text:
# Charles Faudree
Country French Legacy

### Photographed and Written by
Jenifer Jordan

Charles Faudree Country French Legacy

Digital Edition 1.0

Text © 2015 Jenifer Jordan

Photographs © 2015 Jenifer Jordan

All rights reserved. No part of this book may be reproduced by any means whatsoever without written permission from the publisher, except brief portions quoted for purpose of review.

Gibbs Smith

P.O. Box 667

Layton, Utah 84041

Orders: 1.800.835.4993

www.gibbs-smith.com

ISBN: 978-1-4236-3855-1

In celebration of Charles Faudree: his beautiful heart, his love and friendship to many, his distinctive design talent, and his love of all things Country French.

# Charles Faudree Country French Legacy

 **Table of Contents**

Foreword
Preface
Introduction
Entries & Hallways
Living Rooms
Clubrooms & Libraries
Dining Rooms
Kitchens
Bedrooms
Bathrooms, Closets & Dressing Rooms
Outdoor Spaces
Acknowledgments

# Foreword

### By Bill Carpenter

Where does one begin in talking about a man like Charles Faudree? He held a certain type of magic, like the Pied Piper, that caused people to follow his lead. In the process "his followers" fell in love with his energy, enthusiasm, talent, humor and zest for life! He was known as the master of Country French style. This was truly a gift—coming from Muskogee, Oklahoma, Charles's hometown—having that innate style and vision of his signature look. His look evolved and changed throughout the years. It was never trendy and was always timeless. This book shows his design legacy, which is oh, so Charles.

Jenifer Jordan has photographed for Charles for more than twenty-seven years, beginning with regional field editor Nancy Ingram and Traditional Home magazine. This book includes the broad scope of Charles's career, including Jenifer's images of his earlier works as well as his last completed projects. She shows how his look has withstood the test of time and yet has evolved and changed. Charles's work is simply amazing.

Then there is Charles the person. What a great brother, partner, friend, teacher and clown. He was a devoted partner to me, a doting brother to Francie, and a great friend to many. Some remarked at his memorial service that he had 300 best friends. He never met a stranger and always had time to listen. He was gracious, humble, and will be missed by many. Charles remarked many times that he had one more book in him. I am sorry he was not able to see it, but I hope you all will enjoy this look at his Country French design legacy.

Right: Lila and Ruby nap on a French chair covered in "Dauphine/Teal" from the Charles Faudree Collection for Stroheim.

In a beautiful outdoor Jamaican breezeway, a pair of 19th-century French iron chairs flanks a 1940s French bronze table with a faux bronze marble top.

# Preface

### By Jenifer Jordan

I have had the privilege of photographing five of Charles Faudree's Country French design books; it is with love and honor that I present his sixth book, Charles Faudree Country French Legacy.

I met Charles in l987 when I was hired to photograph his home for a Christmas issue for Traditional Home magazine with Nancy Ingram, regional field editor. I remember it vividly. It was a hot, humid October day in Oklahoma when I walked into the most beautiful, opulent Christmas setting I had ever seen. It was a memorable surprise, stunning! There were bows, ornaments, wreaths, decorated trees and flowers making it a Christmas wonderland like only Charles could do—with style.

Fast forward to 2002 and many fun photography shoots of his work with Charles and Nancy for national interior design magazines and books. The three of us thought we should do our own design book together. I crudely prepared a book prototype; I literally cut and pasted images and faux text onto pages into a small book. The one prototype acquired some tattered pages and a few rejections before we found Gibbs Smith publisher. We completed what we set out to do, our first design book, Charles Faudree's French Country Signature. The book was well received and Charles created quite the following across the country. Over the next few years we added four more volumes to our library, including Charles Faudree's Country French Living, Charles Faudree Interiors, Charles Faudree Details and Charles Faudree Home.

Charles's style was unique and very distinctive. In the twenty-seven years of photographing with this incredible talent, I was always amazed and inspired when I walked into one of the beautiful homes he designed. As the photographer, I walked in, of course, when the rooms were photo-ready; every pillow was, as Charles would say, "poofed"; fresh flowers were in place; every book and design element was artistically placed and fires were roaring in the fireplaces. It was Charles's beautiful vision, but it was my joyous task to photograph and document every detail and record his Country French legacy. As an interior photographer, I see in two-dimensional vignettes and could visually see images for the printed page. There was eye candy everywhere I looked. I could shoot for days in one location and had a hard time editing the images. In the five books I did with Charles—now six—I hope my photographs of his work illustrated and portrayed his undeniable talent and his aesthetic.

I looked forward to every one of our photo shoots, in anticipation of not only seeing Charles's magical talent but of spending time and laughing with my dear friend. I can honestly say that Charles was the funniest person I have ever known. It was not all business all the time! He would make me laugh so hard that sometimes I could not catch my breath. His many jokes included prank calls. I am sure if you have been the recipient of these calls you are laughing right now. Mine was a phone call from an old woman saying she was my neighbor down the street. "Do you have two yellow lab dogs? They just ran past my house!" Startled, I dropped the phone, but there were Sister and Sadie sitting right beside me. He got me. I picked up the phone and Charles was laughing and laughing.

Once I was setting up a shot and had to move a few things to correct tangencies through the camera. I got closer and there was a red puddle of a spilled bottle of bright red fingernail polish on this very expensive Louis XVII fine antique commode! I quickly grabbed it thinking, "Oh, no!" Charles was laughing at me picking up his plastic fingernail polish joke in a panic.

The biggest gotcha was in Spain, where we were shooting an incredible villa. The home had one of those faux life-size butlers. We had been shooting for three days and Charles was busy having the butler "pop up" for a startle and a laugh all over the villa, scaring everyone. The last night of the shoot, I thought I was free from the joke. We had to get up by 4 a.m. for an early flight. I wearily walked into the shower—and screamed!

Six days before his passing, Charles and I reminisced about fun times, and he even spoke of us doing another book when he was feeling better. I believe Charles wanted his friends, family and readers to see the last projects he was working on. I hope this book would have fulfilled that desire.

"Au revoir cher ami." Good-bye, dear friend.

—Jenifer

> "We miss that wonderful, adorable, man with impeccable taste and the twinkle in his eye. He will always be a part of our lives and we remember him with fondness and treasured memories." —Linda James

A painted Swedish secretary is the pivotal piece in a light-filled breakfast room.

Posing for one of our book photographs, I could hardly contain my laughter from one of Charles's jokes. He was the funniest man I ever met!

# Introduction

In the language of interior design, I would like to think I have helped elevate French Country to a fine art. It is an excessive, exuberant style that fosters my favorite design principle—too much is never enough. With my love for mixing past and present, old and new, I like to create inviting rooms that express a casual, comfortable feeling. I am often guided by my belief that there are no rules about where you can use things. That's why French Country design has a pleasing, fluid quality and an appeal that is timeless." —Charles Faudree, from French Country Signature

As elegantly stated in Charles Faudree's French Country Signature, Charles achieved an international reputation for creating settings that have all the elegant accoutrements of a French Country estate. It was Charles's union of the rustic with the refined that created his distinctive style of casual, understated elegance.

Charles was often asked to define his style, to elaborate on the secret of French Country signature. He would respond, "Oh, it's all in the mix, not the match. Hopefully, that mix is always artful, eclectic and inspiring. I believe there is an art to arranging and accessorizing. I try to create what is pleasing to look at, what is appropriate and in balance for the room."

In this book, Charles Faudree: Country French Legacy, there are many examples of how Charles's design began with a pivotal item that would dictate the style and design for the whole room. He brought order and balance with symmetrical groupings, while always creating a room that reflected the personalities and lives of those that lived there. Charles expressed his passion for layering by mixing old and new objects from different centuries and countries, and mixing fabric textures and prints, giving each room soul.

In the following pages, experience Charles Faudree's legacy and his wonderful journey through the design process. There is new photography of his last projects as well as selected images from his five previous books.

I would never claim to be an authority on Country French design, but Charles Faudree certainly was. This book draws upon excerpts of his own words from his previous books, along with thoughts from his family, friends and clients.

As Charles would sign his books, "Enjoy, with fond wishes, merci beaucoup!"

One of Charles's favorite French chairs in one of his favorite fabrics, "Beauclaire," from the Charles Faudree Collection for Vervain.

# Entries &
Hallways

The first impression of a home often begins at the front door...It is important to also decorate a front porch, a porte cochere or even a back entry to set the tone for the rest of the home and to greet guests...If the exterior of a house entices, the interior—especially the entryway—must enthrall. I believe that first impressions are lasting, so it is important to make entries welcoming and inviting. I like entries that provide a clue or glimpse of what the rest of the house will look like." —Charles Faudree

A strong impression was also part of each homeowner's experience at their first meeting with Charles. Patricia Massey relates that she called Charles to see if he would help her with her home in Texas. Charles replied, "Let's meet to see if we like each other."

"I knew it was the beginning of a beautiful friendship," Patricia said. At first meetings, Charles also shared some of his design philosophy. One thing he always said was, " 'No' is a complete sentence." He accepted a client's right to say no.

"Well, sometimes," says Gayle Eby, "The last time I said 'no' was at the Paris flea market two years ago. He had fallen in love with an 18th-century French column, absolutely fallen in love with it! Walked around it, left the shop, came back in, walked around it again, asked if I knew anybody who might need it—'No'—went to lunch, went back to the shop, walked around it again; he asked, 'Don't you need this?' 'NO!' He bought a little picture frame and then, giving one last look at the column, stated, 'You need this in your entry.' 'Yes!' That entry is now referred to by my family as the 'petite Place de la Concord.' Oh, how I loved my time with Charles!"

Charles said hallways are needed architecturally, to connect different parts of the home or to join a new addition to the main house. He also said a hallway is more than a bypass. It can be functional as well as beautiful, offering temporary resting areas with seating. It also can be another place to add a homeowner's beautiful collection of plates around a mirror or over an antique commode.

An antique painting of a military man stands watch as guests enter Charles and Bill's back entry, which displays a few of his favorite French treasures. Greeting guests was not the only purpose of this multi-functional back entry. Lila and Ruby always knew where their treats were.

A grouping of Jimmy Steinmeyer's original interior renderings lines the stairway.

"After our first meeting I thought there could be no other way to possibly build our home without him. We met with him for a year and a half for at least an hour a week. My husband wouldn't miss a meeting and would always ask, 'When do we see Charles this week?' " —Linda James

The old stone floor and logs with chinking make a wonderful backdrop for the entry in the Jameses' magnificent log home. A collection of antique botanicals flanks an antique cabinet, while a cozy daybed covered in "Oak & Acorn/Green" from the Charles Faudree Collection for Vervain greets guests.

