Period French Rooms at the Metropolitan Museum Webinar

Beverly Vosko’s InteriorDesign-ED

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Period French Rooms at the Metropolitan Museum Webinar Handouts Welcome to our .3 CEU Webinar!

What is an Antique? In America, a item is considered to be an Antique if it is 100 years old. But when I studied at Sotheby’s, I was taught that a “true” Antique furniture piece was a piece of Period Furniture. A piece of “Period Furniture” is a piece of furniture manufactured during the time period that its design style was invented, during the Golden Age of Furniture. What is the Golden Age of Furniture? The invention and introduction of numerous diverse furniture styles, each one rapidly succeeding the next in response to the constant demands from the aristocracy for new furniture fashions. In England this Golden Age of Furniture occurred between 1702 -1830 - It begins with the Queen Anne Period: 1702-1715 and ends with the Regency: 1800-1830

What is the significance of the date 1830? It is the advent of the Industrial Revolution and the Machine Age. Before this date, furniture was handcrafted to an incredibly high standard of technical excellence. After this date, furniture began to be mass produced – and was never again superbly handcrafted to the same standard of technical excellence.

In my opinion, at least 75% of all furniture in the Decorative Centers across the U.S. and Canada are either an exact replicas of or adaptations of these Period pieces, so these Antiques are still very relevant today… WHAT MAKES THIS PERIOD FURNITURE SO SPECIAL that it has been popular ever since its inception 250-300 years ago (when it was new – not Antique), it has been copied throughout the last 200-300 years and it is still popular and being reproduced today. The answer is that: This furniture was designed and handcrafted to such an incredibly high standard of technical excellence that it retained a caliber unequalled prior to that time Period and unsurpassed since.

The design of this furniture is the combination and culmination of the design styles of all the great civilizations that preceded it …5000 years of design… The 3 civilizations of Ancient Egypt, Ancient Greece and Ancient Rome provided the prototypes for English furniture design during the Golden Age.

Ancient Egypt 3500 BC-1352 BC The civilization of Ancient Egypt provides us with earliest furniture specimens and oldest artifacts known to date Only the Pharaoh’s had furniture but the range of furniture that they had was very small Pharaohs only had chairs, beds and boxes (chests) but what marvelous ones they were The Egyptians: -developed the woodworking techniques of using dowels, mitered joints and dove tails – techniques still used on fine furniture today- -are given credit for inventing the 4 legged chair, a simple low bed, the drawer (although only smaller boxes had drawers) and the art of inlay Inlay is the cutting out a shaped recess in the solid surface of a piece of wood and its replacement with small pieces of various different colored woods and other materials in a jigsaw puzzle-like fashion to create a picture

Ancient Greece 650 BC-80 BC The civilization of Ancient Greece culled the best designs from the Ancient Egyptians and built upon them Very little Greek furniture has survived – our knowledge of Greek furniture is derived almost entirely from Greek vase paintings and relief sculptures found on Pompeian cave walls and sarcophagi, yet we believe this information to be very accurate. The most important contribution of the Greeks was the concept that people other than the ruler could own a piece of furniture. The Greeks had a larger range of furniture than the Egyptians They designed 2 types of chairs… A heavy marble throne chairs which were used ceremonially in their marble temples and a light Klismos chair which was a completely new chair design displaying a series of continuous curves which was used by all the nobles in their homes They had Couch/beds that were built higher than their Egyptian equivalents so a table could be placed underneath it. The Greeks were the first civilization to use table on a widespread basis but they only fathomed it as something to eat on They perfected the art of carving and became masters of proportion – constructing beautifully proportioned buildings and furniture Both carving & proportion were crucial to furniture design during Golden Age

Ancient Rome 200 BC –400 AD Ancient Rome’s civilization overlapped that of Ancient Greece -they culled the best ideas from both Ancient Egypt and Ancient Greece and added them to their repertoire of furniture design ideas Ancient Roman civilization had almost everything we have today, in the way of furniture And furniture was designed for its esthetic value meaning that there were various different styles of each furniture type and people could choose which style they liked the best They had many kinds of chairs and sofas They had tables to eat upon and/or store things on- Romans were the first to think of utilizing a table as a vehicle for storage and display They had cupboards to store things in and buffets laden with vases and other objects They didn’t have upholstery but they draped magnificent fabrics over their furniture giving the semblance of upholstery They developed the rounded arch and used it repeatedly The Greco/ Roman civilization invented and utilized many Classical motifs such as wreaths, swags, urns, garlands, rosettes, acanthus leaves, cherubs, winged sphinx’s and other mythological figures –all of which were very popular during the Golden Age of Furniture.

