Inside the Getty Mansion

Photograph of Ann and Gordon Getty’s living room by Lisa Romerein

DESIGN | DIANE DORRANS SAEKS

Twenty years ago, interior designer Ann Getty began a large-scale redecoration of the Pacific Heights residence where she lives with her husband, Gordon, a composer. It was built in 1906 to a classic design by architect Willis Polk and offers an entry hall with collections as opulent as any London museum. The Gettys, generous philanthropists, often entertain an international retinue of cultural and political figures.

At auctions in New York and London, Ann Getty acquired furniture from the great English country houses, including Badminton House and Ditchley Park. Unable to collect French antiques — she says the Getty Museum was in an acquisition phase, and even her budget was not large enough to bid against the family museum — she gathered George II gilded chairs, dramatic Anglo-Indian beds inlaid with mother-of-pearl and porcelain and ormolu objets.

“I love the heft and boldness of English antiques,” says Getty, who is also a champion of art education.

In Paris she scooped up vivid 18th-century silk brocades for pillows. From the estate of dancer Rudolf Nureyev she acquired velvet patchwork textiles, which she made into dramatic curtains.

The renovation, plus the addition of a new wing when the Gettys acquired the house next door, took place over a decade.

“This is the ornate look I love for myself, but I don’t impose it on my clients,” she says. “My work is not all over-the-top design. For clients, I want rooms that reflect their style.”

Even among this grandeur, there are quiet corners for an afternoon tête-à-tête overlooking the Palace of Fine Arts.

Her gracious rooms, with tufted sofas and chairs covered in plum-colored velvets and golden silks, are at once exotic, dazzling and comfortable. Party guests can often be found sprawled on silken sofas, and friends curl up to sip Champagne on chairs covered with luscious Venetian hand-woven silk velvets.

A quartet of Canaletto paintings hovers above a gilded console table in the music room, a theatrical stage for family celebrations. A Sèvres porcelain table commissioned by Napoleon (its pair is installed in Buckingham Palace) stands in a corner. Gilded benches and tables from Spencer House, plus a silk-upholstered glass chair with the look of carved crystal, all demonstrate Getty’s original eye.

While Ann Getty can design entirely practical rooms for young families, the rooms in her own home glow with baroque splendor. Blossoms, birds and butterflies painted on pale blue Chinese silk panels glimmer on the walls of a bedroom.

“Designing is a minor art, but such a pretty one,” says Getty as she glances around her living room. “I love to create interiors that please the eye. Beauty can be so uplifting.”

Ann Getty Interior Style by Diane Dorrans Saeks, published by Rizzoli, is available at Browser Books, 2195 Fillmore. More on the author’s design blog, The Style Saloniste.

Antiques show returns

San Francisco’s Fall Antiques Show returns from October 25 to 28 at Fort Mason.

It’s a bug’s world

"Praying Mantis Playing Cello" by Lisa Wood

By Julia Irwin

“JUST IMAGINE what a bunch of bugs would be doing if they weren’t being watched, and then put that under a glass dome,” says local artist Lisa Wood, describing her otherworldly dioramas that feature insects at work and play. “It’s usually a simple story: a beetle clipping articles out of the newspaper, a caterpillar decorating a wedding cake or two ants having tea.”

Wood walks to her part-time job at Nest, the gift shop at 2300 Fillmore Street, from her home near Alamo Square. When she moved here from New York in 2000, she found inspiration in her new surroundings.

“Actually, when I first moved here I wasn’t that crazy about the Painted Ladies and Victorian homes,” she says. “They just grew on me.”

Now Wood not only finds inspiration in the surrounding Victorian architecture, but also in the history of the Victorian people.

“It’s just their sensibilities,” Wood says. “They’re very crafty people with their photography and odd, morbid fascinations. People were collecting things from nature — and nature is my biggest influence. That all kind of interweaves with what I’m interested in.”
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A sculptor and a filmmaker

AN EXHIBITION of Jerry Barrish’s sculptures of musicians created from found materials, “rhythm spirit motion,” opens today at the Lush Life Gallery in the Fillmore Jazz Heritage Center at 1320 Fillmore Street. The exhibition opens with a reception from 2 to 5 p.m. and continues through September 30.

Art historian Peter Selz writes of Barrish: “He haunts all the junkyards, the beaches, the streets, dumps, auto graveyards and recycling centers and collects the debris that suits his fancy. Then the fabulist makes it into figurative sculptures that tell their own tales.”

Barrish is also a bail bondsman and a filmmaker. The characters in his newest film, “Sanctity of Marriage,” consist entirely of his own sculptures.

Creating a new public space

Photograph of the Fillmore Stoop by Daniel Bahmani

DESIGN | NICK KINIRIS

Three years ago, the concept of the Fillmore Stoop was born, with the intention of making the northern stretch of California Street near Fillmore more pedestrian friendly and softening the harsh visual of the busy four-lane highway. The idea was to create a public space where neighbors could meet, relax, take a break from shopping or just hang out.

San Francisco has embraced these kinds of parklets — usually two parking spaces converted into mini urban parks. The parklet movement originated here, but was inspired by beautification efforts in New York that reclaimed dead urban spaces and transformed them into parks and plazas. The idea also takes its cues from European cities, where urban pedestrian zones have always been valued. The parklet concept has since expanded across the globe.

