Galerie Spring 2018

THE NEW GUARD ART WORLD LEADERS WHO THINK BIG

AT HOME IN MARRAKECH WITH THE BULGARIS AGNES GUND INSPIRES ACTION ART INSIDERS’ GUIDE TO LISBON

SPRING 2018 ISSUE NO 8

LiveArtfully

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CONTENTS

92 A sun-splashed parlor in the Marrakech riad of Maite and Paolo Bulgari.

92 CROSSING BORDERS Old-world craftsmanship mixes with cosmopolitan flair in Maite and Paolo Bulgari’s Marrakech retreat. By Vicky Lowry

118 BLITHE SPIRIT Architect Sig Bergamin transforms his Paris pied-à-terre with signature panache. By Raul Barreneche

144 RETRO CHIC Design duo Steven Harris and Lucien Rees Roberts stylishly update a Desert Modern find in Palm Springs. By Stephen Wallis

106 ELEGANT GEOMETRY A New York City apartment achieves rare form in the hands of designer David Kleinberg. By David Colman

126 ENSEMBLE CAST To create her family’s Manhattan dream home, Andrea Glimcher enlists architect Alan Wanzenberg and a small museum’s worth of art. By Julie L. Belcove

156 ART DE VIVRE Champeau & Wilde conjures the ultimate Parisian perch for an American couple. By Ian Phillips

114 TREASURE TROVE In Palm Beach, Beth Rudin DeWoody unveils a private art space for her feisty and far-reaching collection. By Janelle Zara 10

138 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. Produced by Stefanie Li

RICARDO L ABOUGLE

FEATURES

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CONTENTS

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From left: Patterns at play in a bedroom by Sig Bergamin.

An Alexandre Logé sculpted-plaster pendant light.

DEPARTMENTS

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18 EDITOR’S LETTER

By Margaret Russell

27 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

36 THE ARTFUL LIFE: SHOPPING Design essentials for spring.

42 ARTISAN Alexandre Logé’s whimsical furnishings break the mold.

By Christine Schwartz Hartley

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44 TRENDING TALENT Five masters of invention who are forging distinctive artistic paths.

52 CHARACTER STUDY Collector Agnes Gund uses art sales to spur criminal-justice reform.

By Julie L. Belcove 56 POINT OF VIEW Inside the lively mind—and heart— of multitalented designer Brian Sawyer. By Jacqueline Terrebonne A modern milieu in a Palm Springs living room. Left: Designer Andre Mellone.

Above: A François-Xavier Lalanne ram sculpture in a Paris bedroom.

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58 STUDIO VISIT Yinka Shonibare creates a dazzling and timely installation for Central Park. By Roslyn Sulcas 60 PEOPLE Fashion-world interior-design favorite Andre Mellone finds his groove. By Vicky Lowry

CLOCKWISE FROM TOP LEFT: BJÖRN WALL ANDER; COURTESY OF DONZELL A LTD.; RICARDO L ABOUGLE; SCOTT FRANCES; JOSHUA M C HUGH

22 FOUNDER’S LETTER

By Lisa Fayne Cohen

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CONTENTS

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Clockwise from far left: A multifunctional dining gallery devised by David Kleinberg. Artworks at Beth Rudin DeWoody’s Bunker in West Palm Beach.

Art adviser Andrea Glimcher with her children, Alexander and Katharine, next to an Agnes Martin painting in their living room.

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66 BACKSTORY When Jacqueline Kennedy brought the Mona Lisa to America.

By Lisa Fayne Cohen

80 BOOKS The genius of the Wirtz family’s gardens.

By Christine Schwartz Hartley 82 CUISINE Historic preservation meets culinary delectation at Swyft, Connecticut’s buzziest new restaurant. By Jacqueline Terrebonne

69 GAME CHANGERS Influencers and entrepreneurs who are shaping the art world of tomorrow.

84 DESTINATIONS Once overlooked, Lisbon has become a favorite of the savvy and stylish.

By Gisela Williams

74 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

164 REAL ESTATE A trio of remarkable properties with distinguished provenance. By Geoffrey Montes

76 CONCIERGE The Cultivist’s guide for where to eat, stay, and play in humming São Paulo.

By Joey Lico

166 SOURCES 168 IN FOCUS History-loving designer Stephen Sills discusses the prized writing cabinet he was destined to own.

COVER

Vibrant artworks combine with an audacious array of color and pattern in the Paris living room of Brazilian designer Sig Bergamin and his husband, architect Murilo Lomas.

Photography by Björn Wallander.

THE NEW GUARD

LiveArtfully

ART WORLD LEADERS WHO THINK BIG

AT HOME IN MARRAKECH WITH THE BULGARIS AGNES GUND INSPIRES ACTION ART INSIDERS’ GUIDE TO LISBON

SPRING 2018 ISSUE NO 8

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TO SUBSCRIBE TO GALERIE:

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Go to galeriemagazine.com/subscribenow or call 855-531-8900.

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COUNTERCLOCKWISE FROM LEFT: RICHARD POWERS (2); FIROOZ ZAHEDI

64 SPOTLIGHT Ellsworth Kelly’s luminously minimal chapel is Austin’s newest landmark.

By Hilarie M. Sheets

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LETTER From top: The Art for Justice Fund’s Agnes Gund and Darren Walker from the Ford Foundation. Galerie’s Arts & Culture editor, Lucy Rees (far right), with me at the Metropolitan Museum of Art for a photo shoot with curator Shanay Jhaveri. A vignette at designer Brian Sawyer’s Manhattan home.

MARGARET RUSSELL, Editor in Chief

editor@galeriemagazine.com Instagram: @margaretrussell 18

CLOCKWISE FROM TOP: JOSHUA M C HUGH (2); GENEVIEVE GARRUPPO

T

he connection between the art world and social activism strikes me as particularly strong and growing stronger. Last June, collector and philanthropist Agnes Gund announced she would use significant proceeds from the sale of a prized Roy Lichtenstein to launch the Art for Justice Fund, an organization dedicated to criminaljustice reform, and her extraordinary demonstration of generosity prompted other socially progressive collectors to contribute to the cause. In May, the sale of the monumental Peggy and David Rockefeller collection at Christie’s will support a shortlist of their family’s favorite charities, demonstrating David Rockefeller’s belief—shared by many collectors I know— that while the objects he owned brought him and his family great pleasure, they were destined to eventually pass to others as well as benefit those in need. And despite his thriving practice, for many years designer Brian Sawyer has managed to donate time, resources, and expertise to nonprofit organizations that are also dear to my heart: God’s Love We Deliver and Bette Midler’s New York Restoration Project.