But with the fall of the Roman Empire, all of these design and construction techniques were forgotten and had to be relearned slowly over time. The remainder of this webinar discloses that learning process

Francois I 1515-1547 Furniture was a mixture of Gothic and Renaissance motifs

Henri II 1547-1589 Renaissance Motifs come into their own and were a combination of Italian and Flemish Renaissance motifs He married Catherine de Medici from the famous Florentine family and elevated the quality of French cabinetmaking tremendously

Henri IV 1589-1610 He was the 1st person who believed that aggrandizing the arts aggrandized the state… He brought many artisans together to make wonderful furniture for France But he was assassinated so his entire Era was considered part of the Louis XIII Era

Louis XIII 1610-1643 The Louis XIII Era was famous for its twist turned supports This is the 1st time ebony was cut to be 1/3” thick, carved into diamond point panels and applied on top of a carcase of oak in a manner ½ way between building a solid carcase and veneering

Louis XIV 1643-1715 In 1661, at the age of 21, Louis XIV was crowned king It was not until then that a genuinely French style, the Style, began to be established Louis XIV wanted everyone to be aware of how great both he and France were so he built the , with its “grand appartements” Louis XIV then needed equally massive gilt furniture to fit into this architectural scheme For First time consideration was given to Interior Design as an ensemble The main furniture designer of this era is Andre Boulle- Kings ebenist Stylistic concepts of Louis XIV Era: • Veneering, accompanied by • Carving in solid wood • Gilding and Silvering • Lacquering Symmetry is rigidly observed on Louis XIV furniture decoration In the Louis XIV era, many classical motifs are used: ram’s heads, stag’s hoofs, dolphins, griffons, seahorses, waterlily leaves, laurels, swags, garlands of acanthus leaves, fruit and flowers, also coats of arms trophies, mythological figures, masks and shells

Regence 1700-1730 Transitional Period –from rectilinear to curvilinear style Furniture becomes lights and less formal and straight lines begin to curve Cressent is famous cabinetmaker of this era

Louis XV 1730-1760 Rococo style – light playful frivolous imaginative style where sinuous Graceful supple curves disguise all joints and a deliberate asymmetry is sought after Motifs: monkeys (synergies) , fantastic little animals, dogs, birds swinging from bows of ribbons and delicate trellis-work patterns, flowers arranged in sprays, garlands and pendants or scattered among twisted branches, cyma “S” curves and “C” curves Wood of Choice is Tulipwood – veneered and embellished with polychrome marquetry using numerous other woods often dyed to achieve desired colors Meissonier and Oeben were famous cabinetmakers

Louis XVI-1760-1789 Return to Neoclassical Antiquity – ovals and straight, smooth unbroken lines triumph Veneering and marquetry still popular – both geometric and floral designs Sevres and Wedgewood Porcelain plaques incorporated into furniture Brass is used as pierced galleries, inlaid in narrow strips to frame panels, or inlaid in fluted grooves - brass rings encircle pilasters Bronze mounts are in form of lion’s paws handles, keyhole plates, decoration on friezes which are like jewelry & discretely decorate piece Motifs include Greek key, Pearl Beading, egg and dart molding, dentil moldings, imbricated scalework, rosettes, small repetitive details, tassels, paws and lion’s masks, columns, pilasters, fluting, leaves, flowers, fruit, pastoral attributes and musical instruments Furniture

Directoire and Consulate Period 1789-1804 Brief period separating Louis XVI and Empire Period Stylistically severe looking furniture – Greek style copied academically and stringently Immediately after Revolution “storming the Bastille scenes” are hastily plastered over Louis XVI furniture – then becomes more opulent as time goes by Continuum beginning with very simple, severe furniture and ending with very opulent furniture Tend toward geometrical forms, straight lines and simple curves Ornament doesn’t disguise structural form

