Litchfield is a postcard of a small town. It is quintessential New England, a print by Currier and Ives. Its charms pulled my husband Kevin and I away from Manhattan, first as a weekend escape and then as full-time residents.

Though primarily known for its colonial architecture, Litchfield happens to have an unexpected and remarkable undercurrent of mid-century design. The first friends we made here invited us for drinks at their home, which, to our surprise is one in a series of Marcel Breuer-designed houses, opening our eyes to one of Litchfield’s best kept secrets. Buildings by Eliot Noyes, Edward Larrabee Barnes, John Johansen and Edward Durell Stone stand quietly against the rural landscape. But it was Marcel Breuer who, in particular, left an enduring mark on the creative world of Litchfield and, consequently, Charlie.

Modern Bohemia is a collection near and dear to us. These pieces express a tension, juxtaposing the discipline of our slab-building methods with the softer, natural qualities of clay. It pays tribute to the rich modernist heritage of Litchfield and the place we call home.