The hallway connecting the new clubroom to the dining room offers a cozy seating area.

"My husband once found a treasure trove of tapestry paintings, which Charles had framed for us. On his next trip to our home, he hung two of them over the sofa in our entry. He hung the extra tapestry on the landing to our master bedroom. I was not too sure about it and suggested it may be one too many tapestry paintings. He told me to wait, he had a plan. The next time he visited our home, he surprised us by completing the landing to our master with a stunning Dennis & Leen table, a pair of rock crystal lamps, and a barometer from his most recent trip to France. To perfection, he placed just one of our tortoiseshell boxes on the table. 'Now that's a picture,' he remarked on our landing before he left for Tulsa." —Ginny Webb

The light-filled entry in the Webb home is the perfect spot for their grand piano and wonderful collection of tapestry prints.

Charles paired the stunning oversized painted trumeau mirror with the antique commode and a pair of small French side chairs.

"Charles combined many of the treasures from our travels to fill our home with a warmth and beauty that he is known for. The fabrics are from the Charles Faudree line that he was so proud of. Many of our 'ditzying' items (as he called them) are from local Cashiers stores. I was able to spend almost every day with Charles in Cashiers that summer and will always treasure it." —Rosemary Harris

Laura and Reeder Ratliff's spacious entry showcases Charles's classic use of symmetry, with a pair of brackets and a pair of French chairs flanking an antique trumeau mirror and commode.

In Dru Hammer's entry is a faux butler. "When the butler arrived to the new home we had just finished, he came in a pine box with straw. When the box was pried open, Charles let out a scream and thought a dead relative had been sent to us," Dru laughs.

Above and below: A few inviting entries, from grand and formal to a back-door entry of a weekend cabin.

The 19th-century blackamoor on the Louis XV commode greeted many of Charles's guests throughout the years.

A faux butler and a magnificent Donald Sultan painting titled Twelve Butterflies greet guests as they enter the home.

"My entry is an expression of my love of all things French, especially Country French antiques."

—Charles Faudree

Coral accent pillows on a French Directoire-style settee along with a 19th-century brass Dutch chandelier bring delight and drama to the entry of a Jamaican villa.

"I decided not to paint the wood in the entry of our house, and Charles said 'Ohhhhh, I would have painted my mother if she would have stood still long enough!' Charles loved paint." —Kelly Ganner

Traditional, Transitional and Modern: here are six examples showing Charles's talent in helping homeowners welcome their guests with style.

Left: Charles's motto "It's not the match but the mix" is exquisitely illustrated with a wonderful lantern overhanging a pair of antique candelabras and a modern blue bowl.

Antique clocks are one hallmark of a Charles-designed hallway. He frequently positioned a tall clock at the end to give definition and focus.

A Directoire trumeau mirror centers the setting on a landing. A collection of hand-colored bird engravings and a pair of French-style side chairs fill out the space.

Light streams into this glorious entry, elegantly furnished in French antiques, including a Régence fruitwood commode and a pair of Régence fauteuil oreilles, wing chairs.

# Living
Rooms

The rich fullness of furnishings and fabrics and an artful use of symmetry characterize many of the living rooms I design. Living rooms are overflowing but never cluttered or overpowering, even in the smallest of spaces. Part of the charm of a living room is a skillful blend of rustic and refined antiques and furnishings, with fabrics, colors, collections and accessories that create a beautiful, cohesive room. Color is the key that blends this rich mix of patterns—toile, paisley, stripes, plaids, florals—into a visually appealing display." —Charles Faudree

Delineating rooms into separate conversation areas with symmetrical groupings was a hallmark of Faudree design. In large living rooms, if space allowed, he would create the main grouping underneath a central chandelier with a sofa and pairs of chairs.

The use of pairs creates an elegant living space, whatever the style. Pairs of sofas and chairs upholstered in neutral, complementary fabrics create a stylish palette for a room. Pairs of ottomans provide a pleasing departure from the identical matching chairs scheme.

Every Faudree design project began with a pivotal piece; each room often began with a pivotal fabric, a dominant color, or one magnificent antique, usually of French or English ancestry.

"The pivotal piece could also be a painting, a grand mirror, carved French urns, an antique mantel, or an antique trumeau. Just one distinctive piece of furniture, such as a towering armoire, an unusual commode, or a great accessory like a grand mirror or painting, will make the rest of the room seem more important," Charles said.

His signature design always included comfort. "Comfortable seating should never be a victim of great style," he said. "Even in the most elegant of rooms, the furnishings should be comfortable and incorporate luxurious pillows."

In Charles and Bill's living room the neutral backdrop showcases the pivotal fabric, "Le Marchand D'Etoffes/Craie" by Pierre Frey, on the pillows and on a wonderful mix of French chairs.

"Furnishings used in pairs add elegance to a room."

—Charles Faudree

Charles was the master of the mix even in his own living room, mixing wonderful antiques, modern art and a modern Lucite coffee table.

"Comfortable seating should never be a victim of great style."

—Charles Faudree

Above and below: "Elegant" begins to describe the Webbs' living room. The neutral subtle wall finish and sisal rug create a lovely backdrop for the room with comfortable furnishings.

"Pivotal fabrics! A room cannot proceed without a pivotal fabric."

—Julie Welch quoting Charles

Above and below: A mix of fabrics in grays, blue-grays, taupes and a little mint is stunning in the McCubbins' living room.

"In my new living room, I wanted a cleaner look than I had before. Charles mixed monochromatic neutral fabrics on my sofa and pairs of chairs with a few country French pieces for symmetry and balance." —Gayle Allen

Modern art and a pair of iron Dennis & Leen wrought-iron wall sconces elegantly hang above the mantel in the Ratliffs' light and bright living room with wonderful architectural beams.

Along with the furnishings, Charles's Country French design concepts extended to the smallest details. "Details may seem like a small subject, but these finishing accessories are by far the most important part of decorating. People's lives are expressed by little details. They give the room its soul," he said.

"Florentine Damask" by Beaumont & Fletcher is the pivotal fabric covering the sofa and miniature bergère as well as draping the windows. A wonderful bow-front Louis XV commode from southwestern France is the perfect place to showcase a pair of antique dog lamps with custom shades.

"I always remembered Charles saying 'Deceit by disguise!' Less expensive fabric for drapes—fabulous fringe and trims!" —Ann Osborne

"We remember one fabric in particular that we had tossed to the side. A few minutes later, he reappeared with yards of the flowing fabric draped around him, dancing smoothly across the room. How could you resist?" —Kathy Kucharski

"Too often people go to a lot of trouble to create a perfect room and stop just before they've made it truly theirs." —Charles Faudree

"Charles was very talented and adaptable to his clients' needs. He was delighted beyond words that he could share his signature look, which was limitless and, of course, timeless." —Gayle Allen

"There was nothing like seeing the spark in his eyes and feeling the electricity in the room when the perfect combination of fabrics was chosen!" —Rebecca McCubbin

"On another expedition we came upon a shop that was all things pewter. We ended up with a pile of pewter treasure on the floor. Charles asked, 'So, Cassie, how long have you been collecting pewter?' I was dumbfounded. 'All your life!' he supplied." —Cassie Shires

"Once Charles and I were hanging a painting on a brick wall in the client's kitchen. The client was with us. Charles started hammering the nail, but the nail didn't go into the brick; instead it flew across the room and hit the client in the head." —George Fadaol

An antique horse oil painting proudly sits on the mantel of the fabulous stacked stoned fireplace in Rosemary Harris and Tracy Spears' Cashiers living room.

"Charles would look at the final design impact, not necessarily the amount of money spent. For example, for my mantel I bought a mirror at an estate sale for less than fifty dollars. Charles had the mirror painted with an incredible finish to make it look like an expensive antique. He then added a pair of expensive iron bouquets, a few glass obelisks and a candle to complete the beautiful impact over the mantel." —Gayle Allen

Charles captured the essence of pure comfort and luxury. Who couldn't relax or enjoy a roaring fire in the Jameses' cabin living room in blues, tans and browns in this Cashiers log cabin living room? Lily and Parker, my adorable Cavalier rescues, made themselves right at home.

"Sitting at the long table in the back room of his shop, surrounded by floor-to-ceiling shelving laden with fabrics, Diet Coke on ice, we played. We started with the large living area....I think we used 11 different fabrics...some of them more than once in that room, beginning with the focus fabric, a stylized floral. Charles laid out the game pieces: big checks, stripes, solids, animal print and toile. I could begin to imagine his vision. The palette was in a brown and sage green colorway, like the colors of the lake and trees, a perfect mix." —Cassie Shires

"And then there was Paris! Flea market mania from dawn to dusk. Charles was known to all in the stalls and shops. We arrived at the market on a Wednesday afternoon in order to get super-duper deals. In three hours time, I had bought one armoire, two secretaries, and nineteen chairs! All of the chairs needed to be reupholstered, naturally. Where would all those chairs go? 'A thousand places,' said Charles. No such thing as too many chairs, apparently." —Cassie Shires

"Charles once told me, 'If you are shopping and you love something, buy a pair if you can. A pair is more valuable—a pair of chairs, a pair of lamps, a pair of vases—even if you aren't planning on using them together, it is good to have them.'" —Patricia Massey

"One day Drew was discussing with Charles an antique officer's clock in our living room that is one of our favorite finds. Accessories depicting dogs being a favorite choice for Charles, he replied with a smile, 'The whippet clock in your master bath is the one I'd push you down for.'" —Ginny Webb

"I was always amazed and inspired by Charles's talent every time I arrived to photograph. The beautiful rooms were photo-ready down to the smallest of details. Every pillow was, as Charles would say, 'poofed'; fresh flowers were in place; every book and design element was artistically placed and fires were roaring in the fireplaces." —Jenifer Jordan

The entire room in a charming Cape Cod bungalow is done in blues and whites, to showcase the distressed green of the pivotal antique Swedish secretary, creating an airy atmosphere. The coral-themed fabric provides interest on the blue-and-white ticking chairs.

Above and below: Charles created a magical mix of rich red fabrics in the Jameses' elegant living room, from the red velvet on the sofa to a pair of French Louis XVI–style bergère chairs covered in "Rajah" by Cowtan & Tout, far right.

"He would pull out all of these fabrics, layering patterns and texture, and I would just think, 'How in the world is he going to make this work?' Well, he made it work beautifully. He would always say 'Fabrics are magic.' He would start with his pivotal fabric and take off from there, layering with silks, velvets, stripes and chintz. It was amazing to watch him work." —Megan Phillips, Assistant

Above and below: Charles pairs two Louis XIV–style giltwood tables to accommodate this spacious formal living space. Elegantly displayed on the tables is an outstanding collection of precious and rare antique tortoiseshell objects.