Empire 1804-1830 Ancient classical motifs rigorously interpreted Furniture characterized by heavy rectilinear forms embellished with large gilt bronze mounts, severe lines and wide flat unbroken surfaces Stylistic elements of Empire typified by: -A love of and exact copying of all things Greek, based upon Greek cave paintings found on Pompeian cave walls, Greek vases and bronzes -Monumental proportions – heavy furniture laden with bronze mounts Furniture now occupies a permanent position in the room – informal arrangement of furniture

The Varengeville Room Paris C 1736-52 This Hotel , built by Jacques Gabriel, was destroyed when they created the present Boulevard St. Germain. The gold and white paneled room with its Rococo boiseries – wood carving - came from the back of the house. The gilt boiserie, especially the fantastic stork-like birds carved at the sides of the mirror crests , was done in the manner of Nicholas Pineau, who spent 14 years in Russia working with Peter the great on French Rococo style design work. It is carved painted and gilded oak! The Fleur de peche marble chimneypiece was given to the museum by J. P Morgan and the Floor is parquet de Versailles and are both contemporary with the woodwork. Notable furniture: • The Rococo red and gold japanned writing table C 1759, was made by Royal cabinetmaker Gilles Joubert and commissioned by Louis XV for his study at Versailles. This table stood in Versailles until 1786, and now stands on the Savonerie carpet, which dates from 1680 and was part of a series designed by Charles Le Brun for the Grande Galerie of the . The desk, its front and sides painted in gold with chinoiserie ornament, bears an inventory number 2131, painted under its central section. This number corresponds to a written description in the royal furniture registry and identifies it as the example delivered on December 29, 1759. • A pair of Chinese coromandel-lacquer corner cabinets C 1745-49, made by the famous cabinetmaker Bernard Vanrisamburgh II and stamped B.V.R.B. has black incised coromandel-lacquer decoration on the doors, which was cut from Chinese screens and adapted as veneer by French craftsmen. • Gilded wood pair of chairs, are part of a set of 12 armchairs and 2 settees covered with the original wool and silk Beauvais tapestry. The seats and backs of the armchairs are woven with animal and bird subjects and was ordered in 1753 in Paris by a Danish ambassador, for the tapestry room at his palace in Copenhagen, and made by Nicholas Foliot.

The Parr Room Vienna 1765-72 This building was originally called Parr Palace. It was owned by the family who was delegated to bring the 14 year old Marie Antionette to Versailles. This room also has Rococo style boiserie – though it is made of soft pine – where the Varengeville boiserie was made of oak. Notable Furniture: • A large knotted and cut pile wool Savonerie carpet decorated with sun flowers in the center, interlaced “L’s” in the corners, fleur de- lis, palm sprays, royal emblems and flower garlands was also one of 92 carpet s woven for the Grande Galerie of the Louvre between 1668-1685. • 5 pieces by or attributed to Bernard Vanrisamburgh II A gold and black Japanese lacquer commode-en-console, a rare form of table consisting of a console table fitted with a drawer, signed with the initials B.V.R.B.- is attached to the wall on the right of the chimney piece- lacquer panels are probably 75 years older than piece itself • Small writing desk with tabletop veneered with tulipwood on oak, with marquetry inlay comprising scrolling bands of kingwood, mother of pearl flowers and pieces of horn stained red, blue and green-not as faded as usually seen by centuries exposed to light – the top is enclosed on 3 sides by a pierced gilt-bronze gallery • Gilded oak armchair frame carved by Nicholas Foliot – with original crimson velvet trimmed with its original silver threaded gold galloon-originally commissioned and built for the duchess of Parma and the palace at Parma.

