Sunday, September 7, 2014


image via VERANDA MAGAZINE, 1996 issue, from Peak of Chic blog.

In March of 1999, a 24 year old boy from South Georgia went to New York City to find an internship to turn the dream of moving to New York after graduating with a degree in Interior Design from  Georgia Southern University into a reality. Three interviews were scheduled at the D & D Building showrooms Grey Watkins, Hinson & Company, and Donghia.

Internships were offered by Donghia and Hinson & Company. One paid, one unpaid. Momma had told her son that he must secure a paid internship. Anxious, that boy went back to his hotel room after the interviews and called his Mom. And said these words, 

"Mom, I was offered two internships. Donghia offered me a paid internship and Hinson offered me an unpaid internship but I really want to work for Hinson. It just feels right. Mr. Hinson is Southern, he's from North Carolina, and I loved meeting him. And I love the showroom. It's so good looking. I really, really want that internship."

The best advice my (yes, I was that boy) Mom ever gave me went something like this:

"Well, son, I don't know what to tell you except you are going to have to call Mr. Hinson and tell him that you have to have a paid internship and you really want to work at Hinson, it feels right and all that, and it's what you want, but your Mom told you that you have to be paid."

Oh my goodness. Was she serious? Did I really have to call Mr. Hinson and tell him that? YES, I did and it worked! 

And in May of 1999, a U Haul truck arrived in NYC (driven all the way from Statesboro, GA, to New York City!) and in that truck were Mom, Scott Durden, and me. And in Scott and I moved to a FIFTH floor walk-up (that means no elevator -nothing but stairs to the 5th floor!) all of our worldly belongings while Mom stayed downstairs to keep anyone from stealing anything and to make sure the truck didn't get a parking ticket.

And a few days later, I became an intern in the New York flagship showroom of Hinson & Company, the renowned wallpaper and fabric company. And it was great, I loved it. And only a few weeks later, I was hired full-time and I worked there for seven months before deciding that I majored in Interior Design and I should work for a residential design firm. And I worked for two design firms over the next three years

And in 2003, I was back at Hinson & Company, first as a part-time sales associate in the showroom while I executed design projects for Jeffery McCullough Interior Design the rest of the time and then as Showroom Manager for a couple of years.

All in all, I spent half of my New York full-time living years as an employee of Hinson & Company. And I loved it. I really, really loved it. I only left in 2006 because Tim and I decided not to live in New York full-time and began splitting our time between New York and Louisiana. If that had not happened, I would not have left my position at Hinson & Company. And I regretted it for several years. Until there was no longer a Hinson & Company showroom. Until I would, most likely, not have had a job any longer because the company was acquired by Brunschwig & Fils.

From 1999 to 2014, Harry Hinson and I have had a very special relationship. One that began when he saw something in me in 1999 that he liked and continued while I was employed by his company and when I was not employed by his company when, each year, on March 30th we talked to wish each other Happy Birthday.

A relationship that continued when I would make it a point to see him on my trips to New York, including lunch earlier this year. And email correspondence that covered so many topics (mainly, my inquiring about a particular person or product from the past and needing his encyclopedic knowledge of design history) and was quite regular.

On Friday, I received the news that Mr. Hinson had died. I had planned to email Mr Hinson this weekend to let him know that we are coming to New York in October and I would love to have lunch with him and Tripp, his partner. I so looked forward to another visit with the two of them. There is so much that I want to ask Mr. Hinson, so much I still need to discuss with him. So much gratitude for him that I need to express.

But I can't do that now. But what I can do is remember and honor the design industry genius that he was. And do whatever I can to make sure that the company, the products, the man are not forgotten for as long as I can. And hope that others will do the same and there will be great features of Hinson designs for years and years to come in all of the major design world publications.

So what will Hinson & Company and Harry Hinson be remembered for?

It could be fabric. Solids, textures, geometric patterns, prints were all wildly successful. The fabrics of Hinson & Company deserve their own feature and will get one next week.

