{"id":336187,"date":"2019-10-18T16:28:12","date_gmt":"2019-10-18T20:28:12","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=336187"},"modified":"2021-12-15T06:34:29","modified_gmt":"2021-12-15T11:34:29","slug":"wunderkammers","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wunderkammers\/","title":{"rendered":"Collected and Eclectic, \u2018Wunderkammern\u2019 Are Back in a Big Way"},"content":{"rendered":"\n
\"Yale<\/a>
A curious display at Obsolete Gallery in Culver City, California<\/a>. Photo by Jesse Robert Stone for Obsolete<\/figcaption><\/figure>\n\n\n\n

Can something be called a trend if it\u2019s been around for 500 years?<\/p>\n\n\n\n

Wunderkammern<\/em><\/a>, or curiosity cabinets, were all the rage in Europe during the 1500s and continued to have adherents there and in the U.S. in the following centuries. Today, however, they’re experiencing a real surge in popularity and influencing how many interior designers are furnishing and decorating homes \u2014 combining contemporary with antique, scientific with tribal, earthly with extraterrestrial, Les Lalanne<\/a> tables with Flemish tapestries<\/a>.<\/p>\n\n\n\n

The original Wunderkammern<\/em> were entire rooms filled with objects demonstrating their owners’ worldly knowledge: A proper one included artificiala<\/em> or preciosa <\/em>(objets d\u2019art<\/a>); naturalia<\/em> (such as skeletons, shells, minerals); exotica<\/em> (taxidermy<\/a> or dried plants); and scientifica <\/em>(scientific instruments<\/a>), frequently alongside religious relics<\/a> and ancient artifacts<\/a>. <\/p>\n\n\n\n

\"Jamie<\/a>
The living room of Jamie Creel’s Paris apartment<\/a>. Photo by Stephan Julliard<\/figcaption><\/figure>\n\n\n\n

An exquisite example of such a room could be seen earlier this year in \u201cWilliam Hunter and the Anatomy of the Modern Museum<\/a>,\u201d at the Yale Center for British Art, in New Haven, Connecticut. The exhibition contained 300 items from the extraordinary collection of Scottish physician William Hunter (1718\u201383), which included everything from paintings and medieval manuscripts to ethnographic objects and fossils<\/a>.<\/p>\n\n\n\n

As the museum noted on its website, Hunter\u2019s acquisitions, which eventually formed the core of Glasgow\u2019s Hunterian Museum, illuminate \u201cthe artistic, medical, and intellectual pursuits of the Age of Enlightenment\u201d and stem from investigations that \u201cfocus at their heart on the nature and origins of life itself.\u201d<\/p>\n\n\n\n

\"Jeremiah<\/a>
Jeremiah Brent’s pottery studio<\/a> in his Los Angeles home.<\/figcaption><\/figure>\n\n\n\n

With the advent of public museums, Wunderkammern<\/em> shrank, going from room-sized installations to literal cabinets filled with the same range of items but on a smaller, more intimate scale. Now, designers are reversing that trend, displaying unexpected and very varied curiosities next to one another throughout entire residences.<\/p>\n\n\n\n

\u201cI believe that juxtaposition creates honesty in a design,\u201d says celebrity interior designer Jeremiah Brent<\/a>. \u201cYour home has the opportunity to be a physical curated timeline of your shared experiences.\u201d Brent deftly performs just such a curation in his own home, which he shares with his husband (and fellow designer), Nate Berkus<\/a>, and their two daughters. \u201cWe always want to showcase things that are meaningful to us in some way,\u201d he says. \u201cYou want these objects to highlight who you are and where you have been.\u201d<\/p>\n\n\n\n

\"In<\/a>
In New York dining room<\/a>, Brian Murphy combined bold pops of color with iconic decor. Photo by Sergio Villatoro<\/figcaption><\/figure>\n\n\n\n

No longer do you need to match 18th-century French furniture with 18th-century French painting. Instead, designers are seeding homes with marvels from throughout history. In an apartment on Manhattan\u2019s Fifth Avenue<\/a>, for instance, Brian Murphy<\/a> hung a painting by Jean-Michel Basquiat<\/a> among gilded R\u00e9gence dining chairs<\/a>, paired an Egyptian bust<\/a> with a work by Jean Dubuffet<\/a> and placed tribal statuary facing an Yves Klein table<\/a>. <\/p>\n\n\n\n

Other items may be deployed simply for their beauty. Minerals<\/a> and fossils, favored by the early creators of curiosity cabinets, are enjoying a renaissance, according to Jamie Creel, of New York\u2019s Creel and Gow gallery<\/a> \u2014 either grouped together or displayed as unique, sculptural objects. Ancient Roman statuary<\/a>, insects, scientific paraphernalia, even meteorites are much sought-after, mostly by people who, says Creel, shun mass-market items and prefer \u201chaving accents of curiosity in their house, things that have a bit of a story, a bit of history.\u201d<\/p>\n\n\n\n