Charles Faudree, master of the mix...

Porcelain brackets holding carved wooden urns on either side of an antique French tapestry hang above a sofa covered in "Soligny Chenille" by Brunschwig & Fils.

A classically styled commode from Aix-en-Provence pairs nicely with a gorgeous velvet pillow in "Sang Sacre" by Sabina Braxton.

Neutral colors and a sisal rug are the perfect backdrop for showcasing the mix of traditional pieces and modern art in this spacious vaulted living room.

"Whether it is a flawless antique or a spectacular contemporary piece, a table is, after all, meant to hold things, Charles said. No matter how beautiful, a table looks lost with nothing on it. Charles would define a tablescape as an artistic composition of accessories on a table, providing the essential finishing detail." —Jenifer Jordan

The homeowner's love of hot pink and green is showcased in her living room, from the painting by Donald Sultan hanging above the antique French limestone mantel to the mix of hot pink and green fabrics.

The symmetrical placement of 18th- and 19th-century Chinese Canton porcelain plates in the "Famille Rose" pattern and sconces gracefully flank the Louis XVI–style stone mantel and trumeau.

# Clubrooms &
Libraries

Books are like old friends: I feel comfortable surrounded by my favorites...Even when rooms seem to be overflowing with shelves of books, patterned walls, heirloom collectibles, comfortable overstuffed sofas and chairs, I gravitate to orderly, symmetrical arrangements with a focal point. That is really very much the way French homes look. By imposing order with balanced arrangements, one can insert beautiful objects and still not overpower a room." —Charles Faudree

"Comfort is essential to good design," said Charles. That's what inviting rooms are all about. But there's a misconception that elegant rooms can't be easy to live in."

In clubrooms and libraries, knowing homeowners would spend many hours there, Charles filled the shelves and rooms with their favorite things and favorite collections.

Ginny Webb shares, "One of Charles's strategies was to pick a few outstanding furniture items as focal points for each room. We were always looking for great pieces. At one of our appointments, after I raved about it for several minutes, I asked Charles if he had looked closely at the painted Italian commode next door. He responded with dry humor, 'Yes, I've rubbed all over it!' At the same appointment Charles showed us an armoire that while beautiful required some restoration. I asked if he would consider painting the armoire, to which he replied, 'If it will sit still long enough, I will paint it.' Both the commode and armoire became pivotal pieces for our playroom. Most of our appointments with Charles were an enjoyable combination of chatter, laughter, and design accomplishments. . . On our last appointment with Charles we furnished and selected all the fabrics (from his most recent line) for our playroom. He even had one last surprise—a tiny footstool covered in Louis Vuitton leather borrowed from a retired purse."

Modern art, blue-and-white china, a pair of antique iron sconces and a French settee covered in "Biron Strie Check/Blue" from the Charles Faudree Collection for Stroheim paired together exquisitely illustrates Charles's talent in his and Bill's clubroom.

This clubroom is complete with an oversized white sofa covered with Brunschwig & Fils "Soligny Texture" in off-white and drapery of "Dauphine" in teal from the Charles Faudree Collection for Stroheim.

The Ratliffs' clubroom is in a lovely palette of blue, white and tan. The drapery is "Biron Strie Check/Aegean" from the Charles Faudree Collection for Stroheim.

Showcasing his fabrics from the Charles Faudree Collection for Stroheim, Charles mixes a palette of raspberry and cream in the Webbs' clubroom. The pivotal fabric is the "Biron Strie Check/Raspberry" on the French-style sofa.

A pair of Pindler & Pindler sofas covered in "Duane/Moss" corners the large clubroom in the Jameses' Cashiers home, with walls of impressive logs and chinking.

"There was nothing more charming about Charles than the love he had for his family, his beloved Cavalier King Charles Spaniels and his friends. I cannot recall a time when we worked together that he didn't mention his sister, Francie, his mother or a close friend." —Kelly Ganner

Charles chose the ikat in cream, mustard and burgundy from Kravet as the pivotal fabric to cover the four club chairs and pillows in The Casita at the Musselman ranch in Texas.

"I don't think we would have wanted to build a home without Charles's guidance and hands-on approach to every decision, big or small." —Laura Ratliff

This stylish home library features warm colors, rich fabrics and a handsome Minton-Spidell secretary.

"Nothing adds more to the warmth and personality of a room than objects and photographs of the ones you love."

—Charles Faudree

"The guests were overwhelmed with our home's warmth and beauty and especially with Charles's ability to re-create the interior of a mid-eighteenth-century historic home with sublime colors, exquisite fabrics and furniture while making it so inviting and livable for the twenty-first century." —Kathy Kucharski

"Charles told us he once used six or seven paisleys in the same room—we made it to four in our library." —Ginny Webb

"I loved working with Charles because he always worked in my favorite things. He always worked in my sentimental items from my mother and grandmother that I wanted around me in his design." —Patricia Massey

"Whatever the design and color motif, these charming spaces invite rest and relaxation, reading and reflection." —Charles Faudree

"While Charles justly earned an international reputation for his timeless designs and fabrics, we will remember his humility and wit every bit as much as we will his amazing talent. We will always cherish the fact that our home was Charles' final project. Charles left an indelible impression on our home, and in the process, on us." —Laura Ratliff

"He mentioned they were about to go on a trip to Paris and asked if we wanted to go. (As if there was any chance we would turn down the opportunity!) We went on that trip and it was everything we hoped it would be. An insider's view of Paris, the flea market, and the food and non-stop laughter." —Rosemary Harris and Tracy Spears

This cozy landing features a delightful collection of bird's-nest prints. A bird pillow on a French daybed covered in green-and-white stripe makes this a favorite spot in the home.

A pair of Dennis & Leen wing chairs covered in "Pardah Print" by Lee Jofa flank a large farm desk centered between floor-to-ceiling bookshelves.

"Personal items add flavor to decorating."

—Charles Faudree

This library also serves as a music room. A French daybed covered in linen is piled with luxurious pillows for comfort.

"Charles and his team worked for three days to move us in and 'voila!'—instant gratification. We loved everything he did. We wouldn't allow ourselves to place one single thing until he got there because he had that wonderful ability to place things in a way you would never have thought of.

"When Charles came for a 'move in,' he was at his best. Hanging pictures, climbing on cabinets to arrange articles, standing on ladders to adjust, and walking around with armloads of accessories. He loved the process of the final creation. To watch him transform a room was magical." —Linda James

One of Charles's home libraries with pecky cyprus paneling was the perfect backdrop for a collection of books and treasured canine antiques.

One of Nicholas's favorite spots in Charles's home was on the library sofa. The coffee table is adorned with a few of Charles's favorite antique dog bronzes.

Left: Alex, the Osborne family Westie, rests on the pair of Country French chairs upholstered in "Plougastel" by Brunschwig & Fils.

# Dining
Rooms

A dining room is more than a setting for bountiful dining and lively conversation. It is as much a room to display collections as it is a place for elegant and gracious dining...Welsh dressers, commodes, matching buffets and English breakfronts are perfect stages to display collections ranging from Imari plates or blue-and-white porcelain to Staffordshire figurines and antique tureens." —Charles Faudree

Mixing painted finishes and provincial styles of furnishings makes dining rooms more interesting, as does mixing upholstery and drapery fabrics. For added interest, Charles sometimes used different complementary fabrics on the backs with the pivotal fabric on the fronts of Country French chairs.

Wallscapes are another signature Faudree design element that have a significant impact in dining rooms. Symmetrical arrangements that include plates, mirrors, brackets, or paintings have a big impact. He said, "The things we choose to hang on our walls should have a special significance because they are details that set the tone of an entire room." Notes Kathy Kucharski, "His talent to hang anything and everything on the walls was without equal. (Even if it took several nail holes to get it perfect!)"

Patricia Massey relates that "once when Charles arrived, I was planning a dinner party. I had my plates on the table. When I came back into the room, he had all my plates on the wall! They are still there, I loved it and had to go buy new china...I loved working with Charles because he always worked in my favorite things—sentimental items from my mother and grandmother that I wanted around me."

Laura Ratliff recalls Charles feeling that none of her china patterns was right for a wallscape—until she suddenly remembered some beautiful Limoges that had been hand-painted by her great-aunt and passed to her from her grandmother. Charles thought it was the perfect shade of blue and immediately fell in love with it. The wall collage still makes Laura smile each time she looks at it.

The large, light-hued iron and wood chandelier suspends in perfect scale to the large dining room table in the Ratliffs' open-concept dining and living room space.

One of Charles's favorite buffalo check fabrics in mustard and cream covers the dining chairs in Rosemary Harris and Tracy Spears' Cashiers dining room.

"We favored antiques and Charles was happy to use them whenever possible. However, in some cases—such as our dining room chairs covered in a stunning Fortuny fabric and the unique corner cabinet in our foyer—Charles encouraged us to use high-quality new items that would be more functional and durable. He referred to these as 'tomorrow's antiques.'" —Ginny Webb

Above and below: The antique mirror with musical carving hangs elegantly in the Webbs' dining room. The drapery and the Piedmontese dining chair fabric is Fortuny "Demedici/Red & Silvery Gold."

Chairs upholstered in "Francois" from the Charles Faudree Collection for Vervain and an iron table with stone top bring a Country French feel to the Osborne's dining room.

Charles reused many existing pieces, just giving them a new paint finish—maybe a Swedish finish—and added contemporary artwork mixed with traditional pieces to update and create a new look.

An extensive collection of antique majolica, with brackets and antique botanicals on both sides of a Belle Époque giltwood mirror forms a signature Faudree wall grouping.

"The true value of a painting or any other artwork has less to do with its pedigree than the emotional response it creates in us."

—Charles Faudree

The Italian commode is a perfect perch for a pair of Italian altar candlesticks and an onyx lamp. Modern art hangs above in this beautiful wood-paneled dining room.

One homeowner says, "When he completely redid my dining room my husband walked in and said, 'I love it. Let's keep everything.' I immediately said, 'You have no idea how much that mirror cost, or these plates, etc.' He just said 'I don't care. Tell Charles I love it!'"

English blue-and-white china hangs symmetrically on each side of an antique Federal bull's-eye mirror with spread eagle cartouche in this dining room.

"For the ultimate in elegant lighting, nothing is lovelier than candlelight."

—Charles Faudree

The 19th-century Swedish pine table surrounded by 19th-century Directoire-style painted fruitwood chairs upholstered in "Menebres" from Pierre Frey were enjoyed by Charles's guests during many an elegant candlelit dinner. The chandelier was a favorite that moved to many of his homes. On the table is a German Metlock tureen.

