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An Eye for Refinement

Photography Julia LynnPhotos 31Issue May 2017
The 18th-century Georgian Ann Long Merck shares with her husband, TonyAn Eye for RefinementAnn with pups Winston and Buckley in the second-floor drawing roomIn the foyer, apricot-hued silk wall coverings and coordinating curtains provide an elegant backdrop for a pair of works by mid-century German Expressionist painter Otto Neumann and portraits by contemporary classical realists Daniela Astone and Charles Weed.A 1968 portrait by French painter André Minaux sets the tone for the first-floor drawing room. “She has that little bit of pink,” says Ann. “We put her right over the classical Georgian fireplace and suddenly the room got very feminine.” Sketches by Ben Long and two still lifes by Jill Hooper round out the room’s luxe vibe.An Eye for RefinementAn Eye for RefinementAnn has a deep love of nature that began with her father, who often took her birding in the ACE Basin. She’s still an avid birder, and her collection of turkey, pheasant, owl, and hawk feathers are displayed throughout the home.“I’m especially fond of my drawings, collected over the last 25 years,” Ann notes. The stairwell walls double as a veritable gallery of these works, which span the 18th to the 21st century and include etchings by Alfred Hutty, a charcoal sketch by Italian artist Daniela Astonè, and figure drawings by Ben Long, among many more.An Eye for RefinementAn Eye for RefinementThe upstairs drawing room is outfitted in a sophisticated palette of rich browns and yellows. An inviting mix of textures, from an antique Khotan rug atop seagrass to suede upholstery on the 18th-century armchair, adds visual interest.A lifesize cartoon for fresco by Ben Long adorns the space.Possessor No. 5 by Danish artist Louise C. Fenne18th-century gilt dolphins found through G. Sergeant Antiques play nicely off the gold tones seen throughout.An Eye for RefinementAn Eye for RefinementThe dressing roomIn the butler’s pantry, hand-painted Gracie wallpaper complements a portrait of Mary Roane Ritchie Green by 19th-century master portrait artist Thomas Sully, who completed more than 2,000 works of wealthy patrons and politicians.Sleek cabinetry by Bulthaup commingles with antiqued pilasters in the kitchen, located within what was once the rear porch.An Eye for RefinementAn Eye for RefinementAn Eye for RefinementThe courtyard was originally laid out by celebrated landscape architect Loutrel Briggs.The guest house, built circa 1850, stands perpendicular to the main residence and includes its own kitchen and living space.The separate guest quarters, located within what was once a detached kitchen house, feature original exposed wood beams and wood flooring.The guest quarters feature more breathtaking artworks, such as Otto Neumann monotypes.One of Jill Hooper’s studies for a self-portraitAn Eye for RefinementAn Eye for RefinementAn Eye for Refinement

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