Each parklet in San Francisco has its own flavor. The Fillmore Stoop was designed by architects Jessica Weigley and Kevin Hackett of Siol Studios at Fillmore and Clay. Its multi-tiered sculptural form provides several levels for pedestrians to sit. It both creates more space for people and also acts as a barricade against the busy California Street traffic. The $25,000 project was funded by Chase Bank, which recently opened a branch across the street from the parklet.

EARLIER: “Parklet sprouting on California Street

A designer who’s just our type

POSTER ARTIST | Carly Lane Plaskett

She was a high school art teacher in London before moving to San Francisco four years ago to study new media at the Academy of Art. Carly Lane Plaskett flourished in the “digital meets old school design” program.

For a class in typography, she was challenged to design her own font. Since she lived near Fillmore Street, she decided to evoke the neighborhood’s jazz era. “I wanted something local to inspire me,” she says. “All through school I’d worked at Harry’s on Fillmore.” She studied mid-century typefaces, with their thin and thick letters, as she created her own Fillmore face.

Once she’d created the font, she had to demonstrate its use. Last year’s Fillmore Jazz Festival had just come and gone, so she imagined what the next poster might look like, and how the design would work on postcards and street banners.

“I’ve been to every Fillmore festival since I got here,” she says. “Fillmore is real — it still has a cultural element that’s gotten lost in the more commercial areas.”

She got an “A” on the project and graduated to a job at Sparkart, an agency in Oakland. And when she emailed a copy of her Fillmore Jazz Festival project to the festival’s organizers, they promptly suggested it be featured on the poster for this year’s festival.

“It’s really exciting to see my design all over,” she says. She was especially flattered when the poster was reproduced in chalk on the blackboard at Kiehl’s.

The scooter and the spit

Defining a place: handpainted lettering on the facade of Roostertail at 1963 Sutter.

DESIGN | Chris Barnett

San Francisco graphic designer Christopher Simmons has a long list of powerhouse clients including Facebook, Microsoft, Wells Fargo Bank, Stanford, Kaiser Permanente and the Nature Conservancy. So why in an uncertain economy would he take a flyer on two Fillmore startups that sell Vietnamese sandwiches and rotisserie chickens?

For Simmons, owner of the design firm MINE, it was a matter of pride — and guilt.

“I got an e-mail from Denise Tran, who was planning to open Bun Mee, a small restaurant specializing in casual yet upscale Vietnamese street food, but I didn’t respond for six or seven days,” Simmons admits. When he did call, Tran told him she had decided to go with a New York City creative house.

Simmons, a soft-spoken 39-year-old who favors vintage tennis shoes and wears only scruffy duds made before 1970, says he “always wanted to do a restaurant.” He had a good feeling about Tran and her concept and offered to do a full-blown proposal anyway in two days.

Tran recalls it somewhat differently. “I had committed to the other firm, but Christopher called and persuaded me to reconsider. His pitch was so much stronger that I hired him instead.”
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The Fillmore Stoop is unveiled

The first parklet in the neighborhood — in front of Delfina Pizzeria at 2410 California Street near Fillmore — is now accepting visitors. It’s a new public space that offers a spot to pause in the sunshine.

EARLIER: “Parklet sprouting on California Street

Lafayette Park or Peyton Place?

ORNITHOLOGY | Monte Travis

From my ninth floor office near Lafayette Park, I’ve been watching a pair of red-tailed hawks engage in aerial courtship flights since early this year.

In late March I saw the hawks carrying sticks to a large nest high in a eucalyptus tree in the park, undertaking a little remodeling. A few days later, I observed one of the hawks poking its head above the rim of the nest. This suggested at least one egg and probably more had been laid in the nest. If all goes well, we should have chicks in about a month.

As I was photographing the female hawk on the nest, I was alerted by the screams of about 20 red-masked parakeets — the famous parrots of Telegraph Hill — who suddenly bolted into the air from the treetops directly overhead. I looked up, and there came the male redtail swooping in from the west. When the male arrived at the nest, the female, who is larger, rose up, and for a short time both stood on the nest (above). Then the female took off and the male settled in for his shift.

Redtails are monogamous and generally mate for life. But later that same day, I witnessed a mystery: three adult birds on the nest (below). For 45 minutes, all three alternately flew to and from the nest. A menage a trois, perhaps? Or maybe redtails, like certain other species, sometimes employ one of their young from the prior year as a helper. This will bear watching in the coming days.

It’s a domestic ornithological mystery. But it seems appropriate for San Francisco: an alternative avian family.

A modern take on the town

When architect Michael Murphy came home to San Francisco after a decade in London, his fresh eyes gave him a new appreciation for the city’s architecture — especially the modern buildings that often get overshadowed by the showier Victorians.

So he began creating a series of prints celebrating some of his personal favorites, including several in the neighborhood. There’s the new St. Mary’s Cathedral (“one of the most beautiful spaces in San Francisco,” he says) and the Japantown pagoda (“simple, with cherry blossom pink”), modern Pacific Heights (“it’s cocktail time”) and even daytime and nighttime tributes to the much-maligned Jack Tar Hotel on Van Ness Avenue.

“It’s reinvigorated my notion that people are suckers for architecture,” Murphy says. “They love it and they love to hate it.”

The entire series is available at Zinc Details, the emporium of modern design at 1905 Fillmore Street, and on Murphy’s website.

“They’re a hit,” Murphy chuckles. “My art has overtaken my architecture.”