Though few of us can possibly do as much as these individuals, I find Brian’s goodwill, Agnes Gund’s brave political stance, and the Rockefeller family’s remarkable altruism deeply inspiring. It’s heartening during these disquieting times to see the worlds of art and design do so much good.

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r ic ha r df r inie r. c o m

JAMES S. COHEN Chairman

LISA FAYNE COHEN Founder/Editorial Director

ADAM I. SANDOW Chairman, SANDOW

E D I T O R I A L Editor in Chief

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Creative Director MATT BERMAN

Managing Editor LAURIE SPRAGUE

Consulting Executive Editor STEPHEN WALLIS Arts & Culture Editor LUCY REES Design Editor JACQUELINE TERREBONNE Consulting Features Editor CHRISTINE SCHWARTZ HARTLEY Senior Designer HIEU LE Photo Editor STEFANIE LI

Associate Editor, Digital GEOFFREY MONTES

Copy Editors JIM CHOLAKIS, LESLIE YUDELL Research Editors JESSE DORRIS, MERV KEIZER, GEORGINA MCWHIRTER, ATHENA WALIGORE Editorial Assistant ASHLEY PETRAS Color Production Directors CHRIS ABLAN, CAROLYN BURBRIDGE, IGOR TSIPERSON Production Director SUE SWENSON Contributing Editors PENNY DRUE BAIRD, JULIE L. BELCOVE, MELISSA COLGAN, JOEY LICO, VICKY LOWRY, ANTWAUN SARGENT, NATASHA SCHLESINGER International Contributing Editor IVY TOURET

A D V E R T I S I N G President, SANDOW Design Media

ERICA HOLBORN

Vice President, Publisher JANICE BROWNE jbrowne@galeriemagazine.com

Fashion & Luxury Director CYNTHIA LEWIS clewis@galeriemagazine.com

Art & Antiques Director KATHLEEN CULLEN kcullen@galeriemagazine.com Midwest Sales Director STEVEN M. FISHER sfisher@galeriemagazine.com West Coast Director JO CAMPBELL-FUJII jcampbellfujii@galeriemagazine.com International Sales, France & United Kingdom SYLVIE DURLACH, S&R MEDIA srmedia@club-internet.fr Brand Operations Coordinator HANNAH KNOBLAUCH Frinier_Galerie_Sage_Final.indd 1

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FROM THE FOUNDER & EDITORIAL DIRECTOR

W

ith the arrival of our first issue of this calendar year, I am thrilled to announce Galerie’s exciting new partnership with the dynamic and creative SANDOW organization. I feel that I could not have found a better partner than Adam I. Sandow, its founder. His company is a

leading publisher with a proven record of creating and revitalizing strong, successful magazines in the fields of luxury, design, business, and beauty, with titles such as Interior Design, NewBeauty, Worth, and Luxe Interiors + Design. SANDOW also very much prides itself on innovation and synergies, as is evident from its ownership of both iconic retailer Fred Segal and the world’s leading materials library and consultancy, Material ConneXion, which is housed in the company’s New York office and used by designers in all fields.

Since Galerie’s launch in 2016, we have engaged readers through distinctive coverage of the intersection of art and design, inspiring them to “Live Artfully.” As we pursue our vision, I am confident that SANDOW will help Galerie expand its reach, while making sure we we have worked so hard to build. Thanks to this partnership, Galerie will now have the opportunity to further develop its brand both in print and on digital platforms, as well as increase its bandwidth through SANDOW’s expertise in production and distribution.

To conclude, I would like to thank our readers and brand partners for supporting Galerie so far and for giving us the opportunity to flourish and grow even more.

LISA FAYNE COHEN Founder/Editorial Director 22

Galerie founder and editorial director Lisa Cohen with Adam I. Sandow, at the magazine’s new office.

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THE ARTFUL LIFE

Azzedine Alaïa and a model for his fall 2002 collection, photographed

by Patrick Demarchelier.

PATRICK DEMARCHELIER

CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

FASHION “The foundation of beauty is the body,” the brilliant French couturier Azzedine Alaïa once said, though the master knew better than most that what gives fashion its seductive power is the way physique is cloaked and cosseted. Alaïa passed away a few months ago, in November, but his work is currently the subject of two exhibitions long in the making.

In Paris, his creations are ensconced in his legendary atelier in the Marais, the place where he honed his craft, worked his magic, and hosted legendary supper parties. → 27

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THE ARTFUL LIFE The display is small but formidable, with 41 exquisite dresses, mostly black or white, hung on floating forms rather than mannequins to emphasize their “timeless aspect,” curator Olivier Saillard explains. (That said, there is a spectacular pink-hooded number once worn by model and singer Grace Jones.) The show, titled “Je Suis Couturier” (through June 10), came about after much persuasive “talking, more talking, and dining,” Saillard says, until the designer finally agreed.

From May 10 through October 7, those anxious for still more Alaïa can visit the exhaustive exhibition “Azzedine Alaïa: The Couturier” at London’s Design Museum, featuring more than 60 couture pieces picked by the master himself. “I am never sure that anything’s good enough,” Alaïa once declared.

“Something that is good today will not be good tomorrow.”

We beg to differ: His work is incomparable today, tomorrow, and forever. alaia.fr; designmuseum.org —LYNN YAEGER

The new Mount Fuji World Heritage Center.

ARCHITECTURE Sometimes an icon begets another icon. Such seems to be the case in the Japanese city of Fujinomiya, which is a two-hour drive southwest of Tokyo and 20 miles from Mount Fuji. After the country’s tallest and most revered peak became a UNESCO World Heritage Site in 2013, the city held a competition for the design of the Mount Fuji World Heritage Center. Opened in December, the winning entry by architect Shigeru Ban has become an attraction all its own. The structure’s five-story, timber-lattice cone shape inverts the dormant volcano’s tapered form to striking effect. Inside, a 633-foot-long spiral ramp leads visitors through a series of exhibition galleries, culminating with a monumental picture window that frames perfect views of the snowcapped mountain.

BOOKS In keeping with everything she does, Martha Stewart has picked the perfect season, spring—most gardeners’ favorite time of year—to publish Martha’s Flowers: A Practical Guide to Growing, Gathering, and Enjoying (Clarkson Potter, $45). Written with Kevin Sharkey, this volume offers the practical and thorough expertise expected from the domestic style guru, while brimming with energy, bright ideas, and useful tips. These qualities are especially obvious in Stewart’s artful flower arrangements. Seemingly inspired by the lush, moody beauty of a Dutch still life, a grouping that contrasts single-petaled peonies’ robust allure with painterly parrot tulips is just one example. Such loveliness may seem all too fleeting, but Stewart, always at the ready with helpful advice, explains how to make your blooms last longer. Naturally. marthastewart.com —JACQUELINE TERREBONNE

Left: A painterly arrangement by Martha Stewart from her new book, Martha’s Flowers.

