BED-ERMEIER: Sitting Room

The sitting room of the Bed-ermeier Project is structured around a compact Regency inlaid writing table, early 19th century, set against a window framed by floor-length sheer curtains. Originally designed for correspondence and occasional use in British domestic interiors, the table now anchors the space between two upholstered armchairs in muted mustard-toned linen from Blanc d’Ivoire.

At its center sits a large 1950s Lomonosov Porcelain Factory polar bear—glazed in white and modeled in a mid-stride pose. Produced in postwar Leningrad, the piece reflects the Soviet factory’s emphasis on simplified, monumental forms, likely intended as a collector’s item rather than a mass-market figurine. It bridges utilitarian porcelain craft and symbolic sculptural presence.

To the left, a painting by Olesya Glazjeva adds a different register of texture. Painted directly onto cardboard using her own technique, the surface remains matte and unvarnished, with imagery that feels immediate and quietly expressive. The stylized figure, in traditional dress, holds a presence that is both folkloric and contemporary.

The room maintains symmetry and clarity, lit by wall sconces from Visual Comfort and softened by natural light filtered through sheer curtains. British, French, and Russian elements coexist without friction—each grounded in material history, scaled to the room, and placed with intent.