I have a feeling that if Mr. Hinson's wish comes true, wallpaper is what Hinson & Company will be remembered for.

The photo above is from a 1996 article about Mr. Hinson and in that article, about wallpaper, he says:

"It is what I love best in all the world. You'll notice we're called a wallpaper and fabrics firm, rather than 'fabrics and wallpaper' like the other houses. And half of our sales are in wallpaper, a ratio that's at least double the norm. It's no trade secret that the heart of this company is my boundless, insatiable fascination with wallpaper."

There are so many Hinson wallpapers that I could feature and some I will in future posts.

In the mid-2000's, I would have said "Madagascar Cloth", the grass cloth on the walls in the above photo of Mr, Hinson, was the one pattern for which everyone would remember Hinson & Company but too many companies have ripped that off and are producing it now.
Will it be the "Spatter" pattern introduced in the early 1970's and called an "American Icon" design by House Beautiful magazine?

Eddie Ross used "Spatter" in Blue in the Bloomingdale's window he designed...
 image via Apartment

....and Tom Scheerer used the pattern in the brown color way in an East Hampton bathroom:
 image via House Beautiful

image via House Beautiful
 Or will it be "Martinique", famous for its use at The Beverly Hills Hotel in Los Angeles and Indochine Restaurant in New York?

 Beverly Hills Hotel

 Foyer by designer Steven Sclaroff. image via House Beautiful

 While I was at Hinson & Company, the fantastic Albert Hadley/Harry Hinson collaboration collection was introduced and was a major hit, particularly the "Fireworks" pattern. So maybe this is the one?

 California bathroom with "Fireworks" Hinson paper on the walls

"Fireworks" in a Barrie Benson designed project

But it could be the Hinson/Hansen Swing Arm Lamp that goes down in history as an iconic Hinson & Company product.

Designed by George Hansen in the 1950's and becoming a Hinson staple when Hinson & Company bought Hansen Lighting, these fixtures have lit many a chic room.

From the 1960's.....
in a Billy Baldwin design room the 1980's.....

 in Brooke Astor's bedroom designed by Albert Hadley. image via New York Times. the 2000's

 in one of my favorite dining rooms/libraries. designed by James Andrew. image via Elle Decor.

and in designer Todd Alexander Romano's living room.

Or is it coffee tables from Mrs MacDougall, the furniture and accessories division of Hinson, expertly run by Tripp March and Toully Pappas for many years that one will think of as the seminal Hinson piece?

 Whether an Atelier Midavaine lacquer table...
a D.C. living room by William Hodgins with a Midavaine coffee table. image via Veranda Magazine.

Miles Redd New York City project in House Beautiful, July 2009. Midavaine lacquer coffee table and Bullseye Mirror from Mrs MacDougall at Hinson & Company.

...or a more modern option like this one ....
Eric Cohler AND Jeffery McCullough designed New York City living room, Tradition Home Magazine. Mrs MacDougall gilded coffee table.

There are so many options that one could say will be the stand the test of time Hinson product and time will tell what that is.

No matter what anyone remembers about Hinson & Company, I hope the man, Harry Lee Hinson, as Southern as they come, will be remembered and considered a legend, an icon of the design industry for all of time. All accolades are well deserved. May time not wash away the history that is so important, and special, is my prayer.

Rest in peace, HLH. I will miss having lunch with you in October, I will miss talking to you on March 30th, I will miss you dearly.

Tuesday, June 17, 2014

Vacation via a painting--the work of artist KELLI KAUFMAN

At different points in life the feeling of wanting to be anywhere but here, wherever here happens to be at that moment, is so real and strong that I feel it with every bit of my being. Life, very real life, has been intense over the last few weeks and the desire to escape to more pleasant ground has been palpable. Fortunately, I work with talented artists and receive images of beautiful paintings on almost a daily basis. And so the escape happens exactly when it seems I most need it when an email comes in with an image of a completed piece that takes me on a little vacation in my mind.

I can always count on one of those moments of respite anytime I open an image by Louisiana painter KELLI KAUFMAN. And it seems that art collectors receive the same gift from Kelli whenever they connect with a piece and know that it has to live in their home to take them on a peaceful trip every time they look at the piece.

