Morning Light: 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.
In 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.
Camera Ready: A favorite from our archives, this article first appeared in our May 2017 issue.
Ann Long Merck with pups Winston and Buckley (left) in the second-floor drawing room of the 18th-century Georgian she shares with her husband, Tony.
In 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.
The walls of the stairwell double as a gallery, with pieces spanning the 18th and 21st centuries, including etchings by Alfred Hutty, a charcoal sketch by Italian artist Daniela Astone, and figure drawings by Ben Long, among many more.
Sleek Bulthaup cabinetry commingles with antiqued pilasters in the kitchen, located within the former rear porch.
Feathering Her Nest: Ann 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.
Circa-18th-century stylized gilt dolphins found through G. Sergeant Antiques play nicely off the gold tones seen throughout.
The 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, as do works by Ben Long and Louise Fenne.
The guest quarters, located within what was once a detached kitchen house, feature original exposed wood beams and wood flooring, as well as more breathtaking artworks, such as Otto Neumann monotypes.
One of Jill Hooper’s studies for a self-portrait.
Sunny Spot: Located off the back courtyard with its potted citrus trees, the circa-1850 guest house has its own kitchen and living space.