Rug Carpet Gray Are browns, blacks, beiges and reds good together?
We are getting our own place and choosing colors. We chose black solid surface countertops, salem maple cabinets, a rustic brown/beige/gray flooring, light beige walls, a saddle/leather light-colored beigey carpet (multi). We have a black table from Pier 1 that has the red underneath, want black couches, have black entertainment center we made, a dark brown and beigey rug for living room, and a type of red rug for under the dining table. What do you suggest to do with these colors, what to change, what to add, what to take away, how to tie it in altogether? I'm having a really hard time with this and want LOTS of different suggestions and internet references PLEASE!
Sounds beautiful so far. May I suggest accenting with more of the reds you have. Pillows, throws, vases, wall art, collectibles are all good ways to tie rooms together. Just make sure when doing each room that as you add red it is the same shade as what is already there. Reds especially don't look good mixed. If you started a room in a blue red stay with that. Or if you started with an orange red stay with orange reds.You can go lighter or darker but stay within the colour value. If you need help with it go to: http://www.behr.com/behrx/index.jsp
and click on the explore color tab.
Pemberly Wool Area Rug in Gray and Ivory from The Rug Market Collection Hand tufted Wool About The Rug Market America A stylish and innovative company located in Los Angeles, California, The Rug Market entered the home accessory market in 1986 with a line of highly decorative handmade rugs for every room in the home. The key to The Rug Market's success has been to present a designer fashion forward look within a medium price range. Leadership in the industry is maintained by concentrating on a philosophy dedicated to design, creativity, service, and quality. Available Sizes: Pattern is available in the following sizes: 5' x 8', priced at $693 8' x 11', priced at $1516 10' x 13', priced at $2,280 ADD A RUG PAD? Lead time: Usually The Rug Market America rugs ship within 3-5 business days. Occasionally, lead times can be slightly longer. Please note, a customer service representative will contact you within 24-72 hours if the lead time extends past 3-5 business days to ship out and receive tracking. ALL ORDERS OVER $50 SHIP FREE TO THE 48 CONTIGUOUS STATES. More information on carpet cleaning and carpet care.
Mystique Collection Wool Area Rug in Gray - Surya Rugs 100% Wool Hand Crafted Custom Sizes Available Made in India Colors: Gray Need a hard to find size? Custom sizes available, please contact us for pricing and lead times. Available Sizes: Pattern is available in the following sizes: 2' x 3', priced at $75 - Available Late March 2012. 2'6" x 8', priced at $215 - Available Late March 2012. 3'3" x 5'3", priced at $185 5' x 8', priced at $385 8' x 11', priced at $850 7'9" Round, priced at $680 ADD A RUG PAD? Lead time: Usually Surya Rugs ship within 3-5 business days. Occasionally, lead times can be slightly longer. Please note, a customer service representative will contact you within 24-72 hours if the lead time extends past 3-5 business days to ship out and receive tracking. ALL ORDERS OVER $50 SHIP FREE TO THE 48 CONTIGUOUS STATES. More information on carpet cleaning and carpet care.
Antique Persian style red geometric wool rug carpet with
Know like a pro: Eileen Gray
What is she famous for?
Her E-1027 seaside villa near Monaco, which she built with her partner at the time, Roman architect and writer, Jean Badovaci. Her E10027 adjustable glass and steel table was designed for her sister who loved eating breakfast in bed and demonstrates Gray's commitment to practicality. Aram has claimed the rights to her licensed goods, but you can read up on her design dynasty with this Eileen Gray book from Taschen at the RIBA store, which pays tribute to her work.
What will I recognise?
The Bibendum chair at SCP, with its sausage-like rolls, draws on the tubular steel work of Marcel Breuer. Her original work has soared in value since her death in 1976 because pieces are so scarce. A black lacquer screen she made for Badovici went for $374,000 in 1989.
Keep a lookout for...
Her screens, panels, tables, chairs and rugs; multipurpose furniture that embraces storage and function. Gray also adored bold colours. But be wary of cheap imitations— only Aram holds the official world licence to her products.
Insider fact
It has been suggested the E-1027 house is an acronym of the combined names of her and Badovici, with the numbers representing the position of letters in the alphabet — (E) = Eileen, J(ean) = 10, (B)adovici = 2, G(ray) = 7).