So thank you, Kelli Kaufman! I needed some time this morning to just be in a few of your paintings to meditate and hit the pause button to soak in the peace that comes through them.

Here are a few of my favorites that are currently in the inventory of the galleries that represent this incredibly talented artist. Enjoy.....

Light As Air
Oil and Wax on Wood Panel, framed
30" x 40"
$ 2,200.00
available from Anne Irwin Fine Art, Atlanta, GA

La Mer II
Oil /Wax on Board, framed
16” x 20”
$ 750.00
available from VIEW GALLERY, Ridgeland, MS

Wade in the Water
Oil/Wax on Panel, framed
9” x 12”  
 $ 275.00   
available from VIEW GALLERY, Ridgeland, MS

Gulf Waters
Oil/Wax on Canvas, framed
30" x 48"
$ 2,150.00
available from OASIS, Destin, FL

Oil/Wax on Canvas, framed
40” x 60”
$ 5,200.00
available from PERCH.home, New Orleans, LA

Be sure to spend some time browsing the website of Kelli Kaufman,, and feel free to contact me with any inquiries or for more information on the paintings by Kelli Kaufman.

Saturday, January 4, 2014

Artists of Jeffery McCullough Art & Design Consulting at LOUNGE GALLERY, January 2014

Thanks to foot surgery in November, the last couple of months have been rather unpleasant at times. I am looking forward to the New Year with lots of exciting work with artists and projects and posts that I will be doing!

I am starting the New Year off with a bang with the opening of "The Artists of Jeffery McCullough Art & Design Consulting" Show at LOUNGE GALLERY in Lafayette, LA. During Lafayette's 2nd Saturday Art Walk next Saturday, January 11th, new work by eight artists will be shown. 

I am very fortunate to work with many talented artists and this show includes Jacob Broussard, Page Jones Davis, Kelli Kaufman, Caroline Chunn McCarthy, Anne McLeod, Connor McManus, Linda Moncla, and Laurence Young--artists from Louisiana, South Carolina, Alabama, and Massachusetts.

Here are two pieces by each of the artists. This is just a preview of the fantastic paintings in the show. If you are in Louisiana next Saturday, be at LOUNGE GALLERY on Buchanan Street in downtown Lafayette for the opening reception which is from 5:30-8:30. And, as always, if you would like more information or additional photos of any of these pieces, let me know. If you cannot make the opening but would like to see the show in person, please contact me to make an appointment.

Wishing you a very happy 2014 filled with great art!

Lafayette, LA

Kelli Kaufman's "Marsh Sunset", Oil/Wax on Canvas, 36" x 48"

Kelli Kaufman's "River Light", Oil/Wax on Canvas, 16" x 20"

Carencro, LA

Jacob Broussard's "Women and Boy II", Oil on Canvas, 16" x 20"

Jacob Broussard's "Figure Study",  Oil on Canvas, 10" x 10"

Provincetown, MA

Laurence Young's "Lady With Fan", Oil/Wax on Canvas, 24" x 18"
Laurence Young's "Laid Back", Mixed Media on Paper, 20" x 17"

Metairie, LA

Anne McLeod's "French Blue Sky I", Acrylic on Canvas, 12" x 24"

Anne McLeod's "French Blue Sky III", Acrylic on Canvas, 12" x 24"

Spartanburg, SC

Page Jones Davis's "Spring #2", Mixed Media on Canvas, 40" x 40"
Page Jones Davis's "Spring #3", Mixed Media on Canvas, 40" x 40"

Lafayette, LA

Linda Moncla's "Sailing", Watercolor on Paper, app. 20" x 11 1/2"

Linda Moncla's "Clouds Over the Beach", Watercolor on Paper, app. 38" x 24"

Mobile, AL

Caroline Chunn McCarthy's "Oakleaf Hydrangea", Oil on Panel, 24" x 24"