The Jamaican dining room is spectacular with its wall of bookshelves holding a variety of coral-themed treasures. The chair seats are covered in Cowtan & Tout "Tortola," while the backs are adorned with Beacon Hill "Fresco Stripe."

# Kitchens

A successful kitchen is one where host and guests feel perfectly coddled and comfortable. It is a space that functions both as a working kitchen and an informal living area; perfect for the kind of comfortable and casual entertaining people enjoy today." —Charles Faudree

Charles often designed kitchens around the open shelving concept prevalent in French country farmhouses, and he used antiques and old wood to add history. He would add faux finishes to make new pieces old, such as on a vent hood or on new custom cabinets. He repurposed architectural salvage pieces for new uses, and used antique commodes and armoires for storage. Vintage armoire doors retrofitted as pantry doors was a Faudree signature.

Patricia Massey says, "I appreciated Charles's design because he always included function with beauty. He would even add a small table if needed to be able to set your tea or coffee cup down on while sitting."

Gayle Allen remembers she and Charles meeting a cabinetmaker in France to make her kitchen island. They explained exactly what they wanted, but the craftsman could not speak any English. Charles proceeded to explain in his limited French and strong Oklahoma accent, using a lot of hand gestures, until the Frenchman said, "Je comprends" (I understand). Gayle and Charles left with their fingers crossed, wondering what the island would look like. "How big? What kind of wood? It could be a gumbo tree!" Gayle says, "It was divine intervention; the island arrived and it was exactly as we had explained and it worked perfectly."

Gayle also remembers returning from that trip to France and buying a few French interior magazines. She showed Charles a photo and said she wanted the sink and bay window in her kitchen to look like the photograph. She said he was the best at making those shared magazine photographs a reality. "Charles really listened to what his clients wanted and his ego was never more important than listening to his clients."

A masterful mix of old and new in Charles and Bill's kitchen blends old architectural beams, open shelving and stainless steel countertops for a signature Charles kitchen design.

Rustic custom cabinets complement the original log wall of the James Cashiers kitchen, which is rich with antique treasures. Top middle: A Country French armoire front is cleverly retrofitted as the kitchen pantry.

Blue-and-white china is showcased in the Webbs' gourmet kitchen.

"We told Charles that we wanted a breakfast room table that was functional. We wanted the surface to be different from the wood we had in our previous home. Charles suggested a zinc surface, and he coordinated with his brother-in-law, Dale Gillman, to design the table. We loved the idea of having a round table that would comfortably seat six." —Laura Ratliff

The Ratliff kitchen showcases one of Charles's favorite buffalo check fabric, "Biron Strie Check/Aegean" from the Charles Faudree Collection for Stroheim. The breakfast table was custom made by Dale Gillman, Antique Warehouse in Tulsa.

An outstanding majolica collection on and around a provincial wall shelf personalizes this breakfast room. Charles added a dough box beneath to complete the cozy French setting.

"Details are like frosting on the cake, and who doesn't like frosting best?"

—Charles Faudree

A fabulous antique window found in a Paris flea market was the beginning inspiration for the Shireses' kitchen design.

A Louis XV–style buffet that Charles had custom built in France becomes the center island. The top of a French cupboard was repurposed as a vent hood and painted to match the rest of the Allen kitchen.

"Each collection melded seamlessly with the ambience of its room." —Kathy Kucharski

An impressive collection of blue-and-white china surrounds an antique architectural bracket.

"Our cottage was a very small project for him, maybe his smallest property ever, but he quickly understood that this was and is very special to us, and he embraced the challenge as if we were French royalty. What followed was the experience of a lifetime for me. I mean really! Traveling with such a fun-filled man to unknown areas, shopping from opening to closing, cruising the road watching for 'open' signs and stuffing the car with everything that moved us, from matches and light bulbs to armoires and portraits. Along the way he educated me. After I had gathered a substantial number of pewter pieces he asked how long I had been collecting pewter. I told him about 30 minutes! He said, 'Oh, no, dear. When you are asked, you should say, "All My Life" with a distinct southern accent.' Now, I have been asked and I do as suggested. He taught me about good 'whoop dee doos' and bad, how to hang oyster plates, the origins of a sailor's valentine, balancing and using pairs." —Julie Welch

"We were sitting in an 'off the beaten path' restaurant in Paris when a group was seated next to us. The woman shrieked when she saw him, scared us all to death, and said 'CHARLES FAUDREE! I have all your books!' Then she proceeded to introduce her entire family to him. He was always gracious about those kinds of meetings, as it thrilled him to be appreciated and recognized. He was truly interested in the people that supported him." —Rosemary Harris

"Our first day of shopping, in the first shop I blew my budget! Charles said, 'Sissy, you better call home for more money!'" —Gayle Allen

"We were fortunate to go to France with Charles when we were building the house. Of course we attended the Paris flea market every day it was open. Many of the dealers knew him and would come out with greetings and embraces. He had an eye for all things beautiful and honestly saw things none of the rest of us did. He would say, 'Now, if you don't buy that, I'm going to.' So, of course, we did." —Linda James

Above left: Charles's classic kitchen of red-and-white toile was featured on the cover of our first book. The 18th-century French Country drop-leaf fruitwood table paired with a 19th-century French corner banquette was the setting for many cups of coffee with Charles's family and friends.

Custom cabinets from distressed reclaimed wood add interest in this open-concept California kitchen.

# Bedrooms

Charles worked with me on at least eight projects over the years...He was a genius at disguise and deceit and was never afraid to throw in something from Pottery Barn, Wisteria, etc. Charles always told me to buy a ready-made bedspread, then he would customize the room with a custom bed skirt, headboard, lamp shades, and such. His custom lamp shades could break the bank but were always gorgeous," says one homeowner.

A master bedroom suite is often dressed with rich textures and patterns, neutral tones and room-darkening draperies. The setting is always restful and soothing, providing an oasis at the end of a hectic day. Enveloping yourself in warm, inviting comfort is essential in the design of a bedroom. As with the entryway, living room or dining room, the bedroom design process begins with an important piece or pivotal fabric. For a bedroom it is usually a fabric. "Color is the key to creating a bedroom space that will inspire relaxation. The color palette should be quiet, calming and restful, suggesting the feeling of a retreat away from the cares of the day," Charles said.

Draping the bed is a hallmark of Country French design, whether the drapery fabric is a gossamer sheer, yards of silk that puddle on the floor, an ambient storytelling toile, or any of the beautiful florals that give a bed a touch of forever springtime. When a room lent itself to that kind of sensuous, romantic draping, Charles enjoyed adorning the bed with beautiful fabrics and luxurious trims.

Using contrast to call attention to something is an artistic principle that has many uses in decorating any room, especially the bedroom. Also, layering pillows and bed covers made of different fabrics, colors and textures creates a cozy haven.

This antique French iron bed is gracefully draped with embroidered linen side panels. Charles created magic with a beautiful array of fabrics, colors and textures.

"Charles was an expert at mixing colors...to create a beautiful collage. He was fearless in choosing and mixing many shades of red or blue to great effect. Our master bedroom is a great representation of his skill and success, mixing peach tones with deep burgundies and shades of blues and greens." —Ginny Webb

The Webbs' master suite has a regal presence for a night's slumber. The exquisite bed with the black and gold finish pairs nicely with the pivotal fabric, "Beauclaire/Teastain" from the Charles Faudree Collection for Vervain.

Soft pastel greens, yellows and pinks form the palette for Brigitte Webb's room. Charles's passion for details is lavishly displayed, from the covered headboard in the pivotal fabric and white crown drapery edged in exquisite fringe to the custom window draperies and bed linens.

"What a character! Since we live in Oklahoma City we made many trips to Tulsa to sit in the fabric room, make plans, hear Charles's hilarious stories of meeting quirky ladies on his book tours all over the U.S., eating oatmeal-raisin cookies from Queenie's and just enjoying being in his presence. Appointments with Charles were always a very fun day for Elby and me. We laughed a lot!" —Tina Beal

The McCubbins' guest drapery is a beautiful buffalo check of "Chelsea Editions-Medium Check/New Gold."

"When it comes to fabric, I'm from the 'more is better' school."

—Charles Faudree

Finishing touches in the Ratliffs' master suite are impressive. The blue-and-taupe drapery is "Glenville Sheer/Slatestone" from the Charles Faudree Collection for Stroheim, with luxurious trim and Tremblay/Oasis fringe from the same collection.

"Pillows are a wonderfully effective way to introduce more fabrics."

—Charles Faudree

Charles mixed a modern bed with his signature Country French antiques. He designed a stylish custom dog chair to make it easy for Lila and Ruby to get into bed. The dog chair was fabricated by Dale Gillman, Antique Warehouse in Tulsa.

"Only your eye can tell you what you will be happy with."

—Charles Faudree

Reds, creams and taupes make up the color palette of the Musselmans' ranch master suite. The duvet cover and European shams are "Braquenie-Le Grand Corail Toile/Multicolore."

"Charles taught us so much about loving, kindness, generosity, acceptance and humor that it would be hard to say what we appreciated and loved the most about him." —Linda James

Top: The Jameses's master suite is tranquil with Charles's mix of luxurious spa-colored linens and two beautiful trumeau mirrors flanking a lovely oil painting centered over the bed. The European shams are "Imperial Plaid/Spa" for Robert Allen.

"He was the master at listening to and 'reading' his clients. With his reputation he could have been difficult to work with, but instead he patiently showed us sample after sample." —Linda James

"We now have the quilt he had on one of the beds in The Roost on our bed in our second home in Deer Valley, Utah...When Charles knew you loved something, he gave it to you." —Tina Beal

"The blue and white chair and ottoman in the master were Charles' vision. He said he thought I needed a spot to relax, look at the golf course, read or watch television. It is my favorite place in the house to sit. Charles had a unique vision for each room, and how we would most enjoy living in it." —Laura Ratliff

"Whether you just met him or knew him for years, you felt as if he was your longtime friend. He could tell a story like no one else. From having dinner with Judy Garland, meeting five different presidents, or just telling you about his day, it was always entertaining." —Rosemary Harris and Tracy Spears

Beautiful hand-painted twin headboards are the pivotal pieces in the Jamaican guest room.

"The most important ingredient of a home is that it must have soul."

—Charles Faudree

Brown-and-white toile covers the twin headboards and bedding in the guest room. Surrounding the beds are Napoleonic treasures.

Layered pillows and bed covers made of different fabrics, textures and colors create a cozy retreat in this master bedroom.

"If you fall in love with something, that is all that matters."

—Charles Faudree

Modern Lucite lamps mixed with custom paisley lamp shades adorn George Fadaol's master suite.

