikes were almost always positioned in the centre of short walls - on either side of, or over a mantelpiece - for example. On long walls, there could be three or more picture spikes hung along the length of a wall, but evenly spaced.
The pictures were then hung on wires from the painting to the spike in an inverted “V” shape.
A picture of Queen Victoria hanging from a picture spike at the top of, and centered in the section of wall. This method of hanging pictures was fashionable from the 1850’s through to the early 1880’s. (This type of Board and Batten ceiling was used in the 1850’s)
Even if the spikes were long ago removed, the holes and original placement of the picture spikes can usually be found with careful exploration and investigation.
Sometimes, very small pictures were hung on fine nails directly into the plaster, where the use of picture spikes was inconvenient, but these were not usual in most houses.
Picture knobs were also used, often where wood paneling was used in a room. These knobs were usually porcelain, but sometimes made of wood, with a centre hole for a long brass screw for anchoring the knob securely to the paneling.
After the mid 1880's, the use of picture mouldings came into general use. These were continuous small strips of moulded wood, which was sometimes varnished, and other times covered with moulded plaster with a painted and gilt finish.
A gilded wood picture moulding with a painting hanging from a picture hook
Placed usually about 8" from the ceiling in most Victorian houses, and later, after 1900, the placement of picture mouldings could be on the wall by as much as 18" or even 24" below the ceiling to accommodate fashionably wide wallpaper borders above the mouldings.
Pictures were hung on picture hooks that fit over the curved top of the picture mouldings. Picture hooks came in many, many variations of design and materials. Invariably made of metal for strength, they could be made of cast-iron in leaf designs, or in pressed metal – iron, steel or brass - or cast brass, in either polished or plated finishes. Picture hooks that were made of steel for strength, were plated in a variety of decorative finishes, from brass to chrome to an antiqued dark brass finish.
An offering from the 1902 Sears Roebuck catalogue for picture hooks
A selection of antique picture hooks that are curved to fit over wooden picture moulding can be found through specialist online antique dealers
From the picture hooks hanging from the moulding, pictures were usually hung by braided polished brass wire with a steel centre for strength.
Picture hooks (from a larger selection), and braided picture wire from Charles Rupert Designs at: http://www.charlesrupert.com
Larger pictures or mirrors were usually hung from two hooks and two lengths of wire. Smaller, or lighter paintings were usually hung from one hook, with wire in an inverted "V". See the picture below for several variations of hanging pictures in one dining room.
A Dining Room in England in the 1890’s, showing several different ways of hanging pictures from a picture-moulding rail.
For decorative effect, a silken cord was sometimes wound around the wire, giving a somewhat eccentric wobbled appearance to the cord as the wire was stretched taut, and the cord wound lazily up its length.
It is possible to hang several pictures on a wall using picture hooks. Here, nine pictures are hung from three picture hooks. Each picture has its own wire leading to the hook. The correct braided brass wire with a steel core is not particularly visible, especially when seen against wallpaper, compared to other types of wire.
To plan this sort of picture arrangement, start by laying out the pictures on the floor, and then measure the wire lengths from there.
Though the Victorians quite liked the look of paintings hanging angled off the wall, especially at higher positions on the wall, modern eyes prefer the paintings to sit flat against the wall, regardless of the height on the wall.
If you attach the picture wire to the back of the painting as high as it can be attached, the painting will hang flatter. If you use the original eye screws on an old painting, which are usually found half way down the sides of the back of the picture, then the painting will hang outward from the wall at the awkward (but Victorian approved!) angle.
There is a useful tip to prevent this awkward hanging angle, if you are trying to hang an old painting that has a wooden picture frame, and then you can use the old eye screws to attach the new picture wire.
Useful Tip: Attach the new picture wire to the old eye screws on the back of the painting, then adjust the wire for the correct height for the painting to hang from the picture rail. Then you can gently lay the picture face down on a carpeted surface, and gently pull the picture wire taut (along the floor) in a “V” shape as if it was hanging from the picture hook. Then put a fine desk staple (NOT from a staple gun) into the back of the wood frame, bridging over the picture wire, where it leaves the top of the framed painting. When hung back on the wall this will easily prevent the picture from falling forward on the wall.
Large paintings or mirrors are usually hung from two hooks and two pieces of wire, for both visual balance, and for greater security with heavy items. Picture wire comes in various strengths for heavier pictures. It is hardly visible when seen against wallpaper.
Wallpaper: “Vine” by William Morris, from Charles Rupert Designs
Picture mouldings and hooks were popular through the 1920's, but declined in popularity by the 1940's and 50's.