FROM TOP: HIROYUKI HIRAI; JOSÉ PICAYO; FRÉDÉRIC L AGRANGE

—GEOFFREY MONTES

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THE ARTFUL LIFE

 HOTELS Should you wish to watch the world slow down in transporting surroundings, the new Rosewood Luang Prabang ought to be on your shortlist. The soon-to-open property is nestled in a lush jungle of Laos, the former French colony that is one of Southeast Asia’s most captivating destinations. Blending French-Lao architecture and contemporary style, it features 23 riverside villas and glamorous hilltop tents decorated by designer Bill Bensley in romantic colonial style—think rich rosewood finishes, colorful local textiles, and plush silk daybeds.

Guests can enjoy the wondrous flora and fauna, explore the nearby UNESCO-protected old town of Luang Prabang, witness saffronrobed monks collecting alms, or simply sit back with a French coffee and lose themselves in reverie. rosewoodhotels.com —LUCY REES

SHOPS If René Magritte once proclaimed, “This is not a pipe,” Gucci can now insist, “This is not a museum.” As piloted by the fashion house’s creative director, Alessandro Michele, the new Gucci Garden— a radical reimagining of the Gucci Museo in Florence’s historic Palazzo Della Mercanzia—is a hyperkinetic creative space dedicated to all things Gucci. The three-story showcase tells the story of the fashion giant by colliding past with present. Yes, visitors can view vintage treasures from the archives—the horse bit, the loafers, the red-and-green grosgrain—but in juxtaposition with contemporary clothes and accessories, video installations, photography, and art.

On the ground floor, Italy’s most innovative chef, Massimo Bottura, heads the restaurant, Gucci Osteria.

Of course, there’s also a boutique featuring items exclusive to Gucci Garden. And, yes, it definitely is a shop. gucci.com —CATHERINE HONG

HOTELS At the five-star Wild Coast Tented Lodge in the south of Sri Lanka, canvas villas resemble cocoons, and soaring bamboo-clad pavilions could pass for rocky outcrops. And it’s all by design: The eco-friendly safari-style camp was conceived to blend in with the pristine environment, a remote location near the vast Yala National Park and the Indian Ocean. “We didn’t want to disturb the unique character of this rough landscape,” says architect Olav Bruin of Nomadic Resorts, who designed the resort with the Dutch interiors firm Bo Reudler Studio, using local artisans. Whether you stay for two days or two weeks, time at this extraordinary getaway— equipped with a spa, restaurant, pool, and bar—is bound to be unforgettable. resplendentceylon.com —G.M.

FROM TOP: COURTESY OF GUCCI; COURTESY OF ROSEWOOD LUANG PRABANG; COURTESY OF RESPLENDENT CEYLON (2)

From top: The boutique at Gucci Garden in Florence, Italy. A suite at the Rosewood Luang Prabang hotel in Laos.

Wild Coast Tented Lodge in Sri Lanka.

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THE ARTFUL LIFE Henri Matisse’s 1923 Odalisque couchée aux magnolias highlights Christie’s Rockefeller collection sale in May.

AUCTIONS In the pantheon of American collectors, there may be no bluer blue-chip name than Rockefeller. And expectations are soaring for Christie’s landmark auction of the trove belonging to the late Peggy and David Rockefeller, with unofficial estimates topping $600 million. Of course, it’s difficult to know what buyers will be willing to pay for the couple’s superlative Impressionist and modern paintings, Asian art, and antique furnishings and decorative arts from both Europe and America, to be offered May 7 through 11, at Christie’s New York salesroom—in, Young Girl with a Flower Basket (previously owned by Gertrude Stein, no less) and a ravishing Henri Matisse odalisque, heralded as the artist’s greatest work to come up for sale in a generation, to porcelain treasures like 22 pieces from the Sèvres Marly Rouge dessert service commissioned by Napoleon. Many lower-value items (estimates start at $200) will be sold concurrently online. Proceeds from the sale will go to a variety of educational, environmental, and cultural beneficiaries, including New York’s Museum of Modern Art, where David Rockefeller served as longtime chairman—a fitting final gift from a couple as admired for their philanthropy as for their enviable acquisitions. christies.com —STEPHEN WALLIS

COLLECTING There is such a thing as art that travels with you—on you, actually. Just ask Diane Venet, wife of French conceptual artist Bernar Venet, who has been collecting artists’ jewelry for more than three decades. Her passion for these wearable artworks began the day her husband fashioned a thin silver band around her finger to make her wedding ring. Now Venet’s collection of more than 230 pieces, along with several exceptional examples from other owners, are on display at the Musée des Arts Décoratifs in Paris.

The tangled curves of a Frank Stella ring, the kicky colors of a Roy Lichtenstein brooch, and the smirking fawn on a Picasso pendant, among other rare adornments, all reflect artistic genius on a deliciously intimate scale. March 7–July 8, madparis.fr —J.T. BOOKS Henri Samuel: Master of the French Interior, by Emily Evans Eerdmans (Rizzoli, $75).

Working for a rarefied clientele that included Vanderbilts, Rothschilds, Doris Duke, the Aga Khan, and Valentino Garavani, Henri Samuel rose to the pinnacle of the design world in the 1960s and ’70s, thanks to his impeccably elegant, inventively eclectic interiors, which confidently mixed antiques with luxe contemporary pieces. This book, the first dedicated examination of his career, immerses readers in the creative and brilliantly stylish world of the incomparable tastemaker.

A 2010 gold ring

by Frank Stella on display in Paris.

Sonia Delaunay: Art, Design, Fashion, by Marta Ruiz del Árbol, Cécile Godefroy, Matteo de Leeuw-de Monti (Fundación Colección Thyssen-Bornemisza, $50).

In conjunction with a recent landmark exhibition at Madrid’s Museo Thyssen-Bornemisza, this lush monograph highlights the many talents of the Ukrainian-born French modernist Sonia Delaunay, providing fascinating insights into her discipline-hopping work.

Art of Burning Man, by NK Guy (Taschen, $60).

Every summer, a temporary community of 70,000-plus, founded on art and imagination, materializes in Nevada’s Black Rock Desert at the freewheeling gathering known as Burning Man. In his new book, Canadian writer and photographer NK Guy, who has documented this spectacle for 16 years, delivers all the thrill of being present without having to rough it in the desert. —J.T.