Caroline Chunn McCarthy's "Contemporary Still Life", Oil on Canvas, 30" x 40"

New Orleans, LA

Connor McManus's "Flowers Falling", Ink on Paper, app. 24" x 36"

"Roots" by Connor McManus, Acrylic on Canvas, 32" x 48"

Saturday, November 16, 2013

The Figure, The Face, The Body: Part 1

Being at The Jewish Museum in New York two weeks ago to see the "Chagall: Love, War, and Exile" show brought back memories of the last time I was at the museum. And that led to memories of another show. A powerful show will do that. The Chagall show is incredible--moving and haunting-- and I will write about it on another day. If you are in New York between now and February 2nd, be sure to see the show.

Meanwhile, back to the shows that I have been revisiting in my mind after being at The Jewish Museum........

The experience of seeing "Picasso: The Cubist Portraits of Fernande Olivier" at the National Gallery of Art in Washington, DC, was everlasting. Ten years later and I wish I could stand before those pieces and have that feeling again, the moment of exhalation in front of a piece after recovering from the first glance which had taken my breath away. 

book from the National Academy exhibition-available via  Barnes & Noble  here

About the show, the National Academy published:

"Between spring and fall 1909, Picasso produced more than 60 portraits of his companion, Fernande Olivier, in a variety of formats and mediums. In its intense devotion to a single subject, the series is virtually unprecedented in the history of portraiture. Powerful and melancholic, these portraits are among the most compelling in the history of modern art. This exhibition brings together some 50 of the related works, revealing Picasso's exploration of cubism and his radical reformulation of human physiognomy."

KEY WORDS: "radical reformulation of human physiognomy". Experiencing the beauty of another human, a woman loved by the artist, presented in this style was new to me and a bit uncomfortable at first. Breathtaking yet uncomfortable and then mesmerizing, beguiling, wonderful.

Pablo Picasso
Portrait of Fernande, Horta de Ebro
OIl on Canvas

Pablo Picasso
Standing Female Nude
Watercolor on Paper

Pablo Picasso
Bust of a Woman
portrait of Fernande Olivier 

I remember where I was, who I was with, and what I said when I saw this piece:

"WHOA! She's so beautiful. Is it Jackie Kennedy?" Completely taken, I listened as it was explained that this was by Alex Katz and the woman is his wife, Ada. The sight of "Ada in Hat" was shortly after the National Academy Picasso exhibition visit. 

In 2006, The Jewish Museum in New York mounted an unbelievable show, "Alex Katz Paints Ada". Again, just as in recollection of the Picasso show, my memory is so clear as I recall spending a couple of hours in the museum taking in each piece.  Standing back, moving closer, focusing on a small portion of a painting, then all of it. 

exhibition catalog of "Alex Katz Paints Ada" available from The Jewish Museum here

About the show, The Jewish Museum's statement said:

"For almost fifty years, the American painter Alex Katz has painted a series of portraits of his wife, Ada. These paintings have attained an iconic status and are unprecedented in their focus on a single figure over so many decades. Katz's portraits of Ada also raise fascinating questions about his methods and intentions: How much do these paintings reveal and how much do they conceal about their subject? How does the artist convey such vitality on his canvases? And how does Katz's work fit into the history of portraiture and the art movements of the 1960s and beyond? 

This fall The Jewish Museum will present Alex Katz Paints Ada, an exhibition of 40 paintings dating from 1957 to 2005. As the art historian Irving Sandler wrote in 1998, Ada "is woman, wife, mother, muse, model, sociable hostess, myth, icon, and New York goddess." The exhibition includes formal portraits, group scenes, and small paintings depicting Ada with husband Alex and son Vincent, and Ada in social and outdoor settings. To view this enthralling body of work is to understand the cycles of daily life and and the continual self-examination and reinvention of the relationship between a great artist and and his lifelong muse."

Alex Katz
Ada and Vincent, 1967

Alex Katz
Blue Umbrella #2, 1972

Alex Katz
Black Scarf, 1996

Whether cubism or realism, the love of figurative work and portraiture was born. And it continues.