"Charles always called me his 'speed client.' When it was time for a new project, I would fly to Tulsa and he would have every hot pink and lime green fabric he could find with matching fringes laid out on the long table in his store. I would walk down the table and say, 'I love that fabric, let's use it in the master.' Then he would pull all the coordinating fabrics to accent the room. And then move to the next room; I would decorate an entire home in one hour, then I was ready for us to go to lunch. I just wanted to spend time with Charles and Bill, and hopefully Francie was in town. Then the installation would arrive and there were always surprises, like wonderful custom lamp shades. I would look at the finished project and say, 'I would have never thought of that.'" —Dru Hammer

The Isons' master suite is a beautiful mix of pale blue, cream and mint.

Blue-and-white checks, stripes and toile give the master bedroom in Charles's cabin personality.

A grouping of framed botanicals, antique French mirror and a pair of gilded brackets holding celadon vases adds much interest in this cabin.

"He was a tireless worker, and we always felt like we had one hundred percent of his attention during our appointments, even when friends and former clients would drop by unexpectedly (which they often did)." —Laura Ratliff

A beautiful French table flanked by two comfortable armchairs sits in front of an antique English carved wooden fireplace in this wonderful master suite.

A French painting from a Paris flea market hangs above a lovely iron bed in the inviting guest suite.

"I was completely smitten. Not only did I love his design style, I loved him!"

—Tina Beal

"Les Sylphides" by Marvic covers a French Louis XV chair and ottoman that rest beside the cast-limestone mantel in the Ganners' master suite.

A wall of antique painted boiserie from a French chateau now adorns the walls in this cabin master suite.

# Bathrooms, Closets &
Dressing Rooms

A bathroom is one of the most fundamental and functional rooms in any home. But it should be designed with elegance and lavished with as much style as the major living areas." —Charles Faudree

Kathy Kucharski says, "We were having a large luncheon at our home and Charles came quite early in the morning to make sure everything was picture-perfect. When a guest bath was shy of just the right hand towels, he did not hesitate to phone his dear friend and shopkeeper at home to request a special delivery of lovely linens to complete the look."

"The all-important vanity is the pivotal piece in bathroom design," said Charles. "And whenever possible, I will include a final finishing touch of a chair. The chair is, of course, of antique heritage and upholstered in fabric complementary to the walls and window treatments."

In one bathroom, Charles started with a pine fragment as a frame to a mirror and had a commode matched to transform an ordinary space into a room with warmth and a sense of history. Charles often repurposed antique commodes or antique desks as wonderful sink stands, or he would use a handsome desk as a vanity table in a dressing room. He also used antique armoire fronts to hide the utilitarian space of a bathtub.

Combining freestanding pieces with built-ins can add charm and efficiency to a closet. Also a custom closet with paneling is more elegant, with the paneling being used to create an extensive built-in closet wardrobe.

The mustard and gray Marvic "Les Oiseaux/Gold" wallpaper sets the tone of the McCubbins' guest bathroom. Charles retrofit a French armoire front to cleverly hide the bathtub.

"The details of decorating give a home its soul."

—Charles Faudree

A lovely antique painted chest has been converted for a guest bath sink in Charles's home. Charles had a talent for reusing his and his clients' treasures in different applications in each of their next homes. The stunning antique mirror had different prominent places in his previous homes.

In Laura Ratliff's powder bath, Charles used one of his favorite wallpapers from the Charles Faudree collection for Stroheim, "Cashiers/Blue"; the squirrel and scroll pattern with oak leaves and acorns. Charles thought it made a wonderful backdrop; so did Laura. "Blue is the pivotal color throughout our home. We only used wallpaper in the powder bath, utility bath, mudroom and master bath. Each wallpaper was selected from several Charles suggested, but the powder bath was something we all agreed upon quickly. It was an easy choice." —Laura Ratliff

The Ratliffs' guest bath is wrapped in Charles's "Cashiers/Blue" wallpaper, blue being one of the owner's favorite colors for decorating.

Charles enjoyed designing "his" and "hers" closets for Laura and Reeder Ratliff.

"So many people talk about the amazing experience of appointments in his magical fabric room. And of course even more fantastic was watching him zipping through the Marché aux Puces in Paris with his darling uniform of khaki pants, loafers and navy blazer—toting that leather-and-canvas bag. It was like watching Willy Wonka. He moved confidently through the furniture and smalls; his sense of wonder, excitement and pure joy when he found just the perfect piece was infectious! I learned so much just watching him work and truly had some of the best trips of my life!" —Melissa Ison

"Too much is never enough."

—Charles Faudree

Right: Charles converted an antique French painted buffet into a functional yet elegant vanity with sink in this master bathroom. A stunning trumeau mirror and a pair of antique sconces enhance the setting.

"I had the privilege of working with Charles on eight different properties. Once I began working with him I literally looked for homes to renovate and design just so I could be with Charles. I loved every minute of antique shopping, choosing all the fabrics and hunting for all the wonderful tchotchkes he would always find.

"Charles had found this perfect wallpaper for me, with green and leopard frogs standing up at attention. We had a few men come over from the Hammer Museum to help hang paintings for us. Charles proceeds into the powder bath with that wallpaper and tells the men, 'Please hang this painting at this crotch level,' as he is pointing to a line. I told Charles, Thanks to you, now all I see is a bunch of frogs' crotches every time I walk into that room. Every home since, I have used that wallpaper in each of my powder baths." —Dru Hammer

Bottom left: Dru Hammer's guest bath showcases another fabulous mix of her signature colors. The chinoiserie mirror elegantly hangs centered in her powder bath, paired with French bergère chairs.

"I continue to be inspired by Charles's talent and humor as I go through his books. Charles was one of those people that you just never forget and when I do think of him, as corny as it sounds, I can't help but smile." —Tina Beal

Charles had a passion for details. He combined antique French paneling with elaborate mirrors and cabinetry to customize this master suite bathroom.

"Accessories are as important to a room as the furniture itself."

—Charles Faudree

Top: Charles's closets were a testament to his meticulous organizational skills, displaying his signature bow ties and unique shoes.

"I walk into the last project we worked on together, in Dallas, and think of him every day I am there. He made my life so much better and not just in an aesthetic way. At night after working together all day, we would go to dinner and talk about how good God has been to us in our lives and even cry together at how blessed we are. All of Charles's clients thought they were his best friend; that's how he made you feel. But sorry, girls, I really was. Ha!" —Dru Hammer

Right: A gold-framed collection of letter seals accents this closet. The dark wood paneling sets a distinguished masculine tone.

# Outdoor
Spaces

The decorating possibilities for outdoor living areas have been revolutionized by the improvements in outdoor fabrics," said Charles.

Any design is possible, for example a room setting is possible, complete with upholstered sofas, pillows, chairs and a painting disguising a television.

Screened porches were one of Charles favorites to design. From a lake cabin screened porch to a mountain retreat, he enjoyed using the comfort of indoor furnishings along with draperies made of revolutionized fabric.

French furnishings are often thought of as too formal, but the French have a countryside too, and furniture for rural entertaining used in outdoor living reflects Charles's love of all things French.

This outdoor porch, with furnishings from McKinnon and Harris, has a majestic view of the Smoky Mountains.

"I will never forget the day Charles and April were coming to our home for an appointment. On the way over, he made one of his infamous prank phone calls. He called and, using his best old-lady voice, told me that the chickens in my yard were making too much noise! Of course, being the gullible person I am, I fell for it and informed 'her' that I did not own any chickens and that 'she' must have the wrong number. He had 'gotten me' and he loved it!" —Tina Beal

"Bring the outdoors in!"

—Charles Faudree

Charles loved decorating outdoor spaces. He added a pair of antique French doors for a distinctive look in this beautiful stoned outdoor space in Tulsa.

The magnificent view of the formal pool house reveals as much sophistication as the home's indoor rooms, including draperies and upholstered pieces.

"While I was in my car I received a phone call from a distraught poodle groomer, aka Charles. In less than 15 minutes he just about had me convinced that I needed to go pick up this poor poodle I had apparently left behind. Getting more and more frazzled, trying to convince this woman I didn't even own a dog, Charles started laughing and I then realized I had been pranked." —Kelly Ganner

"My most treasured memory is the weekend I was sitting in a hotel bar in Laredo, Texas. I was on a birthday trip for a friend of my husband's and here comes a boisterous crowd led by none other than Charles himself! They were in town for a big wedding. That night when my group was across the border in Mexico on the way to a very popular bar, we saw a six-foot-tall piñata of an old-timey circus strong man. Knowing I had to play a trick on Charles, the ultimate trickster, my Houston friends and I bought it and carried it all over Mexico and back across the border late that night. While the Tulsa group was still at the rehearsal dinner, we talked our way into Charles's hotel room and hid the man in his shower, peeking out of the curtain. Needless to say, the shrieks and laughter continued late into the night and throughout the weekend as the strong man appeared in all sorts of mysterious places!" —Melissa Ison

Sunlight drifts through the wisteria to this California garden room, where a mix of floral, striped and solid fabrics create an outdoor oasis.

# Acknowledgments

I want to give my sincere heartfelt thanks to Charles Faudree for the twenty-seven years of friendship and laughter. I am grateful for the honor and joyous task of photographing his beautiful homes illustrating his incredible talent. I particularly want to thank my friend and Charles's partner, Bill Carpenter. Without his love for Charles, help and patience, this book would not have happened. And thanks to Charles and Bill's precious Cavalier Spaniels, Ruby and Lila.

I especially want to thank all the homeowners from the previous books and of Charles last projects who graciously let me photograph their beautiful homes and shared their experiences with Charles and the impact his design has had on their lives. They include Gayle and Steve Allen; Tina and Elby Beal; Kate and Stuart Beal; Bill Carpenter; the late Joanne Hearst Castro; Gayle and Frank Eby; George Fadaol; Kelly and Roger Ganner; Dru Hammer; Mickey and Tom Harris; Rosemary Harris and Tracy Spears; Melissa Ison; Linda and Darwin James; Kathy and Bob Kucharski; Rebecca and David McCubbin; Julie and Jimmy Musselman; Patricia and Clebber Massey; Julie and John Nickel; Bob and Ann Osborne; Laura and Reeder Ratliff; Cassie and Mark Shires; Ginny, Drew and Brigitte Webb; and Julie and James Welch.

Thank you to Hilary Rose for her beautiful photo styling for the James and Harris and Spears homes in Cashiers, North Carolina.

I especially want to thank my sister, Joanne Jordan, for always being there for me and for her help in writing the captions with her "plethora of expressive adjectives" when I was temporarily blocked. And thanks to my mother for her patience while I held up Thanksgiving Dinner to complete yet another chapter of captions.