FROM TOP: COURTESY OF CHRISTIE'S IMAGES LIMITED; BRIAN MOGHADAM; COURTESY OF F. E. RICHARDSON; COURTESY OF ARTBOOK/D.A.P.; NK GUY/TASCHEN

appropriately, Rockefeller Center. The trophy lots range from such modern touchstones as the rare Picasso Rose Period

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THE ARTFUL LIFE

The dashing decor at Chicago’s new Bellemore restaurant.

RESTAURANTS A new breezy elegance has come to Chicago’s West Loop, where chef Jimmy Papadopoulos’s lightheartedness infuses every element of his latest restaurant, Bellemore. Conceived with local design firm Studio K to evoke an old manor done up for a younger generation, the room is all whites and light-stained oak, with Kelly Wearstler green-and-white chevron tiles by Ann Sacks and pink velvet stools. The dishes Papadopoulos creates are just as bright, bold, and delightful. From a standout oyster pie topped with osetra caviar and purple nasturtium to a 21-day aged duck glazed with burnt honey, this is self-assured haute cuisine that isn’t afraid of a little whimsy. bellemorechicago.com —J.T.

Must-See Spring Exhibitions Ten Americans: After Paul Klee

February 3–May 6 While Klee’s style is well known, his influence on American abstraction has been largely overlooked— until now. In collaboration with Switzerland’s Zentrum Paul Klee, the Swiss-German painter’s work is presented in dialogue with that of Jackson Pollock, Robert Motherwell, and Adolph Gottlieb. phillipscollection.org

Nancy Lorenz’s 2017 Red Gold Pour Box, in San Diego.

The Getty Villa, Los Angeles

Plato in L.A.: Contemporary Artists’ Visions Museum of Modern Art, New York

Being: New Photography 2018

March 18–August 19 This highly anticipated annual photography show shines a spotlight on emerging artists, especially those pushing the boundaries of the medium. Don’t miss trending talents B. Ingrid Olson, Paul Mpagi Sepuya, and Harold Mendez. moma.org

April 18–September 3 Founded in 1974 by J. Paul Getty to house his expanding collection of antiquities, the Getty Villa is unveiling a complete reinstallation in April and debuting a refreshing exhibition of contemporary art that engages with the philosophy of Plato. Artists include Michelangelo Pistoletto, Mike Kelley, Paul McCarthy, and Jeff Koons. getty.edu

San Diego Museum of Art

Nancy Lorenz: Moon Gold

April 27–September 3 At the intersection of fine and decorative arts, Nancy Lorenz’s luminous Japanese–inflected pieces are favored by the fashion and design sets alike. They now star in an exhibition of their own, accompanied by new works inspired by pieces in the museum’s collection. sdmart.org

Seattle Art Museum

Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas

February 15–May 13 In this show, three celebrated AfricanAmerican artists are giving the history of European genre painting a bold shake-up. Expect vibrant large-scale tableaux that challenge traditional notions of identity in art, such as Mickalene Thomas’s restaging of famous works by the likes of Manet and Monet with glittering, provocatively dressed black women. seattleartmuseum.org —L.R.

Brooklyn Museum, New York

David Bowie Is

March 2–July 15 With more than 300 objects from David Bowie’s 75,000-piece collection, this show offers an in-depth look at the unmatched career and personal life of the music and style icon. After touring the world, the show fittingly returns to New York City, where Bowie lived for over 20 years, for its final run. brooklynmuseum.org

Mickalene Thomas’s 2012 Tamika sur une chaise longue avec Monet, on view at the Seattle Art Museum.

FROM TOP: ANTHONY TAHLIER; ADAM REICH, COURTESY OF MAISON GERARD; COURTESY OF MICKALENE THOMAS

The Phillips Collection, Washington, D.C.

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THE ARTFUL LIFE

SHOPPING: DESIGN ESSENTIALS FOR SPRING

HARRY WINSTON’S

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EXQUISITE SURFACES

The Gina club chair by LORIN MARSH features a curvaceous silhouette, linen upholstery with leather-piping detail, and a dark-walnut swivel base; to the trade. lorinmarsh.com 36

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This new Art Deco–style Hollywood Palm wallpaper by MARTYN LAWRENCE BULLARD for COLE & SON comes in a range of metallic tones or a rich leafy green; to the trade. leejofa.com

asked 20 designers to create tiles for the firm’s 20th anniversary, including MICHELLE NUSSBAUMER

(above) and ATELIER DE TROUPE. The handmade 8"-sq. cement tiles cost $27.50 per sq. foot. xsurfaces.com

CLOCKWISE FROM TOP: COURTESY OF HARRY WINSTON; COURTESY OF BRANCA; JOSHUA M C HUGH (2); COURTESY OF COLE & SON; COURTESY OF LORIN MARSH; COURTESY OF DEVINE CORP.

a line of linens for the home with SFERRA, including these kicky Intreccio embroidered-linen cocktail napkins. A set of four 6"-sq. napkins costs $60 at Branca in Chicago. branca.com.

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THE ARTFUL LIFE

Thanks to performance-fabric upholstery, the elegant Chit Chat chair, from a furniture line designed by BOBBY MCALPINE for PERENNIALS SOCIAL, can withstand rambunctious kids and unruly pets with ease. It measures 31" h. x 24.5" d. and starts at $2,565. ejvictor.com

Chic picnic essentials are packed into the Bailey Double Wine Tote

by RALPH LAUREN HOME, inspired

by Paris’s beloved Ralph’s restaurant. It includes four stainless-steel cups and canapé plates, a cheese knife, an olive-wood cutting board, a bottle opener, and two fabric cheese pouches. Measuring 14" x 10" x 17", it costs $1,495. ralphlauren.com

Influenced by the subtle colorations of Balinese textiles, FORT STREET STUDIO’S Hexi rug is handcrafted of wool and silk to produce a shimmery effect. A 9' x 12' rug costs $20,088; it is available in standard and custom sizes and colors. fortstreetstudio.com

In a special collaboration with VILEBREQUIN, artist DONALD SULTAN adapted his celebrated red-and-white “Lantern Flowers” series for a limited edition of the brand’s classic Moorea swim shorts. With an elastic waistband, a drawstring, and side and back pockets, the polyamide trunks are sized XS to 3XL and cost $250. vilebrequin.com

CLOCKWISE FROM TOP LEFT: COURTESY OF FORT STREET STUDIO; COURTESY OF ARTERIORS; COURTESY OF PERENNIALS SOCIAL; COURTESY OF RALPH L AUREN HOME; COURTESY OF VILEBREQUIN

The height of interior designer BARRY DIXON’S versatile Egg Drop Pendant light for ARTERIORS can be adjusted by moving its weighted brass egg.