Sometime soon after experiencing the Katz show, I saw this image in Elle Decor:

Steven Stolman's Palm Beach condo with Sally Michel painting over the sofa-image via Elle Decor
The room is well designed, interesting, pretty. But it's the painting to which my eye is immediately drawn. I learned that the artist is Sally Michel, the wife of Milton Avery. Neither cubism nor realism, this piece of a woman lounging with her bushy tailed cat is whimsical. Colorful, bold, abstract with the face left unfinished. 

Here is an example of another Sally Michel piece:

Sally Michel
John at Tea Time
Oil on Panel
24" x 18"
via Loucks Gallery, Glencoe, IL
And somewhere along the way, Elizabeth Peyton's work was introduced to me. LOVE. Major love. 
A piece from the permanent collection of MOMA:

Elizabeth Peyton
John & Jackie
from permanent collection of MOMA, New York
image via

and an image that I know nothing about except it is fantastic:

Elizabeth Peyton painting--image via Habitually Chic blog

In July of 2010, I visited the studio of Provincetown painter Cynthia Packard and saw these figurative pieces. HELLO! Moody. Deep. Dark. Seductive. And by an artist whose work I can specify for a client. And I did. "My Room" lives in the study of a Lafayette, LA, client.

"My Room" by Cynthia Packard. Mixed Media Figurative Collage. Now in collection in Lafayette, LA.

More on Cynthia in part 2 of this post.

That same Summer in Provincetown, I met Laurence Young. I loved his work and selected a piece for the same Lafayette client who has Cynthia Packard's piece. I met with Laurence at his studio and was immediately blown away by this piece:

Back Stitch
Oil/ Wax on Canvas, framed
24" x 18"
$ 2,000.00
available from Laurence Young

The colors, that back, the detail. Wow. And this:

Lady With Fan
Oil/Wax on Canvas, framed
24" x 18"
$ 2,200.00
available from Laurence Young

Again, colors, texture, depth, composition. AND, Laurence Young studied with Cynthia Packard. I knew I had to do something with this artist. I knew his work would have an audience outside of Provincetown and the Northeast. And now both VIEW GALLERY in Ridgeland, MS, and GREGG IRBY FINE ART in Atlanta, GA, have figurative pieces by Laurence Young.

Leave Me Alone
Mixed Media on Paper
18" x 24" matted
$ 275.00
available from VIEW GALLERY-Ridgeland, MS

Take My Hand
Oil/Wax on panel, framed
12" x 12"
$ 900.00
available from VIEW GALLERY-Ridgeland, MS

Strike A Pose
Mixed Media on Paper
18" x 24" Matted
$ 325.00
available from GREGG IRBY FINE ART-Atlanta, GA

Seated Woman Suite
Mixed Media on Paper
18" x 24" Matted
$ 325.00
available from GREGG IRBY FINE ART-Atlanta, GA
Provincetown Art Association and Museum (PAAM) currently has Laurence Young's "Veiled Portrait" on display in the annual members juried show which is hanging at PAAM through January.

Veiled Portrait
Oil/Wax on Canvas
30" x 30"
$ 2,900.00
available from Laurence Young,

Known for her landscapes, Kelli Kaufman created a series of nude figurative pieces after studying with Laurence Young in 2010 and Cynthia Packard this past Summer. About painting nudes, Kelli wrote:
"I enjoy painting them because they are new to me.  It’s been a process of exploring new territory, out of my usual comfort zone, and that’s exciting to me."

For Kelli there is a release, a freedom, from painting landscapes. And an entire show was devoted to figurative work.
"Silhouette" opened at Kelli Kaufman Studio and Gallery in Lafayette, LA, in September of this year and received great praise. 