The Tesse Room Parris C 1768-72 The Hotel De Tesse was built in 1628 and after it was destroyed by a fire in 1760, was rebuilt in 1768 in Adam’s NeoClassical style. It was owned by the count and countess de Tesse - the count de Tesse was a powerful man who was also the Spanish grande. This room was called the grand salon – or large reception room – but we now know that it originally was called the “salle du dais” literally the “room of the canopy” because it had a canopy that is presumed to have extended in between the doors on the wall opposite the windows. This was therefore a room for solemn occasions rather than a throne room. The room contained 29 chairs and the Tesse family, when entertaining, sat underneath the canopy, which was an explicit symbol of rank . This canopy was probably 3 sided and must have projected into the room at some point below the cornice. The oak paneled room with fabulous boiserie , and, and fireplace with urns surmounted by a large arched mirror covered with Neoclassical details, was donated to the museum in 1931. Note the symmetrical simple boiserie on the doors and the carved puti flanking a medallion topped by a bow and ribbon streamers, above it. The boiserie throughout is covered with carved gilt egg and dart molding…. This room was originally smaller and boiserie was made to extend the room 5ft. in dept and 2 feet in width to exhibit more furniture! The Boiserie was originally painted grey-green color, but this was changed to white in 1956. Notable Furniture: • Marquetry mechanical table was one of Reisener’s earliest pieces, made for for her use at Versailles. Jean-Henri Reisener was the Ebeniste du Roi (cabinetmaker /veneerer for the king– originally named Ebeniste because the first wood that was veneered was done in ebony) and even when he fell out of favor with Louis XVI, he was always Marie Antoinette’s favorite cabinetmaker. This table was designed to have multiple uses: eating, dressing and writing. For eating, the hinged panels of the top could be left closed and the table height adjusted to be the perfect height for the sitter, by turning a crank on the side. As a makeup table, a mirror panel recessed below the marquetry in the center could be released by pressing a button on the front of the brass rim. Other buttons could release hinged marquetry panels, which appeared to be a part of the decoration of the tabletop but also served as lids for 6 compartments, (3 compartments on each side of the mirror) , designed to hold cosmetics and perfume. For writing when seated, these compartments could be kept closed to provide a writing surface, while the raised mirror panel could be rotated on a horizontal axis to form a lectern, which could be disengaged and laid flat, to become part of and therefore enlarge the table surface. Five years after the mechanical table’s production, Reisener’s workshop delivered 2 of the most splendid pieced of furniture ever made! Marie Antoinette loved Japanese lacquer and owned about 80 small bibelots all of which she kept at Versailles • Japanese lacquer drop front desk or upright Secretary– Secretarie a Abbatant - also made for Marie Antoinette. The desk veneered in ebony and faced with Japanese black and gold lacquer panels. The interior of the desk is finely veneered in tulipwood banded with purplewood, contains a strongbox and a secret compartment. The Queen’s monogram – the initials MA interlaced – appears three times in the gilt bronze frieze beneath the top of the desk. • A Matching Japanese lacquer commode also made by Reisener

The Cabris Room Grasse C 1771-? Jean Paul de Clapiers, a member of one of the great Provencal families since the 14th C, became the 3rd marquis de Cabris in 1771 and both he and his young wife opted to spend part of his inheritance constructing a town house in the French Provencal town of Grasse, right next door to his mother’s 17th C house – which they called the novel hotel de Cabris. (Grasse is about 12 miles inland from Cannes). The construction work lasted from 1772-1774 and resulted in a lovely Italianate-looking building. Since Grasse was but a small town, it was too small to support a local wood working industry – so the lavish decoration, furniture and wood paneling ordered for this room, had to be made in Paris and shipped to Grasse. The couple who purchased this home began having problems while the construction was still ongoing; he went mad and she was sent to a convent by her father for siding with her mother, from whom he was divorced, in a disagreement. So the house lay unfinished for many years. For example, 9 crates of the carved, painted and gilded woodwork provided for the “salon de compagnie” and its adjoining bedroom remained unopened in the house. After her confinement and the death of her mother in law, Mms de Cabris came back in 1788 and began to unpack the boiserie and finish the house. Bad timing again ensued. The was about to begin and her tenant farmers began uprising, so Mms de Cabris fled first to Paris and then to Italy – and returned in 1796. The boiserie in this room is actually 5 feet wider and 7 feet longer than it was originally designed to be in the novel hotel de Cabris. That means that 8 of the narrow undecorated filler panels known as pilasters are new and have been added to provide more floor space and better slight lines for viewing the furniture. The plaster cornice then had to be made over and a new ceiling rosette was also added. There were originally 5 double doors carved with beautiful reliefs. Notable Furniture: • The gilt mirror is original to the Cabris room • The fine gilt bronze 12 branch chandelier has all the gilt bronze decoration applied to a vase of blued-steel – rather than using crystal drops – which is different for this period. It is attributed to Francois Remond – who worked at the French court between 1784 and 1787. Pairs of gilt bronze candle branches rise from the folded arms of 2 nymph-like figures, their lower bodies ending in leaf scrolls, while 2 more pairs of branches spring from behind the curling horns of 2 satyr masks, which alternate with nymph figures around the rim of the vase. • A marquetry table in the center has lovely parquetry and round fluted tapered legs. The top section is a separate unit with 4 short legs recessed into the corners of the lower section which enables it to be removed and used as a bed tray. The center panel of the top can be raised to serve as a mirror or a lectern. The table is signed C 1775-80 • A gilt beech wood fire screen sits in front of the chimney piece and rests on pairs of bracketed dolphins’ heads and has uprights in the form of bundles of sticks bound with spiral garlands of ivy. It was made in 1786 by Georges Jacob a famous menuisier, of this era (and is signed G.Jacob beneath the lower rail of the fire screen) for Marie Antoinette for Chateau Fontainbleau. The fire screen was part of a larger order for 14 items, mainly chairs, who’s invoice was lost in the Revolution. • a pair of small side tables were also made by Georges Jacob in 1784 for Marie Antoinette. • a pair of side chairs covered in modern pink moiré sink, were also made be Georges Jacob