Made of bronzed brass with a copper-mesh cord, the ceiling lamp measures 12" h. x 16" dia. and costs $1,290. arteriorshome.com

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ARTISAN

Clockwise from far left: Alexandre Logé, seated on his patinated-bronze Atlante bench. Logé’s sculpted-plaster Bones and Akira hanging fixtures, and the Triade table lamp in black patinated bronze, the first object of his own design, created nearly 15 years ago.

Shape Shifter TRIBAL– AND MODERN–ART

ROOTS MAKE ALEXANDRE LOGÉ’S

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ack when Alexandre Logé was an art student, living with his parents outside Paris and commuting to the Sorbonne, he took a minor but life-altering job assisting a dealer in the sprawling Saint-Ouen flea market. It was there that Logé first encountered traditional African art—“a revelation,” he says, that continues to inspire his work as a designer today. (He has also become a serious collector.) Later on, he was tasked with making molds and prototypes in plaster and bronze in his boss’s studio, and soon he was experimenting with pieces of his own. “My parents lent me a corner of their garage,” Logé recalls, “and using some scrap metal and potter’s clay, I made my first object.”

That object was his Triade table lamp, whose smoothly sculpted base with voluptuous branches is cast in a dark

patinated bronze reminiscent of some African statuary. The lamp remains one of Logé’s signature designs, along with his Atlante bench—its graceful lines evocative of works by the early-20th-century master Jean-Michel Frank, another important influence—and an array of hand-molded plaster light fixtures that occasionally call to mind the creations of Diego Giacometti. Logé likes to give his lights names that reflect their often whimsical forms: His Magritte features a cloud illusionistically suspended inside hoops, for instance, while Bones is an abstracted drumstick running through vertebra-like rings. “I do a lot of things that look like bones,” Logé says. “I like the organic shapes, which are very close to us.

They are also a bit like the sculptures of Henry Moore and Barbara Hepworth, whom I admire a lot.”

After setting up his own business in 2005, Logé became a darling of interior decorators in the U.S. and Europe. His work is sold through dealers Paul Donzella in New York and Alexandre Biaggi in Paris, and he is also highly sought after for special commissions. One recent custom piece, a hanging fixture in brass and plaster for a Miami client, consists of an openwork cube surrounding a hollow alabaster sphere that contains a bulb. When turned on, “it looks like a moon,” explains Logé, who, in characteristically understated fashion, calls it, simply, “a beautiful object.” alexandreloge.com —CHRISTINE SCHWARTZ HARTLEY

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CLOCKWISE FROM TOP: COURTESY OF DONZELL A LTD.; FRANCIS AMIAND, COURTESY OF GALERIE ALEXANDRE BIAGGI; COURTESY OF DONZELL A LTD.; KEI HAKAMI

CREATIONS THE HEIGHT OF CHIC

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Spring Awakening FIVE ARTISTS WHOSE EYE-OPENING WORK YOU WON’T WANT TO MISS

Over the course of his career, multidisciplinary artist Derrick Adams has created a dizzying array of works—from vividly hued collages and assemblages to large-scale sculptural installations and performance pieces—that explore the black experience and its intersections with pop culture, consumerism, fashion, and art history. In recent years, he’s spent a lot of time thinking

DERRICK ADAMS

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From top: Derrick Adams, pictured in his studio, creates work about the black experience, with allusions to pop culture, art history, and fashion. His 2017 collage Runway No. 3 incorporates paint, fabric, and clothing patterns.

critically about leisure. “For people like me, struggle has been part of our culture, and within that I’ve been looking at the ways black people keep moving and thriving,” says the Brooklyn artist, whose ongoing series of “Floater” paintings features black figures reclining blissfully in pools.

“There’s something to be said about showing that side of reality,” he adds. “It gives people hope.”

Following recent solo outings at the Tilton Gallery in New York, Chicago’s Stony Island Arts Bank, and the California African American Museum in Los Angeles, Adams’s timely work is the subject of an exhibition at New York’s Museum of Arts and Design through August 12.

Titled “Derrick Adams: Sanctuary,” the show was inspired by black postal worker Victor Hugo Green’s The Negro Motorist Green Book, a little-known annual guide to restaurants, hotels, clubs, service stations, and hair salons where black vacationers in search of refuge and a good time were welcome during America’s Jim Crow era.

Running the entire length of the gallery is Adams’s Keep Your Head Down and Eyes Open, a monumental wooden sculpture of a mini-highway featuring cars made out of driving caps, referencing the black Americans who took to the road more than half a century ago. Family Style, a geometric collage of a building composed of colorful paper, white doilies, and commercial-grade upholstery, is an homage to 20th-century soul-food restaurants whose significance as African-American safe spaces was not always fully appreciated.

“When I’m making work, I always look for inspiration in history that is not necessarily highlighted,” says Adams.

“This exhibition is about myself as an artist, wanting to see things that I don’t see. And these places that I’ve created have a very sincere feeling of welcoming and warmth.” derrickadams.com —ANTWAUN SARGENT →

FROM TOP: TERRENCE JENNINGS, COURTESY OF THE MUSEUM OF ARTS AND DESIGN; COURTESY OF THE ARTIST AND TILTON GALLERY, NEW YORK

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M I L L M A N M AT T H E W P H O T O :

San Francisco Design Center Te le p ho ne : 4 1 5 . 6 2 6 . 6 8 8 3 www.desousahughes.com

TRENDING TALENT

The psychedelic discolorations in Matthew Brandt’s Nacimiento Lake CA 5 are the result of the artist submerging the photograph in water from the lake.

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The experimentally minded Brandt took off from there.

Since then, he has made prints with dust, various silvers, and Heidelberg blankets—the latter two on view in his current show at L.A.’s M+B gallery through March 31. He has also used human bodily fluids for his “Portraits” series, in which the images carry not only memories of friends and family but a little part of them as well. Mostly, Brandt explains, “it’s all a process of trial and error.” matthewbrandt.com —JANELLE ZARA Just a couple of years removed from graduate school, Haitian-born Montreal painter Manuel Mathieu has already had two solo exhibitions in London. The first took place at the Institute of Contemporary Art in 2015, and the second, last fall, was at Tiwani Contemporary, a London gallery that represents Mathieu and focuses on artists from Africa and its diaspora.

The show completely sold out.

At once soft-spoken and effusive, the artist expresses quiet surprise at his rising success, which was nearly inconceivable just a few years ago. While finishing his MFA degree at Goldsmiths in London in 2016, Mathieu was hit by a car and spent six months recovering, only to improbably be MANUEL MATHIEU

COURTESY OF THE ARTIST AND PRAZ-DEL AVALL ADE GALLERY. OPPOSITE, FROM TOP: GUY L’HEUREUX, COURTESY OF THE ARTIST AND KAVI GUPTA; COURTESY OF GALERIE MIRCHANDANI + STEINRUECKE (2)

The immediacy of digital photography be damned: Matthew Brandt still insists on taking a hands-on approach to making prints. In fact, he takes the idea of picture as art object to new levels by actually immersing his images in their subject matter.