Sentence to drop in at a dinner party?
Short on dessert? Serve some of Eileen’s humble pie. Never one to shun an imitation of her work, Gray let American painter Frank Stella copy her Transat Chair, even advising him on how he could improve her design.
Biography Eileen Gray
Eileen Gray was born on 20 August 1878, into an aristocratic family near Enniscorthy, a small market town in south-eastern Ireland. Gray was the youngest of five children. Her parents, Eveleen Pounden Gray and James Maclaren Gray were of Scottish/Irish descent. Gray’s father, James, was a painter who encouraged his daughter's artistic interests. He took his daughter on painting tours of Italy and Switzerland which and encouraged her independent spirit. Gray spent most of her childhood living in family homes, either in Ireland or South Kensington in London.
In 1898 at the age of twenty, Gray attended classes at the Slade School of Fine Art, where she studied painting. Whilst enrolling, she made acquaintances with Jessie Gavin and Kathleen Bruce.
In 1900 (the year of her father’s death), Eileen Gray and her mother went to Paris to visit the Exposition Universelle; this was Eileen’s first visit to Paris. The Exposition Universelle was a world’s fair that celebrated the achievements of the past century in hopes of encouraging new work in the next. The main style there was Art Nouveau. Gray was a fan of the work that Charles Rennie Mackintosh had exhibited there.
Soon after, Gray moved to Paris along with her friends from the Slade School, Gavin and Bruce. Eileen Gray continued her studies at the Académie Julian and the AcadémieColarossi. For some four of five years after the move, Gray moved back and forth from Paris to Ireland to London, and then in 1905, she settled back in London as her mother took ill. Eileen Gray made use of her time in London and rejoined the Slade, but found that her drawing and painting courses were becoming less satisfying.
Gray came across a lacquer repair shop in Soho where she asked the shop owner whether he could show her the fundamentals of lacquer work as it had taken her fancy. The owner had many contacts from the lacquer industry and when Gray moved back to Paris in 1906, to an apartment where she remained for much of her working life, she met one of them; Seizo Sugawara (or Sugawara-san). He originated from an area of Japan that was known for its decorative lacquer work and emigrated to Paris to repair the lacquer work exhibited in the Exposition Universelle. She found after working with Sugawara for four years that she had developed the lacquer disease on her hands, however she persisted in her work and it was not until she was thirty-five that she exhibited her work. When she did, however, it was a success.
In 1914, when World War I broke out, Gray moved back to London, taking Sugawara with her. At the end of the war, they returned to Paris and Gray was given the job of decorating an apartment in the rue de Lota. She designed most of its furniture, carpets and lamps, and installed lacquered panels on the walls. The result was favorably reviewed by several art critics who saw it as innovative.
Given a boost from the success of the apartment on rue de Lota, Gray opened up a small shop in Paris, Jean Desert, to exhibit and sell her work and that of her artist friends.
In the late 1920s and early 1930s, Gray was involved with the Union des Artistes Modernes which had well-known members. She designed and furnished herself a new home, Tempe à Pailla outside Menton, and continued to work there with keen interest. In 1937, she agreed to exhibit her design for a holiday center in Le Corbusier's Esprit Nouveau pavilion at the Paris Exposition.
During World War II Gray, along with all other foreigners, was forced to evacuate the coast of France and move inland. After the war discovered that her flat in Saint-Tropez had been blown up and that E.1027 had been looted.
Gray returned to Paris and led a reclusive life. She continued to work on new projects, but was almost forgotten by the design industry. When she was around seventy, she started to lose her sight and hearing, yet when she was eighty, she transformed a dilapidated agricultural shed outside Saint-Tropez into a summer home; she soon moved there and continued to work.
Shortly before her death, Gray’s work was shown in an exhibition in London and her work was remembered fondly by the public. At the age of ninety-eight, Kathleen Eileen Moray Gray died in her apartment on rue Bonaparte in Paris. Throughout her career she had been independent and did not often work alongside others. She was quite unusual in her life as there were very few female designers around. It was not until after her death that her work was truly appreciated.
About the Author
Annie is an expert furniture and interior design writer. Her current area of specialism is desk, kettle and bathrooms