Many thanks to Megan Phillips, Charles's assistant, for her stories and help in gathering contact information for the homeowners.

A big thanks to Darcie Blackerby for her help getting resources for the new homes that were photographed.

I want to also thank my dear friend Nancy Ingram, who introduced me to Charles so many years ago. Though she is no longer with us, I miss her and her friendship every day.

My thanks to Francie Faudree, Charles's sister, who shares, "When Jenifer first approached me about this book, I was a little ambivalent. For me, it was too early to let anyone in my life with Charles. But time has a beautiful way of giving one perspective. I know Charles would be proud and happy to see his latest work shared with all his clients and friends. I'm sure of it!"

Thanks to Madge Baird, editor, and Renee Bond, production editor, and all the staff at Gibbs Smith who helped in the process of putting the book together. And a special thank-you to Debbie Uribe for her countless hours spent gathering all the captions and images from the previous books.

And lastly, thanks to my precious rescue Cavalier Spaniels, Parker and Lily, for their unconditional love and patience over a few missed walks because I was so busy with the book.

And to all of you, Charles Faudree's readers, fans and fellow lovers of all things Country French, thank you so much.

"Charles's design impact was always the same...[he created] true pleasure not only for us but for our family and friends, as well." —Kathy Kucharski

redpajama_set_name: RedPajamaBook


Months ago, I received an Advanced Review Copy of this book from the author in exchange for an honest review. With so many books to review, I've only just gotten around to this one. In the event, the ARC proved to have so many formatting errors that it rendered it virtually unreadable. So, instead, I downloaded a copy from Kindle Unlimited on Amazon, and am basing my review on that copy.
First of all, I have to say that I love the book cover. It shows the story so well, and I love the dark versus light too.
Secondly, and happily, I can say that in the Kindle copy, the formatting issues have been resolved.
Abandoned at a young age by her mother, Julia James escaped an abusive childhood only to find herself in state care until she came of age. A fellow ward of the state, Matthew, took her under his wing and helped her to come out of her shell. The two of them found a passion for playing classical music, and it is the Cello that brought Julia back to life. Reverie begins at the point where Julia is studying at the McInnes Institute and has become lead Cello there. Despite her talent, she manages to remain largely unnoticed and earns the nickname of 'Mouse'. Until, that is, Kreisler rival, Jeremy, sets her in his sights.
The first half of the book is told from Julia's rather innocent point of view, and I found that I connected strongly with this lead character. What a wrench it felt, then, when the POV flipped abruptly to Jeremy's obsessive and manipulative character. It read like two separate books, and I had to take a period to readjust to the massive change. As you might expect, I didn't like Jeremy's character at all, but that is all kudos to the author, as she portrayed him realistically enough for me to develop such a strong aversion to him. Right at the end of the book, the POV flips again, and this time it moves between Julia's POV once more and Brett's (Jeremy's brother) in the epilogue. The story contains plenty of steamy scenes and suspense and will pull you right in.
While the ending isn't a cliff-hanger, it is open-ended and leads you to book two, which–I'm pleased to say–is now available.
The characters and setting are written well and feel authentic. The author, obviously, knows her stuff when it comes to the world of classical music. Unfortunately, unpolished writing and spelling mistakes let it down somewhat. The amount of times 'own' is inserted into a sentence where it just isn't needed, and waive is used instead of wave, as well as sooth instead of soothe, etc. Add to that dialogue tags that tell what has just been artfully shown (he coaxes, I point out, I agree, I whine, he quips, etc.), and all the filter words (I'm sure, I notice, I can feel, I can see, etc.), and the name-dropping within dialogue, and it all ends up a bit tedious to read. Also, hyphens have been used where dashes are needed.


text:
La Grand'Mare est l'un des douze quartiers de Rouen. Situé sur un plateau au nord-est de la ville (sur la rive droite de la Seine), il a été classé comme zone urbaine sensible en 1996, remplacée par un quartier prioritaire en 2015 et zone franche urbaine, zone de sécurité prioritaire en 2013 puis quartier de reconquête républicaine en 2019.

Historique
La ferme de la Grand'Mare, qui donne le nom à ce quartier, a été la propriété de Gaston Veyssière. Elle a existé jusqu'en 1968 avant sa transformation en centre aéré.

Le plateau de la Grand'Mare, vaste étendue de champs et de bosquets, a été déclaré zone à urbaniser en priorité en 1963.

Une radio associative, Radio HDR, y a été créée en 1998.

L'École supérieure d'art et design Le Havre-Rouen s'y est installée en 2014.

Monuments
 Église Sainte-Claire (1973) sur les plans des architectes Alain et Guy Robinne, associés à Herbert Baum.
 les « Lods », 500 logements habitation à loyer modéré construits dans la zone à urbaniser en priorité de la Grand'Mare par Marcel Lods entre 1966 et 1970 pour illustrer ses théories conçues au « groupement pour l'étude d'une architecture industrialisée ». Insalubres et dangereux, ils deviennent le lieu de « drames » qui entraînent leur démolition en 2012. Le plot 2 est inscrit au titre des monuments historiques.

Annexes

Notes et références

Articles connexes
 Tunnel de la Grand'Mare
 Ensemble de la Grand'Mare
 Gaston Veyssière
 Marcel Lods

Liens externes
 .

Quartier de Rouen
Quartier de grand ensemble en France
Quartier prioritaire de la politique de la ville