In “New Territory,” a Denver Art Museum summer group show exploring landscape photography beyond its traditional notions, the Los Angeles artist will present a 2015 series of images he made on the Hawaiian island of Oahu and buried directly into the earth they depict. Over time, as a consequence of their contact with the soil, they degraded into alien, yet vaguely familiar, burnt-out landscapes. The show will also feature a triptych of photos Brandt shot of California’s Lake Isabella and then soaked in its waters until their emulsions dissolved and resettled into captivating, swirling pools of color.

The root of Brandt’s idiosyncratic approach was the desire to better comprehend traditional photographic processes.

“When I was making conventional darkroom pictures, I realized I had no idea how silver, gelatin, and paper made a black-and-white print, or how color photography worked,” he says. “I felt compelled to understand it further, and the various materials of photography began to infiltrate my ideas.”

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hit by another the following year.

The experiences triggered a reckoning in his life and his art. “My work got really personal. I was forced to stop and look around,” he says. “Before the first accident I was touching on a lot of things, but I wasn’t looking at myself.” During his recovery, he started thinking about Haitian political history and the way his difficult family narrative—he had relatives on opposing sides of the Duvalier dictatorship—fit within it.

Employing a mostly muted palette and expressionist gestures, Mathieu melds abstraction and representation in compositions that can be as haunting as Picasso’s or Francis Bacon’s darker works.

Noting that artists like Luc Tuymans and Mona Hatoum have found ways to approach the legacy of the past through a personal lens, Mathieu says, “There has to be a balance between what is personal and what is relatable. It’s the combination that gets you a little bit closer to yourself, closer to life.” With Tiwani Contemporary dedicating an entire booth to his new work during New York’s Armory Show, March 8–11, and a solo show opening at Kavi Gupta Gallery in Chicago on March 23, Mathieu will reveal what kind of balance he has struck. manuelmathieu.com —SARA ROFFINO Dilapidated modernist buildings and architectural ruins are the source material, literally, for Indian artist Tanya Goel’s monumental abstract paintings.

Inspired by the disorientingly rapid modernization of New Delhi, her hometown, the rising star collects bits of limestone, glass, ceramics, and other materials from neglected corners of the city. A self-described “color chemist,” she pulverizes her finds and extracts pigments →

TANYA GOEL

From top: A recent self-portrait by Manuel Mathieu, whose personal, expressionistic work blends abstract elements with figuration. Tanya Goel in her New Delhi studio. Her Intersection (red, blue, orange) II, from 2017, features overlapping planes of luminous color, the pigments for which she creates using crushed bits of urban detritus.

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Lina Iris Viktor seated in her studio in 2015, surrounded by works that call to mind historical references from the Vienna Secession to Afrofuturism.

to use for her luminous gridlike canvases. “I think art is always a reaction to your immediate environment,” she says from her sunny, laboratory-like studio.

After receiving an MFA from Yale in 2010, Goel spent time working with master miniature painters across India and studying the history of pigments. “I became fascinated with the pure properties of color and finding new interpretations of it,” she explains. Her work, best viewed in natural light to appreciate the lustrous tonal variations, calls to mind scientific charts while also evoking abstract painters such as Josef Albers and Agnes Martin. “In so many cultures abstraction is everywhere—on the borders around traditional Moghul paintings, in Islamic architecture and tiles, in silk weavings,” says Goel, whose parents worked in the textile business.

After recent well-received solo shows at Galerie Mirchandani + Steinruecke in Mumbai and Nature Morte in New Delhi, Goel is heading to the Biennale of Sydney (opening March 16), where she’s installing paintings and a site-specific wall drawing. Biennale artistic director Mami Kataoka, who is also chief curator of Tokyo’s Mori Art Museum, says she was “intrigued by Tanya’s minimal aesthetic and her sensitivity to the world around her—how she observes the change and flow of time and the surface of cities.” For her part, Goel says she wants viewers of her work to slow down and really look, “especially with so many screens and moving images around us. Painting has the ability to hold time still.” galeriems.com —LUCY REES Since making her debut in 2013, Lina Iris Viktor has been turning out fantastical portraits and intricate

LINA IRIS VIKTOR

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abstractions that plunge viewers into the depths of art history. The artist’s distinctive paintings—sometimes layered with digital prints—are often coated in ultra-saturated shades of Yves Klein blue and embellished with glinting gold in patterns that evoke Gustav Klimt, Afrofuturism, Byzantine decoration, and Dogon sculpture, among other references.

It’s shaping up to be a busy year for Viktor, who splits her time between New York City and London. First up, Seattle’s Mariane Ibrahim Gallery is presenting her latest paintings at New York’s Armory Show in March. Then in the summer, the artist will head to Palermo, where her work has been selected for the latest edition of the itinerant biennial Manifesta, and in the fall, the New Orleans Museum of Art will unveil her first solo museum exhibition.

Significantly, Viktor often appears in her work, gilded and shrouded in blue and oil-black paints like some ahistorical queen or goddess, finding a cosmic resonance in the contrast between the blackness and luminous gold. These portraits can be seen as a kind of nose-thumbing gesture directed at the art-historical canon—where the black female body is largely absent—especially with all that glorious gold.

In part because she was born in London to Liberian parents, Viktor grasps the history and politics of gold.

“The African continent was and continues to be pillaged for this precious metal,” the artist says. “We have lauded it, worshiped it, buried our deceased with it. Modernity has devalued gold to a commodity, but previously it was heralded for its spiritual value. That is what I am interested in excavating, exploring, and exposing.” linaviktor.com —J.Z.

LINA IRIS VIKTOR, COURTESY OF THE ARTIST

TRENDING TALENT

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GOOD WORKSSTUDY CHARACTER

Cause E & Effect USES HER CLOUT AND HER ART TO PROMOTE CRIMINAL-JUSTICE REFORM

Art collector Agnes Gund at home in New York, with Ford Foundation president Darren Walker. Gund sold a major Roy Lichtenstein work from her collection to launch the Art for Justice Fund, a social-action fund that the foundation guides.

JOSHUA M C HUGH

POWERHOUSE PATRON AGNES GUND

ven by today’s inflated standards of well-appointed Park Avenue residences, few exist where one could remove a prime Roy Lichtenstein and hardly miss it.