Four of the galleries that represent Kelli Kaufman have figurative pieces in inventory:

Blue Solitude I
Oil/Wax on Panel, framed
16" x 20"
$ 750.00
available from VIEW GALLERY-Ridgeland, MS

No Man is an Island
Oil and Wax on Canvas, framed
18" x 24"
$ 750.00
available from PERCH-New Orleans, LA

Wade in the Water
Oil/Wax/Pastel on Panel, framed
9" x 12"
$ 225.00
available from OASIS-Destin, FL

Oil and Wax on Canvas, framed
16" x 20"
$ 750.00
available from OASIS-Destin, FL

And then there is Jacob Broussard, a 20 year old art major at University of Louisiana at Lafayette. When a gallerist saw Jacob's work earlier this year, she said, "this isn't learned. It is innate in him." Phyllis Geary of VIEW GALLERY in Mississippi was talking about Jacob Broussard's incredible command of the human figure and flesh and facial expressions and capturing life in a painting.

Often working from archival photographs from his family's stash of 1940s and 50s photos, Jacob brings a familiar moment in time to today. So much so that the viewer feels connected to the figure, the man, the woman, who has been elevated to receiving full attention and focus in Jacob's paintings.

"Elmo Jun" captured Best in Show at the 2013 Big Easel Art Show in Lafayette. About this piece, Jacob Broussard wrote:

"it's a 1947 image of my grandfather with his biker gang as a child. It's been part of an investigation I've developed this past semester, I was looking for different ways towards approaching flesh with paint; as I was researching different artists, I was thinking of a spiritual sense of flesh, family lineage, reincarnation, different flesh, but same spirit sort of work. Since looking at old photographs and reproducing many copies, I wanted that to become incorporated within the painting, so I duplicated the faces and hands, almost a literal interpretation of reproducing yourself from your ancestors. My grandfather is a paraplegic now, he lost his right leg 7 years ago on my 13th birthday. I wanted his leg to be a focus, exposed area of the painting, being that he lost flesh on a day of significance, a day of reproducing of his own flesh (my birthday). This commemorative painting addresses boyhood, domestic life, the age of lost innocence."

Elmo Jun
Mixed Media on Canvas
24" x 48"

For a recent fundraiser for CODOFIL (Council for the Development of French in Louisiana), Jacob created "Couche Couche" based off of a photograph of the artists great grandfather and his relatives sitting at the kitchen table eating the classic Cajun dish called Couche Couche.

Couche Couche
Oil on Canvas
24" x 36"

Galleries representing Jacob Broussard currently have some great piece in inventory including:

STUDY ON BICYCLE which is based off of "an original 1940s photograph from Scott, Louisiana, including the artist's grandfather and some of his childhood friends. Duplicated handlebars and arms suggest the process of recreating an image, old with time and creating 'flesh' in a sense, making it real, rebirthing the memory of these children."
Study on Bicycle
Acrylic on Canvas
24" x 48"
$ 1,350.00
available from VIEW GALLERY-Ridgeland, MS
Have an image of family members or ancestors that you would like to see brought to life in a painting? Consider Jacob Broussard for a commissioned piece.

Figure with Blue EyeOil on Canvas, framed
16" x 20"
$ 200.00
available from EDWARD DARE GALLERY-Charleston, SC

Finally, from a series that Jacob did last year, Orpheus: Doubt Comes In.

About this piece:
"The Orpheus painting is an interpretation of the Grecian mythology of Orpheus and Eurydice; I wanted to have the Underworld and the river Styx almost as this rundown, pull apart junk yard, very southern slums. I have Orpheus walking forward, leading Eurydice out of the Underworld, trying not to look back at her; Eurydice is out of the picture frame, making the focus Orpheus. I wanted to capture the shift in glances as he becomes doubtful of her presence and turns to see if she even exists, and ultimately, leading to her downfall.”
Orpheus: Doubt Comes In
36" x 36"
Acrylic on Canvas
$ 750.00
available from PERCH-New Orleans, LA

If you didn't already, I suggest clicking on each image to see the detail in the pieces. Who are your favorite figurative artists past or present, attainable (i.e.-affordable) or not? Leave a comment or shoot me an email. I would love to know about more incredible artists.

For more information or photos of any of the pieces by Laurence Young, Kelli Kaufman, or Jacob Broussard, please email me at