At the risk of displeasing those who fight for animal's rights, I have to say I'm wild about this hunter's repair decorated in 1935 by the architect, landscape architect, decorator, designer, historian, museographer, astronomer, naturalist - in short, by the Renaissance man, Jean-Charles Moreux. Often inspired by Ledoux and Palladio, his mission here was not to achieve a stately palace interior, but to express his client's passion for hunting in an smart Paris studio. The classical sobriety in the arrangement of these objets insolites speaks also of the architect and his love of collections, encouraged to tweek the curious side of things by the surealist leanings of his colaborator, Bolette Natanson.
Let's look at the some of the details: Among the traditional huntsman's trophies, in the right upper corner, a floor lamp made from a towering urn and a crocodile skin; placed centrally, a table top left in its irregular shape - is it wood, stone? Elephant ear! Walls are covered with untreated cork, the floor with sisal providing a rugged but warm framework for the owner's collection.
The top of this elephant foot lifts up to reveal glasses, decanters, and bottles -
single malt whisky would seem suitable.
The entrance doors are covered with bark cloth or another African textile; an upward turned tortoise shell forms the bowl top of another striking light; door handles are made of horn; a bamboo ladder leads to a mezzanine with carved guardians and walls covered in black shantung.
All right, I'm not sure it was shantung.
My source says black silk, but wouldn't black shantung be perfect?
The bedroom is an alcove covered with straw mats which receives light from the living room through bamboo bars. The recessed ceiling was decorated with Bolette Natanson using various pressed leaves, dried butterflies and insects.
This is a very personal home or pied à terre.
Yesterday's souvenirs of adventures have become today's forbidden pleasures.