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text:
InterAction Council
The InterAction Council and its First 25 Years
Comments from world leaders
Annual Plenary Meetings
High-Level Expert Group meetings
Economic revitalization
Universal ethical standards
Final Communiqué
Chairman's Reports
The Global Economy Post-COVID-19
By Thomas S. Axworthy
The World Bank says the world has changed as a result of the COVID-19 pandemic and who could disagree? Its June 2020 Global Economic Prospects Report described how the world is enduring the deepest recession in decades with little end in sight, except perhaps in China. The Organisation for Economic Co-operation and Development (OECD) is similarly gloomy in its June 2020 Economic Outlook. It forecasts that global economic growth will fall by 6 percent in 2020 with unemployment at over 9 percent, and if a second wave of COVID-19 hits, the results will be even worse with European growth projected to fall by over 11 percent, the United States by over 8 percent, Russia by 10 percent, Brazil by 9 percent, India by 7 percent and China by 3 percent. Given these uncertainties, China, for one, has prudently not set a growth goal for 2020.
No one knows if there will be recurring attacks of the coronavirus but the current situation is bad enough: As of July 2020 there have been over 12 million reported cases, over half a million deaths, losses of 305 million full-time jobs and fears that 1.6 billion workers in the informal economy could suffer "massive damage" to their livelihoods, according to the UN's International Labour Organization.
And the economic impact of COVID-19 is not likely to be a short-term blip. The World Bank report writes that: "Over the longer horizon, the deep recessions triggered by the pandemic are expected to leave lasting scars through lower investment, an erosion of human capital through lost work and schooling, and fragmentation of global trade and supply linkages." A July 2020 McKinsey briefing confirms the concerns of the World Bank: McKinsey found, in a global survey of those who make household financial decisions, that they are reporting lower income, savings and spending with 20 to 60 percent of the decision-makers fearing for their own jobs. Roughly half of those surveyed had no more than four months of savings. As McKinsey concludes, "The COVID-19 pandemic has left no one untouched."
Governments have not been idle in response to the crisis. Swiftly, most governments provided emergency lifelines to protect citizens financially as employment levels fell. In May 2020, the International Monetary Fund estimated that global fiscal support stood at US$9 trillion in direct support of individuals, emergency corporate loans, etc. As one commentator said, "protecting an economy from a pandemic isn't cheap." In rich nations, the IMF forecasts that the ratio of net debt to GDP will shoot up to 94 percent in 2020 compared to 77 percent before the pandemic. As measured by surveys, there was widespread public support for governments to spend to prevent countries from tumbling from a COVID-19 recession to a COVID-19 depression, but can governments continue to support millions of workers indefinitely, at the same time as tax revenues are falling, if the World Bank is right that a fundamental economic restructuring is underway long term?
Not only are our economic futures at stake as the world tries to climb out of the COVID-19 crisis, so too are our values and the responsibilities we owe to one another. The InterAction Council is well known for its Universal Declaration of Human Responsibilities and COVID-19 has tragically brought the concept of responsibility to the fore. What are the responsibilities of states to inform others if their citizens are hit by a virus, what are the responsibilities of international agencies to coordinate actions to prevent and/or respond to such outbreaks, what are the responsibilities of national governments to protect their citizens and what are the responsibilities of individual citizens to do their best not to spread the disease to others? To witness that such a simple thing as asking citizens to wear a mask could become a major political/cultural divide issue in the United States demonstrates that there is much to do in promoting the centrality of responsibility.
There is little good that can come out of the tragedy of a pandemic, but if there is even a bit of a silver lining, it is that we have come to value what is truly essential in our societies. When the pandemic hit with such force and families worried about if the food distribution system would break down, it was low paid cashiers, stock boys, and cleaners who kept the stores open. Medical staff, store employees, truckers and farmers were essential, not hedge fund managers. As we emerge from the COVID-19 black hole, this must not be forgotten.
The less well-off have suffered the brunt of COVID-19's ravages both in deaths and in economic hardship. They must be first in line when the post-COVID-19 world looks to benefits and rewards. Like everyone else, China's economy has been greatly impacted by the pandemic, but in March 2020 President Xi Jinping reaffirmed the goal of lifting all rural residents out of poverty. Given COVID-19, there are many reasons why poverty elimination could have been postponed but it is reassuring that poverty reduction is still high on the agenda of Chinese decision makers. This example should inspire other leaders to do likewise.
We are in for a long haul economically. Obstacles to any progress will also multiply exponentially if a second wave of COVID-19 hits our societies. But in coping with the disease itself and the economic and social impacts it creates, our moral guide must be the old but still relevant injunction to "do unto others as you would have them do unto you."
Thomas S. Axworthy is the Secretary-General of the InterAction Council.
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text:
Sinai Peninsula
"Sinai" redirects here. For other uses, see Sinai (disambiguation).
60,000 km 2(23,000 sq mi)
The Sinai Peninsula or simply Sinai (now usually /ˈsaɪnaɪ/ SY-ny, also /ˈsaɪniaɪ/ SY-nee-eye and US: /ˈsaɪneɪaɪ/ SY-nay-eye)[1][2][3] is a peninsula in Egypt, and the only part of the country located in Asia. It is situated between the Mediterranean Sea to the north and the Red Sea to the south, and is a land bridge between Asia and Africa. Sinai has a land area of about 60,000 km2 (23,000 sq mi) and a population of approximately 1,400,000 people. Administratively, the Sinai Peninsula is divided into two governorates: the South Sinai Governorate and the North Sinai Governorate. Three other governorates span the Suez Canal, crossing into African Egypt: Suez Governorate on the southern end of the Suez Canal, Ismailia Governorate in the center, and Port Said Governorate in the north.
The Sinai Peninsula has been a part of Egypt from the First Dynasty of ancient Egypt (c. 3100 BC). This comes in stark contrast to the region north of it, the Levant (present-day territories of Syria, Lebanon, Jordan, Israel and Palestine), which, due largely to its strategic geopolitical location and cultural convergences, has historically been the center of conflict between Egypt and various states of Mesopotamia and Asia Minor. In periods of foreign occupation, the Sinai was, like the rest of Egypt, also occupied and controlled by foreign empires, in more recent history the Ottoman Empire (1517–1867) and the United Kingdom (1882–1956). Israel invaded and occupied Sinai during the Suez Crisis (known in Egypt as the Tripartite Aggression due to the simultaneous coordinated attack by the UK, France and Israel) of 1956, and during the Six-Day War of 1967. On 6 October 1973, Egypt launched the Yom Kippur War to retake the peninsula, which was unsuccessful. In 1982, as a result of the Israel–Egypt Peace Treaty of 1979, Israel withdrew from all of the Sinai Peninsula except the contentious territory of Taba, which was returned after a ruling by a commission of arbitration in 1989.
Today, Sinai has become a tourist destination due to its natural setting, rich coral reefs, and biblical history. Mount Sinai is one of the most religiously significant places in the Abrahamic faiths.
2.1 Climate
3.1 Ancient Egypt
3.2 Achaemenid Persian Period
3.3 Roman and Byzantine Periods
3.4 Ayyubid Period
3.5 Mamluk and Ottoman Periods
3.6 British control
3.7 Israeli invasions and occupation
3.8 1979-82 Israeli withdrawal
3.9 Early 21st century security issues
Mount Sinai (Gabal Musa)
The name Sinai (Hebrew: סִינַי, Classical Syriac: ܣܝܢܝ) may have been derived from the ancient moon-god Sin[4] or from the Hebrew word Seneh (Hebrew: סֶ֫נֶּה Senneh)[5] The peninsula acquired the name due to the assumption that a mountain near Saint Catherine's Monastery is the Biblical Mount Sinai. However this assumption is contested.[6]
Its modern Arabic name is سِينَاء Sīnā' (Egyptian Arabic سينا Sīna; IPA: [ˈsiːnæ]). The modern Arabic is an adoption of the biblical name, the 19th-century Arabic designation of Sinai was Jebel el-Tûr.[7] In addition to its formal name, Egyptians also refer to it as Arḍ ul-Fairūz (أرض الفيروز 'the land of turquoise'). The ancient Egyptians called it Ta Mefkat, or 'land of turquoise'.[8]
In English, the name is now usually pronounced /ˈsaɪnaɪ/.[9][10] The traditional pronunciation is /ˈsaɪneɪ/ or /ˈsaɪneɪaɪ/.[11][12]
Image from Gemini 11 spacecraft, featuring part of Egypt and the Sinai Peninsula in the foreground and the Levant in the background
Sinai is triangular in shape, with northern shore lying on the southern Mediterranean Sea, and southwest and southeast shores on Gulf of Suez and Gulf of Aqaba of the Red Sea. It is linked to the African continent by the Isthmus of Suez, 125 kilometres (78 mi) wide strip of land, containing the Suez Canal. The eastern isthmus, linking it to the Asian mainland, is around 200 kilometres (120 mi) wide. The peninsula's eastern shore separates the Arabian plate from the African plate.[13]
The southernmost tip is the Ras Muhammad National Park.
Most of the Sinai Peninsula is divided among the two governorates of Egypt: South Sinai (Ganub Sina) and North Sinai (Shamal Sina).[14] Together, they comprise around 60,000 square kilometres (23,000 sq mi) and have a population (January 2013) of 597,000. Three more governates span the Suez Canal, crossing into African Egypt: Suez (el-Sewais) is on the southern end of the Suez Canal, Ismailia (el-Isma'ileyyah) in the centre, and Port Said in the north.
The largest city of Sinai is Arish, capital of the North Sinai, with around 160,000 residents. Other larger settlements include Sharm el-Sheikh and El-Tor, on the southern coast. Inland Sinai is arid (effectively a desert), mountainous and sparsely populated, the largest settlements being Saint Catherine and Nekhel.[14]
Sinai is one of the coldest provinces in Egypt because of its high altitudes and mountainous topographies. Winter temperatures in some of Sinai's cities and towns reach −16 °C (3 °F).[citation needed]
Find sources: "Sinai Peninsula" – news · newspapers · books · scholar · JSTOR (March 2015) (Learn how and when to remove this template message)
Sinai Peninsula in hieroglyphs
Biau
Bj3w[15]
'Mining country'[15]
Sinai was called Mafkat ("Country of Turquoise") by the ancient Egyptians[16][17] From the time of the First Dynasty or before, the Egyptians mined turquoise in Sinai at two locations, now called by their Egyptian Arabic names Wadi Magharah and Serabit El Khadim. The mines were worked intermittently and on a seasonal basis for thousands of years. Modern attempts to exploit the deposits have been unprofitable. These may be the first historically attested mines.[citation needed]
The fortress Tjaru in western Sinai was a place of banishment for Egyptian criminals. The Way of Horus connected it across northern Sinai with ancient Canaan.
Achaemenid Persian Period
At the end of the time of Darius I, the Great (521–486 BCE) Sinai was part of the Persian province of Abar-Nahra, which means 'beyond the river [Euphrates]'.[18]
Cambyses successfully managed the crossing of the hostile Sinai Desert, traditionally Egypt's first and strongest line of defence, and brought the Egyptians under Psamtik III, son and successor of Ahmose, to battle at Pelusium. The Egyptians lost and retired to Memphis; the city fell to the Persian control and the Pharaoh was carried off in captivity to Susa in Persia.
Roman and Byzantine Periods
St. Catherine's Monastery is the oldest working Christian monastery in the world and the most popular tourist attraction on the peninsula.
Rhinocorura (Greek for "Cut-off Noses") and the eponymous region around it were used by Ptolemaid Egypt as a place of banishment for criminals.
After the death of the last Nabatean king, Rabbel II Soter, in 106,[19] the Roman emperor Trajan faced practically no resistance and conquered the kingdom on 22 March 106. With this conquest, the Roman Empire went on to control all shores of the Mediterranean Sea. The Sinai Peninsula became part of the Roman province of Arabia Petraea.[20]
Saint Catherine's Monastery on the foot of Mount Sinai was constructed by order of the Emperor Justinian between 527 and 565. Most of the Sinai Peninsula became part of the province of Palaestina Salutaris in the 6th century.
Ayyubid Period
During the Crusades it was under the control of Fatimid Caliphate. Later, Saladin abolished the Fatimid Caliphate in Egypt and took this region under his control too. It was the military route from Cairo to Damascus during the Crusades. And in order to secure this route, he built a citadel on the island of Pharaoh in Taba known by his name 'Saladin's citadel'.[citation needed]