Because of their practicality, and easily added architectural detail, picture mouldings protect your walls from damage and allow your favourite artwork to be easily rearranged.
Both homes and art galleries are once again using this sensible arrangement for hanging pictures.
SALE & CLEARANCE
Arts & Crafts Carpets -
Discontinued lines and Clearance
Limited Quantities 50% OFF regular prices –
This unprecedented price will never be repeated.
Regular prices and SALE prices are shown.
Shipping charges for the carpets will be by quotation to your postal or zip code.
They are only available to the people who have signed up for our newsletter.
They are strictly limited in amount available, and are only available on a first come - first served arrangement.
All items are first quality. Please phone us with your orders.
Order Desk Hours:
Our phone Order Desk operates Monday to Friday from 9 am to 5 pm Pacific Time. We are closed Saturdays, Sundays and holidays
Order Desk Telephone: 250-592-4916
Our Arts and Crafts rug collection is hand knotted in India using wool imported from New Zealand. These carpets blend seamlessly with both English and American Arts and Crafts décor.
They are well-made, handsome carpets. We are clearing them from our Showroom to let us concentrate on our exclusive Charles Rupert Designs’ Wallpapers and Fabrics.
This offer will not be repeated. Buy now at these excellent prices.
All prices shown in Canadian dollars. Please see our Currency Converter
The images shown on your monitor will not necessarily show the colouring accurately. We have given additional colour descriptions under each image. Please call our Showroom Manager Bonnie Alexander at 250-592-4916 if you would like to discuss or clarify any of the carpet particulars.
ALL SALES ARE FINAL. WE CANNOT SHIP ANY CARPET “ON APPROVAL”.
Fintona Carpet - Originally displayed at the Grafton Gallery, London during a Liberty's exhibition in 1903
Colours: In umbered reds, burnt sienna, camel, medium blue and blue-gray on ivory ground.
Size: 5’ 10” x 8’ 4 1/2” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India.
|
Regular Price: $ 2,795 CAD.
SALE PRICE: 50% OFF = $ 1,397.50 CAD
Gingko Border Carpet
Colours: an oatmeal field with camel brown border and sage green and burgundy-brown accents.
Size: 5’11” x 8’ 10 1/2” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India.
|
Regular Price: $ 2,795 CAD.
SALE PRICE: 50% OFF = $ 1,397.50 CAD
Hammersmith Carpet (designed by William Morris c.1885)
Colours: Navy blue, red, forest green, gold, pale yellow, and light blue.
Size: 5’11” x 8’ 10 1/2” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India.
|
Regular Price: $ 2,795 CAD
SALE PRICE: 50% OFF = $ 1,397.50 CAD
Wiltshire Carpet
Colours: A warm brown ground with spruce green, light yellow green, soft golden-brown and pale blue accents.
Size: 5’ x 6’10” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India
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Regular Price: $ 1,995 CAD
SALE PRICE: 50% OFF = $ 997.50 CAD
Voysey Border Carpet
Colours: The bright rose-red ground is surrounded by a rust border with pale yellow, light blue, apple green and black accents.
Size: 5’11” x 8’10” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India
Regular Price: $ 2,795 CAD
SALE PRICE: 50% OFF = $ 1,397.50 CAD
Wyndham Carpet
Colours: A sage green field with bands of gold, spruce green foliage, and accents in violet and deep plum, highlights of soft light blue and ivory.
Size: 5’11” x 9’ (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India
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Regular Price: $ 2,795 CAD
SALE PRICE: 50% OFF = $ 1,397.50 CAD
Thistle (Pink) carpet
Colours: Rose field and border
Size: 6’2” x 8’9 1/2” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India
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Regular Price: $ 2,795 CAD
SALE PRICE: 50% OFF = $ 1,397.50 CAD
Duleek Carpet Originally designed by C.F.A. Voysey c.1903 as a madras fabric, the design was later produced as a carpet and sold through Liberty’s of London.
Colours: a richly colored range of olive browns, greens, medium and light blues and natural wood tones with dark cream and pale blue.
Size: 6’2” x 8’10” (not including fringe) 1 only
100% New Zealand wool pile, hand-knotted in India
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Regular Price: $ 2,795 CAD
SALE PRICE: 50% OFF = $ 1,397.50 CAD
107-401 Garbally Road, Selkirk Waterfront
Victoria, B.C. Canada (250) 592-4916
Email: office@HistoricStyle.com
Online Catalogue: www.HistoricStyle.com