IN RENAISSANCE PAINTING,
chiaroscuro is the dramatic contrast of dark and
light. For those who know her, that word could
also be used to describe the artist Linda Cosgrove.
A former model, the statuesque Cosgrove is
a lighthearted character who paints dark scenes
reminiscent of Caravaggio — think illuminated
headless saints and unwinged angels set against
a mysteriously deep black background. With a
quick, honest laugh, she leads guests through
her home pointing out 18th-century reliquaries
(that may contain vestiges of saintly remains)
and gilded Italian candle prickets, while sharing
funny anecdotes about family trips to Italy and
the trials of hauling home her finds.
Located on a tree-lined street in the Dominican neighborhood, Cosgrove’s Spanish Colonial
home features a set of worn wooden front doors
brought back from Mexico. Beyond these doors,
the large foyer is marked by a series of tableaux
designed from ornate architectural pieces and
gilded mirrors along with doll-like saint figures and other religious relics. Looking down
from the staircase landing are a life-size pair of
kneeling figures in their original 17th-century
dresses. In the adjacent living room and, every
surface is arranged with a curated display of
baroque treasures. And in the dining room, an
array of Venetian glass and china is paired with
A PAINTER’S PRIZED COLLECTION OF BAROQUE RELICS OFFERS GRAND
GESTURES AT EVERY TURN INSIDE THIS LIGHT-FILLED SAN RAFAEL HOME.
BY SARAH LYNCH PHOTOGRAPHS BY DAVID DUNCAN LIVINGSTON
The entrance to the home of Linda Cosgrove and
Perry Burr is packed with treasures, including a pair
of 17th century papier-mâché kneeling figures displayed on the staircase landing. Opposite: Two main
vignettes in the foyer feature an early Michoacan
terra-cotta urn and an 18th-century Mexican cupola
made from gilt wood and vellum.
Epoch Collection