But after collector and philanthropist Agnes Gund sold the artist’s 1962 Masterpiece in January 2017, the presence of a Jasper Johns map painting over the sofa, an ethereal Mark Rothko on another wall, and an Alexander Calder mobile in the corner made the absence easier to swallow. As did the fact that she used $100 million from the sale to launch the Art for Justice Fund, dedicated to reforming the U.S. criminal-justice system.

On a cold winter morning, Gund and longtime friend Darren Walker, president of the Ford Foundation, which advises and guides Art for Justice, are in that very room discussing the scourge of mass incarceration.

While the U.S. represents 5 percent of the global population, it holds more than 20 percent of the world’s prisoners, with people of color making up about 60 percent of inmates. “Aggie’s aim is to reduce the number of incarcerated people in the country because America is the most over-incarcerated country in the world,” Walker says, referring to Gund by her nickname.

The collector’s mission is both political and deeply personal. Six of her grandchildren are black, and she speaks of tragedies like the shooting death of 12-year-old Tamir Rice by police in her native Cleveland the way only a grandmother can. “I feel afraid for the children,” she says.

Alluding to Eric Garner, who died after being placed in a choke hold by a New York City cop, she adds, “I remember having nightmares that I couldn’t breathe.”

But Gund is blunt about her own limitations as a white woman →

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CHARACTER STUDY

of extreme privilege. “I’d never known black people as well,” she admits. “Seeing two of my daughters raise black children has made me feel very differently about black issues.” The decisive push to start Art for Justice came when she saw 13th, Ava DuVernay’s 2016 documentary film, which draws a through-line from slavery to mass incarceration as forms of systemic racial oppression. “We still have slavery, just under a different name,” she says.

Despite Gund’s public profile as an arts patron—she is also president emerita of the Museum of Modern Art—Walker was not surprised when she called offering to fund political activism. “For the many years I’ve known her, Aggie has had a deep consciousness about injustice in the world,” says Walker. “She is motivated to help heal the racial and class chasm that unfortunately remains a feature of American society.”

To that end, Gund has recruited collector friends Amanda and Glenn Fuhrman, Brooke Garber Neidich, Maria HummerTuttle, and Daniel Loeb, drumming up an additional $9 million so far. After Gund had DuVernay speak at a fundraising lunch, philanthropist Laurie M. Tisch decided to donate $500,000 from her recent sale of Max Weber’s 1912 New York. And on April 17, an anonymous donor is selling a JAR brooch at Christie’s to support the cause.

Gund, meanwhile, has immersed herself in the issues that contribute to mass incarceration: the bail system, mandatory sentencing laws, pressure on defendants to take plea bargains, and job discrimination against former prisoners. Announced last fall, the first round of grants, totaling around $22 million, began to tackle those issues. The next awards will be decided this spring, and the plan is to disperse the money within six years.

Criminal-justice reform unites people across the political spectrum, Gund says. “Everybody I talk to, except for a few die-hard right-wing people, thinks the system should change,” she notes. “That’s what is encouraging: There are a lot more people interested in this problem than I ever knew.” artforjusticefund.org —JULIE L. BELCOVE

CLOCKWISE FROM TOP LEFT: COURTESY OF CHRISTIE’S IMAGES LIMITED; © ESTATE OF ROY LICHTENSTEIN; COURTESY OF JAMES REINISH & ASSOCIATES

Clockwise from right: After the sale of this Roy Lichtenstein helped launch Art for Justice, the fund has grown thanks to a donation from the sale of Max Weber’s painting New York, and stands to benefit from the auction of a JAR brooch at Christie’s New York in April.

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POINT OF VIEW

Clockwise from far left: A vignette, featuring a bas-relief of Oscar Wilde, in Brian Sawyer’s New York apartment.

Sawyer, a partner in the New York design firm Sawyer | Berson.

A shagreen console handcrafted by Atelier Viollet.

Passion Player

MULTITALENTED DESIGNER BRIAN SAWYER SHARES WHAT INSPIRES AND DELIGHTS HIM

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s designer and landscape architect Brian Sawyer ambles through New York’s West Village with his pug, Alice, he runs into a succession of notables—a famed novelist, a celebrated artist, even an acclaimed ballerina—all friends whom he greets as warmly as he does his barista and barber. In this and other ways, Sawyer proves he hasn’t forgotten his Midwestern roots, despite living in Manhattan for three decades. Clients of Sawyer | Berson, the firm he cofounded with John Berson nearly 20 years ago, appreciate his modest charm as well.

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Sawyer and Berson are masters at projects that seamlessly integrate architecture, interior design, and landscaping, delivering distinctive homes that are meticulously researched and thoughtfully executed. As a result, their client roster is impressive, including boldface names such as Jessica and Jerry Seinfeld, Vera Wang, and Julianne Moore. Yet the firm is also known for its civic contributions, such as community gardens for Bette Midler’s New York Restoration Project, as well as a kitchen garden and verdant terraces for the headquarters of God’s Love We Deliver, which provides meals for the needy. A peek inside Sawyer’s apartment makes it plain that he is a man of myriad interests, some of which he shares here.

One of my most treasured pieces is a bas-relief of Oscar Wilde my mother bought for me when we were nosing around antiques stores in Indianapolis about

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OPPOSITE PAGE, FROM LEFT: JOSHUA M C HUGH; CHRISTOPHER CHURCHILL; COURTESY OF ATELIER VIOLLET; FERNANDO BENGOECHEA; COURTESY OF VILL A CETINALE; PHILLIP ENNIS

Clockwise from left: An artwork by Fernando Bengoechea. The 2016 Kips Bay Show House room designed by Sawyer | Berson.

The gardens at Villa Cetinale, outside Siena, Italy.

15 years ago. I found it in a corner, broken in half, and she asked if I’d like it for my birthday. It wasn’t expensive—but that was a day I’ll always remember.

The most inspiring antiques shops are the ones that are out of reach. It’s exciting to walk into Galerie J. Kugel on Paris’s Left Bank and see things you may only have seen in a museum before.

There is an orchid called Stanhopea that is my favorite. An odd plant with strange-shaped blooms, it has an outstanding, very powerful fragrance. The scent would fill the greenhouse at my parents’ home.

One of my most interesting pieces is a woven work

by Fernando Bengoechea. He would photograph antiquities in museums, cut the images into strips, and weave them back together. The woven photos are slightly blurry and have this bizarre texture. They become beautiful objects, not just photographs.

I simply can’t resist shiny things, glittering stones, gold, and silver. At New York’s Winter Antiques Show, I snapped up a sterling-silver-and-agate box at Angus Wilkie’s Cove Landing booth. I’m such a magpie.