The Crillon Room Paris C 1777-80 Space where the present street the Faubourg Saint Honore exists was sold and 2 Neoclassical facades were built and completed in 1772. The land behind the façade was purchased by an architect, who built this house which then overlooked the Rue des Champs-Elysees – now the Rue Boissy d’Anglais. and leased it to the duc d’Aumont. It was but a shell- lacking interior decoration. So the duc began to decorate it in the late 18th C Neoclassical style- which was characterized by a combination of Greek and Egyptian motifs. He covered the walls with lovely painted panels -boiserie. The painted motifs on the panels are closely based on a series of ornamental paintings called Grotesques carried out by Raphael and his assistants on the walls of the Vatican loggias in the early 16th C. The original floor was parquet de Versailles and this floor is also in that pattern – although it is not original. The Duc died and the house was sold to the Comte de Crillon. In 1905 a Mrs. George Bliss saw that the house was about to be demolished, and she bought the contents of the boudoir and another small adjoining room, and brought it to New York. Her daughter donated it to the Met in 1944 and the description of the seating of this room has been very closely replicated in the museum today. The inventory included a 3 sided sofa – which was replaced with the daybed, a mirrored niche and a pair of arm chairs – all painted white and picked out with gilding. The only other piece in the room was a small drip-leaf table. The Painted panels may have been whitewashed during the French Revolution, for their protection. Notable Furniture: • A marquetry mechanical table, smaller and less complex that the one in the Tesse room, was also made for Maria Antoinette for Versailles. An oval reserve on the table top is filled with a marquetry trophy alluding to French supremacy in science, commerce arts and letters. • The side chair, has a shield back shape that has been hollowed out – en cabriole – to conform to the back of a sitter and therefore be more comfortable • A late Louis XVI daybed was commissioned for her dressing room at the Chateau de Saint-Cloud. It has gilt swags and uprights carved with busts of Egyptian maidens, which also appear on the armrest supports of the armchair. • Matching bergere with crest rail carved with a wreathed cartouche having interlaced initials MA, for Marie Antoinette in the center. Both the day bed and the bergere were made by Jena Baptiste Sene, another of Marie Antoinette’s favorite cabinetmakers. These made up some of the furnishings for Marie Antoinette’s own apartment at the Chateau de Saint-Cloud – which she decorated and used extensively at the end of her reign. She received these items shortly before the Revolution in 1788 and had scant time to enjoy them. • Small writing table veneered in tulipwood, and decorated with 13 inlaid Sevres porcelain plaques painted with floral motifs and turquoise, a pull out writing slide and a coffer for jewelry made by Martin Carlin.