Mamluk and Ottoman Periods
The peninsula was governed as part of Egypt under the Mamluk Sultanate of Egypt from 1260 until 1517, when the Ottoman Sultan, Selim the Grim, defeated the Egyptians at the Battles of Marj Dabiq and al-Raydaniyya, and incorporated Egypt into the Ottoman Empire. From then until 1906, Sinai was administered by the Ottoman provincial government of the Pashalik of Egypt, even following the establishment of the Muhammad Ali Dynasty's rule over the rest of Egypt in 1805.
The wilderness of Sinai, 1862
British control
In 1906, the Ottoman Porte formally transferred administration of Sinai to the Egyptian government, which essentially meant that it fell under the control of the United Kingdom, who had occupied and largely controlled Egypt since 1882. The border imposed by the British runs in an almost straight line from Rafah on the Mediterranean shore to Taba on the Gulf of Aqaba. This line has served as the eastern border of Egypt ever since.
Israeli invasions and occupation
See also: Israeli occupation of Sinai
Canadian and Panamanian UNEF UN peacekeepers in Sinai, 1974
In 1956, Egypt nationalised the Suez Canal,[21] a waterway marking the boundary between Egyptian territory in Africa and the Sinai Peninsula. Thereafter, Israeli ships were prohibited from using the Canal,[22] owing to the state of war between the two states. Egypt also prohibited ships from using Egyptian territorial waters on the eastern side of the peninsula to travel to and from Israel, effectively imposing a blockade on the Israeli port of Eilat. In October 1956, in what is known in Egypt as the Tripartite Aggression, Israeli forces, aided by Britain, and France (which sought to reverse the nationalization and regain control over the Suez Canal), invaded Sinai and occupied much of the peninsula within a few days. In March 1957, Israel withdrew its forces from Sinai, following strong pressure from the United States and the Soviet Union. Thereafter, the United Nations Emergency Force (UNEF) was stationed in Sinai to prevent any further conflict in the Sinai.
On 16 May 1967, Egypt ordered the UNEF out of Sinai[23] and reoccupied it militarily. Secretary-General U Thant eventually complied and ordered the withdrawal without Security Council authorisation. In the course of the Six-Day War that broke out shortly thereafter, Israel occupied the entire Sinai Peninsula, and Gaza Strip from Egypt, the West Bank (including East Jerusalem) from Jordan (which Jordan had controlled since 1949), and the Golan Heights from Syria. The Suez Canal, the east bank of which was now occupied by Israel, was closed. Israel commenced efforts at large scale Israeli settlement in the Sinai Peninsula.
Following the Israeli conquest of Sinai, Egypt launched the War of Attrition (1967–70) aimed at forcing Israel to withdraw from the Sinai. The war saw protracted conflict in the Suez Canal Zone, ranging from limited to large scale combat. Israeli shelling of the cities of Port Said, Ismailia, and Suez on the west bank of the canal, led to high civilian casualties (including the virtual destruction of Suez), and contributed to the flight of 700,000[24] Egyptian internal refugees. Ultimately, the war concluded in 1970 with no change in the front line.[25]
On 6 October 1973, Egypt commenced Operation Badr to retake the Sinai, while Syria launched a simultaneous operation to retake the Golan Heights,[citation needed] thereby beginning the Yom Kippur War (known in Egypt and much of Europe as the October War). Egyptian engineering forces built pontoon bridges to cross the Suez Canal, and stormed the Bar-Lev Line, Israel's defensive line along the Suez Canal's east bank. Though the Egyptians maintained control of most of the east bank of the Suez Canal, in the later stages of the war, the Israeli military crossed the southern section of the Suez Canal, cutting off the Egyptian 3rd Army, and occupied a section of the Suez Canal's west bank. The war ended following a mutually agreed-upon ceasefire. After the war, as part of the subsequent Sinai Disengagement Agreements, Israel withdrew from immediate proximity with the Suez Canal, with Egypt agreeing to permit passage of Israeli ships. The canal was reopened in 1975, with President Sadat leading the first convoy through the canal aboard an Egyptian destroyer.
1979-82 Israeli withdrawal
Egypt-Israel border, looking north from the Eilat Mountains
In 1979, Egypt and Israel signed a peace treaty in which Israel agreed to withdraw from the entirety of the Sinai Peninsula. Israel subsequently withdrew in several stages, ending in 1982. The Israeli pull-out involved dismantling almost all Israeli settlements, including the settlement of Yamit in north-eastern Sinai. The exception was that the coastal city of Sharm el-Sheikh (which the Israelis had founded as Ofira during their occupation of the Sinai Peninsula) was not dismantled. The Treaty allows monitoring of Sinai by the Multinational Force and Observers, and limits the number of Egyptian military forces in the peninsula.
Early 21st century security issues
Since the early 2000s, Sinai has been the site of several terror attacks against tourists, the majority of whom are Egyptian. Investigations have shown that these were mainly motivated by a resentment of the poverty faced by many Bedouin in the area. Attacking the tourist industry was viewed as a method of damaging the industry so that the government would pay more attention to their situation.[26] (See 2004 Sinai bombings, 2005 Sharm El Sheikh bombings and 2006 Dahab bombings). Since the 2011 Egyptian Revolution, unrest has become more prevalent in the area including the 2012 Egyptian-Israeli border attack in which 16 Egyptian soldiers were killed by militants. (See Sinai insurgency.)
Also on the rise are kidnappings of refugees. According to Meron Estifanos, Eritrean refugees are often kidnapped by Bedouin in the northern Sinai, tortured, raped, and only released after receiving a large ransom.[27][28]
Under President el-Sisi, Egypt has implemented a rigorous policy of controlling the border to the Gaza Strip, including the dismantling of tunnels between Gaza and Sinai.[29]
Two young Bedouins making bread in the desert
The two governorates of North and South Sinai have a total population of 597,000 (January 2013). This figure rises to 1,400,000 by including Western Sinai, the parts of the Port Said, Ismailia and Suez Governorates lying east of the Suez Canal. Port Said alone has a population of roughly 500,000 people (January 2013). Portions of the populations of Ismailia and Suez live in west Sinai, while the rest live on the western side of the Suez Canal.
The population of Sinai has largely consisted of desert-dwelling Bedouins with their colourful traditional costumes and significant culture.[30] Large numbers of Egyptians from the Nile Valley and Delta moved to the area to work in tourism, but development adversely affected the native Bedouin population.[citation needed] In order to help alleviate their problems, various NGOs began to operate in the region, including the Makhad Trust, a UK charity that assists the Bedouin in developing a sustainable income while protecting Sinai's natural environment, heritage and culture.[citation needed]
Dahab in Southern Sinai is a popular beach and diving resort
See also: Tourism in Egypt
Since the Israeli–Egyptian peace treaty, Sinai's scenic spots (including coral reefs offshore) and religious structures have become important to the tourism industry. The most popular tourist destination in Sinai are Mount Sinai (Jabal Musa) and St Catherine's Monastery, which is considered to be the oldest working Christian monastery in the world, and the beach resorts of Sharm el-Sheikh, Dahab, Nuweiba and Taba. Most tourists arrive at Sharm el-Sheikh International Airport, through Eilat, Israel and the Taba Border Crossing, by road from Cairo or by ferry from Aqaba in Jordan.[citation needed]
Isthmus of Suez
Operation Eagle
Multinational Force and Observers
Negev Bedouin
Natural places
Biblical Mount Sinai
Desert of Paran
Mitla Pass
Manmade structures
Nawamis
Sinai leopard
^ "Sinai". Collins English Dictionary. HarperCollins. Retrieved 26 February 2019.
^ "Sinai". Oxford Dictionaries. Oxford University Press. Retrieved 26 February 2019.
^ "Sinai". Merriam-Webster Dictionary. Retrieved 26 February 2019.
^ "Sinai Peninsula (peninsula, Egypt) – Britannica Online Encyclopedia". Britannica.com. Retrieved 14 January 2012.
^ "Sinai, Mount". JewishEncyclopedia.com. Retrieved 14 January 2012.
^ See Biblical Mount Sinai for a fuller discussion.
^ J. W. Parker, The Bible Cyclopaedia vol. 2 (1843), p. 1143. Arthur Penrhyn Stanley, Sinai and Palestine: In Connection with Their History (1877), p. 29.
^ "Étude de la turquoise : de ses traitements et imitations" Archived 15 December 2013 at the Wayback Machine, thesis by Claire Salanne, Université de Nantes, 2009.
^ "Definition of Sinai". The Free Dictionary. Retrieved 3 May 2014.
^ "Sinai". Dictionary.com. Retrieved 3 May 2014.
^ John FARRAR (Classical Tutor at the Wesleyan Theological Institution, Richmond.) (1839). The Proper Names of the Bible; Their Orthography, Pronunciation, and Signification, Etc. p. 227.
^ A Pronouncing Dictionary of the Holy Bible: Being a Concordance of Subjects and Complete Index to the Holy Scriptures. Virtue and Yorston. 1869. p. 215.
^ Homberg, Catherine and Martina Bachmann, Evolution of the Levant Margin and Western Arabia Platform Since the Mesozoic, The Geological Society of London, 2010, p 65 ISBN 978-1862393066
^ a b Ned Greenwood (1 January 2010). The Sinai: A Physical Geography. University of Texas Press. pp. 4–. ISBN 978-0-292-77909-9.
^ a b The translation 'mining country' is not certain, see also Rainer Hannig: Großes Handwörterbuch Ägyptisch-Deutsch : (2800 – 950 v. Chr.). p. 1135.
^ "EgyptSearch Forums: Archaeology of the Sinai Desert during the early-mid Holocene (10 000BC-3000BC)?". www.egyptsearch.com. Retrieved 18 April 2019.
^ Joseph Davidovits and Ralph Davidovits (2007). "Why Djoser's blue Egyptian faience tiles are not blue? Manufacturing Djoser's faience tiles at temperatures as low as 250 °C?" (PDF). In Jean Claude Goyon, Christine Cardin (ed.). Proceedings of the ninth International Congress of Egyptologists. 1. Louvain/Paris/Dudley. p. 375.
^ "History of Iran: Achaemenid Persian Syria 538-331 BCE; Two Centuries of Persian Rule". www.iranchamber.com. Retrieved 18 April 2019.
^ Schürer, Emil; Millar, Fergus; Vermes, Geza (26 March 2015). The History of the Jewish People in the Age of Jesus Christ. Bloomsbury Academic. p. 583. ISBN 978-0-567-50161-5.
^ Taylor, Jane: Petra And the Lost Kingdom of the Nabataeans. I. B. Tauris 2001, ISBN 1860645089, p. 73-74 (online copy, p. 73, at Google Books)
^ Editors, History com. "Egypt nationalizes the Suez Canal". HISTORY. Retrieved 18 April 2019.
^ "1956: Egypt Seizes Suez Canal". BBC. 26 July 1956.
^ Samir A. Mutawi (18 July 2002). Jordan in the 1967 War. Cambridge University Press. p. 93. ISBN 978-0-521-52858-0. Although Eshkol denounced the Egyptians, his response to this development was a model of moderation. His speech on 21 May demanded that Nasser withdraw his forces from Sinai but made no mention of the removal of UNEF from the Straits nor of what Israel would do if they were closed to Israeli shipping. The next day Nasser announced to an astonished world that henceforth the Straits were, indeed, closed to all Israeli ships
^ Spencer, Tucker. Encyclopedia or the Arab-Israeli Conflict. p. 175.
^ "War of Attrition".
^ Serene Assir (23 July 2005). "Shock in Sharm". Al-Ahram Weekly. Retrieved 29 March 2014.
^ "Close the Torture Houses in North Sinai and Egypt". [AI] Asmarino Independent. Retrieved 18 April 2019.
^ Sound of Torture documentary
^ Fouad, Ahmed (17 April 2015). "Egypt discovers record-length smuggling tunnel". Al-Monitor. Retrieved 18 April 2019.
^ Leonard, William R. and Michael H. Crawford, The Human Biology of Pastoral Populations, Cambridge University Press, 2002, p. 67 ISBN 978-0521780162
Gardner, Ann. "At Home in South Sinai". Nomadic Peoples 2000. Vol. 4, Iss. 2; pp. 48–67. Detailed account of Bedouin women
H. J. L. Beadnell (May 1926). "Central Sinai". Geographical Journal. 67 (5): 385–398. doi:10.2307/1782203. JSTOR 1782203.
C. W. Wilson (1873). "Recent Surveys in Sinai and Palestine". Journal of the Royal Geographical Society of London. 43: 206–240. doi:10.2307/1798627. JSTOR 1798627.
Jacobs, Jessica (2006). "Tourist Places and Negotiating Modernity: European Women and Romance Tourism in the Sinai". In Minca, Claudio; Oakes, Tim (eds.). Travels in Paradox: Remapping Tourism. Rowman & Littlefield. ISBN 978-0-7425-2876-5. Retrieved 7 January 2010.
Teague, Matthew; Moyer, Matt (March 2009). "The Sinai's Separate Peace". National Geographic Magazine. Washington, D.C.: National Geographic Society. 215 (3): 99–121. ISSN 0027-9358. Retrieved 7 January 2010.
Jarvis, C.S.,Yesterday and To-day in Sinai (Edinburgh/London: W. Blackwood & Sons, 1931).
New terrorist challenges in the Sinai peninsula, prominent jihadists organisations, Strategic Impact (52), issue: 3 / 2014, pp. 39–47
Wikimedia Commons has media related to Sinai Peninsula.
Wikivoyage has a travel guide for Sinai Peninsula.
Guide to Sinai, covering background information on history, flora, fauna, desert, Bedouin, safaris and geology of Sinai
Sinai Local Magazine
The Complete Guide To: The Sinai, The Independent, 15 March 2008.
Sinai in ancient Egypt
Broadcasting videos from Sinai
Images of the Sinai Desert
IRIN humanitarian news: EU grant to tackle rural poverty in South Sinai
Sinai trekking and safari: route maps and photo archive
Coordinates: 29°30′N 33°50′E / 29.500°N 33.833°E / 29.500; 33.833