The meticulously curated world of Bunny Mellon, the philanthropist, gardener, and style icon who captivated society for decades, is being unveiled in a new light. Not through biography or retrospective, but through the delicate brushstrokes of her friend, Alison “Snowy” Campbell. A collection of over 100 watercolor paintings, commissioned by Mellon herself between 1970 and 1976, documenting the interiors of her homes in New York City, Washington D.C., Upperville, Virginia, and beyond, are now published for the first time in The Enchanting Interiors of Bunny Mellon: Paintings by Snowy Campbell (Rizzoli, ).
For six years, Campbell served as Mellon’s live-in artist, capturing the ambiance of these rarefied spaces. The project, initially conceived over half a century ago, remained tucked away in the archives of the Oak Spring Garden Foundation until recently unearthed by assistant librarian Nancy Collins and head volunteer Elinor Crane. Their discovery, described as a “treasure trove,” ultimately led to the book’s publication, championed by designer Charlotte Moss who recognized the paintings’ unique appeal in a digital age.
The book offers a rare glimpse into Mellon’s design philosophy, one defined by a deliberate avoidance of ostentation. Her New York City townhouse at 125 East 70th Street, an 11,000-square-foot mansion with eight bedrooms, exemplified this approach. Despite its size and potential for grandeur, the home remained “friendly,” as Paul Mellon once described, blending significant artworks with personal touches – children’s drawings, bronzes of horses – and a touch of “natural shabbiness.” This intentional imperfection, a deliberate rejection of pristine perfection, was a hallmark of Mellon’s aesthetic.
This aversion to anything appearing too new was well-known within Mellon’s circle. Truman Capote, in a interview with Time magazine, recounted how Mellon habitually carried a small pair of scissors in her purse. “When things are looking a little too neat,” Capote reported, “she takes a little snip out of a chair or something so it will have that lived-in look.” It was a subtle, yet telling detail, revealing a desire for comfort and authenticity over polished display.
Campbell’s watercolors don’t simply document rooms; they capture a feeling. They reveal a world where art and life seamlessly intertwined, where comfort and informality were prioritized, and where even the most exquisite surroundings felt inviting. The paintings offer a visual counterpoint to the increasing trend of curated, Instagram-ready interiors, reminding us of a time when homes were meant to be lived in, not simply admired.
The release of The Enchanting Interiors of Bunny Mellon arrives at a moment of renewed interest in Mellon’s life, and legacy. In recent years, her gardens, her distinctive style – even her preferred method of serving potato chips – have become subjects of fascination. Yet, as Mellon herself famously stated in a interview with the New York Times, “nothing should be noticed.” It’s a sentiment that underscores the quiet elegance of her design, and the subtle power of these newly revealed watercolors.
The paintings, having remained largely unseen for half a century, offer a unique perspective on Mellon’s world. Following her death, her New York and Washington homes were sold, and much of her collection was auctioned off in . This book, serves as a vital record, preserving a glimpse into spaces that have largely disappeared, and a testament to the enduring appeal of a style that valued comfort, authenticity, and a touch of understated grace. The work of Snowy Campbell, finally brought to light, allows us to step inside Bunny Mellon’s homes, not as observers, but as invited guests.