The Bordeaux Room Bordeaux C 1785 Circular rooms were considered fun and less formal than rectangular ones, and were quite fashionable in the late 18th C and they were often used as small bedchambers or boudoirs. This room is the latest in date of the Metropolitan Museum’s French rooms and is a good example of this style. Bordeaux prospered in the late 18th C and many homes were built in the then popular Neoclassical style. This room was the Hotel Saint-Marc after its owner the marquis of Saint-Marc. The floor is covered in Beauvais tapestry made from 1787-1790. The finely carved boiserie is made of pine and is as good as its Parisian equivalent, even though it was made in Bordeaux. It is painted a grey green as it was supposedly originally painted, and displays arabesques, trophies representing the arts, hunting and farming, as well as foliage. Carved trophies are found over the door lintels. Over one door frame is a carved basket containing a compass, a T square and overflowing acanthus leaves- which symbolizes architecture. Over the other is a trophy depicting carious musical instruments- which symbolizes music. The rooms furnishings were copied from a painting entitled “Le Souper interrompu” which portrays a similarly curved room and a table set for a dinner party. Niches contain a pair of large plaster nymphs, a style popular at this time. Notable furniture: • Neoclassical painted side chair near fireplace has a lyre shaped back and tapered fluted legs • Napoleonic arm chairs are monumental, heavy and gilt with monopodium supports and square backs.

Glossary

Inlay- is the cutting out a shaped recess in the solid surface of a piece of wood and its replacement with small pieces of various different colored woods and other materials in a jigsaw puzzle-like fashion to create a picture Marquetry - is the cutting out of a section of a veneered piece of furniture and its replacement with tiny pieces of various different colored woods and other materials in a jigsaw puzzle like fashion to create a picture. Difference between marquetry and inlay is that marquetry is set into the veneer whereas inlay is simply set into the carcass of the piece. Thus the furniture first had to be veneered, which was difficult in and of itself Gadrooning- is a molding that alternates grooves and convex sections Acanthus Leaves – thin pointed leaves of the acanthus plant Egg And Dart Moldings- which is literally an egg and a dart that are alternated in a molding Fluting- is a series of parallel concave grooves Gilding or Silvering - covering a piece of furniture in a thin coat of gold or silver - was taken directly from Louis XIV style. Cabriole - goats leg and this leg was given its name because the earliest cabriole legs, prior to 1705 terminated in hoofed feet Grotesques – designs such as foliated scrolls, swags, urns and cherubs that supposedly originated in underground caves or grottos (hence the name grotesques) that were utilized by many artists, architects and furniture designers including Raphael and X-frame – a base in the form of an X Pilasters – a flat column – scalloped shell used in Rococo Period Serpentine - curved Chinoiserie - a lighthearted imitation of Chinese furniture. Ormolu - gilt bronze mounts Boiserie - gilding on wood (bois means wood) – A design very popular on the walls of rooms in the Golden Age of French Furniture Swags – “U” shaped decorative husks, drapery or flowers Roundels – round or oval panels Veneer – a 1/16” thick layer of wood applied to a carcass of a piece

Bibliography

This course is based upon my knowledge gleaned from my notes taken during my studies at Sotheby’s and the Inchbald School of Design and my notes taken while teaching the actual live CEU “Period French Rooms at the Metropolitan Museum in NY” which is approved by IDCCE as well as several books:

1. O’Neill, John P. Period Rooms in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, second printing 2004 2. Miller, Judith. Furniture. New York: DK Publishing, 2005 3. Research and Photos from The Boston Public Library, The New York Public Library, the Metropolitan Museum NY, the Philadelphia Public Library and the Philadelphia Museum archives

Biography

Beverly Vosko, Allied Member ASID, RID, UDCP, ( Universal Design Certified Professional), CAPS, L.E.E.D Green Associate, CGP (Certified Green Professional) is a full service, Registered Interior Designer in Texas #6333. She is President and founder of both Beverly Vosko Interiors and InteriorDesign-ED; both DBA’s for C. V. Design Inc. For over 25 years, she has been designing homes across the United States and Europe, specializing in creating custom residential and commercial environments, be they traditional, transitional, contemporary or eclectic, that match her design clients’ every need, through her design firm, Beverly Vosko Interiors. For nearly 20 years, she has taught Interior Design: first at Rice University, then at the University of Houston, and for the last 10 years nationally, with her Continuing Education company, InteriorDesign-ED. Specifically, she has taught Interior Design, Aging in Place, Green/Sustainable Design, Lighting and Antiques. She graduated Phi Beta Kappa, Magna Cum Laude from the University of Pennsylvania, studied Art History at Harvard University, received her MBA in Marketing from NYU Stern Graduate Business School, and completed Design and Antiques training from Sotheby’s, the world-renowned Inchbald School of Design and Houston Community College. Please view her websites, www.vosko.com and www.InteriorDesign-ED.com