The 12th Earl of Drogheda visits the homes of aristocrats and others in Paris, London, Madrid, Vienna and elsewhere
Rooms. Photographs by Derry Moore. Text by Carl Skoggard. Editor: Joseph Holtzman. Rizzoli/Nest Books, 263 pp., $60.
By Janice Harayda
Books about interior design typically show rooms with character. Derry Moore’s Rooms shows rooms with characters.
Rudolf Nurevey, Lady Diana Cooper, the Rev. Peter Gomes, the Duchesses of Devonshire and de Mouchy — all are among the aristocrats of birth or achievement whom the 12th Earl of Drogheda has photographed over three decades. Moore aims to capture, not romanticize, his subjects. So he looks beyond Nureyev’s deep cooper bathtub and the Sargent portrait of the granddaughters of an earlier Duchess of Devonshire that hangs in the Blue Drawing Room at Chatsworth. He offers glimpses of faded paint, threadbare silk, buckled wallpaper, tilted lampshades and a roll of toilet paper.
In that sense his book has something of the twilight-of-the-gods air of Andrew Bush’s great Bonnettstown. Rooms also has a bracing and opinionated text by Carl Skoggard, who situates good design – as Jane Austen did – in the context of morality. “Here, you will find no effort to intimidate by means of a display of grandeur (or false grandeur),” Skoggard writes of the château Le Fresne, near Tours. “Nothing overawes through its size.” You could say that “Le Fresne and its unforced elegance express the unfeigned goodness of dispositions naturally moral.” This may be a reach. But Skoggard’s writing has much more life than the sycophantic prose of most design magazines. Like Moore’s haunting photographs, his text usually is, as the introduction notes, “impractical in the best sense of that much maligned word.”
Best line: Prince Tassilo von Fürstenberg’s former hunting bristles with so much taxidermy that Skoggard wonders if an Austro-Hungarian decorator tricked it up “with suitable remains”: “Recall Vladimir Putin’s astonishment when he suggested to his friend George Bush that the two of them saddle up for a ride around the ranch, only to be told that his host could not ride a horse at all.” This is one example of Skoggard’s refreshing willingness to confront a truth rarely acknowledged in books about interior design: Décor is always, in part, a commentary on politics.
Worst line (tie); The chapter on the gardens of Powis Castle in Wales is written, preciously, from the point of view of its yew trees. And Skoggard’s usual good taste fails him in his justification of opulence of Indian rajas and maharajas: “Where poverty is widely shared and there is no shame in being poor, ostentation on part of the well-off few becomes public entertainment, a benefaction shared by all, legitimation of things as they happen to be.” Exactly how did the poor “share” in the opulence when, as the Wall Street Journal said in its June 23–24 edition, the “untouchables” (now known Dalits) “were barred from temples used by upper-caste Hindus and from upper-caste homes”? Did they “share” it the way the homeless in Manhattan share Donald Trump’s wealth by gazing at Trump Tower?
Recommendation? This book could be a great gift for an architect, interior designer or traveler who loves visiting stately homes like Chatsworth.
Consider reading also: Andrew Bush’s Bonnettstown: A House in Ireland (Abrams, 1989), a remarkable portrait of three elderly aristocrats during their final days in their decaying 18th century Georgian manor house in Ireland.
Published: November 2006 www.derrymoore.com.
Furthermore: The New York Times ran a good article on Moore, “Insider’s View of Society’s Vanishing Rooms,” on Nov. 23, 2006. [I can't get a direct link to work, but you can find it easily by Googling "new york times" and "derry moore."]
© 2007 Janice Harayda. All rights reserved.