While the bones of the home were heavenly (while sitting in the living room you can look up and see all the way through the cupola) the style felt a little more like a lodge than a home. So, the timbers and doors and windows were all painted white (Benjamin Moore “Linen White”), in a terrifying process using plywood sheets and ladders to reach the some 40 feet up. Iron balusters were updated with steel cable and tempered glass. In Betsy’s studio, she took the dark green former stables and painted everything white and added casements under the window to allow for more natural light in the somewhat cave-like space. The last vestige of the lodge feel for Betsy and Peter is their fireplace, and because of the scale, it will take a while for them to figure out what the perfect replacement will be. While the open spaces were something Betsy had dreamed of, and one of her favorite features, they do create the design challenge of being able to see everything from one end of the house to the other. Betsy had to make sure when she was designing the space that everything felt cohesive. Scale is also a key design element in their home — pieces that once felt huge in their last home were now dwarfed in the massive barn house.
And comfy it is. The living room is the most inviting space to unwind and imbibe in style. “Matthew has been writing about booze and drinking culture for 14 years (culminating in his book You Suck At Drinking) so we have to have a good bar!” They also have a side table in the living room with whiskey on it for those occasions when they are “too lazy to get up and walk to the bar.” Contentment, Sarah reminds us, is often found in the small, thoughtful details.
This steamer trunk, belonging to Anne Sheldon-Duplaix, traveled back and forth with her grandparents between New York and Europe, holding all their possessions until it was passed to her parents’ home in Northern France, and then on to her. She used it to store a carefully curated fabric collection and her dreams of becoming a clothing seamstress. One day, Anne opened the trunk and began sewing clothes for her daughter, which led her to open a children’s clothing shop by constructing clothes from the fabric stored in the steamer trunk at her East Village, NYC home.
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