\"\"
A wall in Hunt Slonem’s historic Cordts Mansion, in Kingston, New York<\/a>, features his yellow Hutch wallpaper, adding a contemporary contrast to his many fine antiques. Photo courtesy of Hunt Slonem for Groundworks at Lee Jofa<\/figcaption><\/figure>\n\n\n\n

In his homes, artist Hunt Slonem<\/a> pairs his bright, neo-Expressionist paintings of irises, rabbits and tropical birds with Victoriana and mid-19th-century furniture in rooms accented by his eclectic collections of Staffordshire porcelain, Gothic revival perfume bottles<\/a> and 19th-century top hats. \u201cI am a collector of things,\u201d Slonem told us<\/a> back in 2015. \u201cMy primary focus is color and objects. I love to make them work in a space.\u201d<\/p>\n\n\n\n

Such an approach, Creel acknowledges, requires creativity and a willingness to think outside the big-box-store box. Often, too, it requires a sense of humor: Not everyone would see the attraction of a malachite pyramid<\/a>, for instance, let alone a deconstructed lobster<\/a> specimen. And not everyone has the confidence, Murphy points out, \u201cto mix periods and eras\u201d on a large scale.<\/p>\n\n\n\n

\"Designer<\/a>
Designer Hubert Zandberg’s bohemian living room<\/a> overlooking Regent\u2019s Canal in London. Photo by Simon Upton<\/figcaption><\/figure>\n\n\n\n

For more timid collectors, who don\u2019t want a whole houseful of wonders, the classic curiosity cabinet is a fun option that\u2019s equally on-trend. In Hubert Zandberg\u2019s London home<\/a>, a historic canal keeper\u2019s house, the interior designer created an otherworldly cabinet of curiosities to display his personal collection of contemporary art, exotica and objets trouv\u00e9s<\/em> and allow them to converse with his design furniture and industrial salvage pieces.<\/p>\n\n\n\n

\u201cWe wanted to form a dialogue among all these different items without presenting them in a way that was overly academic or intimidating,\u201d Zandberg says. He had the walls painted black to create a dramatic backdrop for items collected throughout his life and travels, like vintage oval mirrors by Tommi Parzinger<\/a> and 1960s Brazilian jacaranda chairs<\/a>.<\/p>\n\n\n\n

Wunderkammern<\/em> make another appearance back in New York, where design firm Roman and Williams Buildings and Interiors<\/a> recently created an installation at its gallery, Roman and Williams Guild, to celebrate the launch of Farrow & Ball’s new paint collection based on the 1814 handbook Werner\u2019s Nomenclature of Colours<\/em>. The display consists of a series of curiosity cabinets, each containing the naturalia<\/em> and exotica<\/em> that the handbook used to exemplify the associated hue. \u201cWith the installation design, we wanted to share the common language of color and its relationship to the natural world around us,\u201d says Robin Standefer, cofounder of Roman and Williams.<\/p>\n\n\n\n

\"A<\/a>
A 17th-century cabinet of curiosities features ebony wood and gilt bronze details<\/a>, offered by M.S. Rau.<\/figcaption><\/figure>\n\n\n\n

Collectors worldwide seem to be embracing Wunderkammern<\/em>. While many revel in the challenge of building them \u2014 it’s a great way to integrate, say, that Victorian case piece<\/a> inherited from Great Aunt Sally into a more contemporary home \u2014 others find a special charm in existing period ones.<\/p>\n\n\n\n

M.S. Rau Antiques<\/a>, in New Orleans, has a lovely 17th-century Italian Baroque example<\/a>, although it was likely \u201ccreated as a storage space to keep the rare or unique items someone collected safe, not necessarily for display,\u201d notes Rau marketing manager Kristin Core, pointing to the many drawers \u201cin varying sizes for a variety of objects.\u201d<\/p>\n\n\n\n

\"New<\/a>
Murphy gave the Fifth Avenue home’s living room<\/a> an eclectic yet elevated feel. Photo by Sergio Villatoro<\/figcaption><\/figure>\n\n\n\n

Still others might want to scale down even further, perhaps creating a Joseph Cornell<\/a>\u2013style arrangement of natura, artificiala, scientifica <\/em>and exotica<\/em> within a framed set of shelves, hung against the wall. The key, says Murphy, is \u201chaving an open mind for what you think is beautiful.\u201d From there, adds Core, \u201cit\u2019s really all about the journey, so to speak, of finding and acquiring just the right objects that speak to you.\u201d<\/p>\n\n\n\n

Brent’s take is even more personal, and a touch sentimental. \u201cWhen curating your curiosity cabinet,\u201d he says, \u201cremind yourself of the memories behind those objects.\u201d What story comes to mind when you look at them? Do they reflect who you are? \u201cEvery part of your home should spark an emotion or a memory. Tell your story.\u201d<\/p>\n\n\n\t

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Can something be called a trend if it\u2019s been around for 500 years? Wunderkammern, or curiosity cabinets, were all the rage in Europe during the 1500s and continued to have adherents there and in the U.S. in the following centuries. Today, however, they’re experiencing a real surge in popularity and influencing how many interior designers 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