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Nothing stops me from visiting a garden I’m determined to see. On a trip to Siena, Italy, I drove up to Villa Cetinale, the gardens of which I had studied, and just knocked on the door. Lord Lambton leaned out of a second-floor window and cursed me to high heavens.

Then his lovely wife came to the front door, and after I explained that I’d loved their garden from afar for many years, she said: “Pay no attention to that man upstairs and go wherever you please.”

Some of my best work happens through collaboration.

I love going to Agnes Liptak at Fresco Decorative Painting for magical faux finishes. Peter Lane crafts the most incredible ceramics, and Jean-Paul Viollet of Atelier Viollet is a master of old-world craftsmanship—he built an extraordinary parchment room for me.

One of the most exciting projects the firm has done was at the Kips Bay Decorator Show House in New York, in 2016. I loved that room, because it brought together so many of my fascinations: 17th-century Italian art, extravagant terrazzo stonework, and sumptuous materials like silk velvet, cashmere, rich exotic veneers, and, of course, a little parchment.

For a host gift, I love to bring something from Santa Maria Novella. Everything they make feels like such an indulgence. Their Carta d’Armenia are wonderful-smelling sheets of incense paper that you fold into an accordion shape, light, and then let burn slowly to scent a room.

My great dream is to open a flower shop named Van Wyngarden’s, after my grandfather. The design would combine an all-white marble counter like in an old flower shop in Paris with what I thought as a kid was the grandest florist in Indianapolis: an all-black glass space that looked like Dorothy Draper on acid. sawyerberson.com —INTERVIEW BY JACQUELINE TERREBONNE

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STUDIO VISIT From left: Assistants work on Wind Sculpture (SG) I, created by Yinka Shonibare (bottom) for New York’s Public Art Fund. A model of the artist’s 2010 project for London’s Trafalgar Square.

Into the Wind YINKA SHONIBARE’S LATEST

CREATION MAKES A BRILLIANT, BILLOWING

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n the decade or so that Yinka Shonibare MBE has been living and working in East London, the once grimy, now trendy area has undergone huge changes. And while the British-Nigerian artist’s work has evolved too, he keeps coming back to the vibrant, Indonesian-inspired textiles known as Dutch wax fabrics, which were produced in the Netherlands, sold in Africa, and are still strongly associated with that continent. For Shonibare, who has used the fabrics to dress mannequins and clad entire rooms, they are a way to explore issues of race, identity, class, and colonialism.

“I grew up going back and forth between Lagos and London,” says the artist, seated in a wheelchair in his studio (a rare illness at 18 left him partially paralyzed). “Ideas about a multiplicity of identities, global travel, trade, and migration have always interested me.”

Reflecting those continuing preoccupations is Shonibare’s latest project, a towering outdoor work titled Wind Sculpture (SG) I. Commissioned by the Public Art Fund in New York, the 23-foot-high swirl of

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exuberantly patterned fabric will be installed from March 7 to October 14 in Doris C. Freedman Plaza, at the southeast corner of Central Park. “I am very interested in how we can make a contemporary monument,” says Shonibare, who has created a number of large-scale public art pieces.

The artist’s wind-sculpture series, which began in 2013, was inspired by the giant ship-in-a-bottle he created in 2010 for the Fourth Plinth in London’s Trafalgar Square. “When I was working on the sails, I felt they were dynamic enough to be stand-alone sculptures,” he explains. He began to experiment, blowing a hair dryer into swatches of fabric to model the effects of wind. (More recently, he started using a 3-D printer for his modeling.) The final, scaled-up designs are cast in fiberglass and then hand-painted with Dutch wax–style patterns of Shonibare’s invention. “There is magic in making something quite hard look soft,” he says of capturing the flutters and folds.

The artist notes that the history of these fabrics “involves global travel and trade, and wind is symbolic of the movement of ships and a metaphor for migration, which is highly relevant in the U.S., a country of migrants.” Most important, he insists, is that the work be visually compelling. “A lot of public sculpture can be rather dull,” Shonibare says candidly.

“I want color, dynamism, and fun in the public realm.” yinkashonibarembe.com; publicartfund.org —ROSLYN SULCAS

CLOCKWISE FROM TOP: JONATHAN BASSETT, COURTESY OF PUBLIC ART FUND, NY; DAVID GOLDMAN (2)

STATEMENT IN CENTRAL PARK

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PEOPLE

Honing His Craft A TRAINED CLASSICIST AND ACE

DRAFTSMAN, DESIGNER ANDRE MELLONE EMBRACES HIS MODERN SIDE

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ndre Mellone has masterminded everything from interiors for a historic residence in London’s Knightsbridge neighborhood to edgy, minimalist fashion boutiques. But arguably the most challenging project to date for the New York City designer fits in the palm of your hand: a fragrance bottle.

“I quickly realized that you actually can go as crazy with something this small as with a full-blown architectural project,” says Mellone, whose first job out of college was working for architect Robert A.M. Stern, before switching to interior design under the tutelage of the late Mark Hampton

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and eventually opening his own, in-demand multidiscipline studio several years ago.

The bottle, commissioned by fashion designer Jason Wu for his first-ever fragrance, takes inspiration from midcentury furniture—a passion shared by Wu and Mellone—as well as historic perfume holders. “Jason wanted an instant classic,” Mellone says. “He didn’t want something gimmicky or too different.” The result, which made its debut last year, is a glamorous, streamlined silhouette that took 18 months to perfect. Ultimately, Mellone says, “the concept was distilled into something very simple.”

A native of São Paulo, Mellone grew up in an artistic family (his father, Oswaldo, is a celebrated industrial designer), and his eye for refinement has won him a savvy clientele that includes influential figures in the worlds of fashion and art, for whom he has conceived both retail projects and high-style personal lairs. Wu discovered Mellone after reading about his Chelsea studio in an offbeat men’s style magazine. Their first collaboration was on Wu’s Tribeca apartment, a subdued art-filled space done in dark woods and shades of gray. That was followed by Wu’s striking shopwithin-a-shop at Saks Fifth Avenue, featuring deconstructed parquet floors and a few choice midcentury furnishings, such as a George Nelson daybed and an Angelo Mangiarotti table. →

JOSHUA M C HUGH

Clockwise from left: Designer Andre Mellone in the Manhattan office of his firm, Studio Mellone, which he calls a “lab of ideas.” A consummate draftsman, he fills sketchbooks with drawings and notes from his travels. Mellone’s stylishly teeming desk area.

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PEOPLE

Mellone has also become the interiors guru for fashion designer Thom Browne. Well known for his exquisite drawing skills, Mellone was initially hired to do illustrations of the sets for the dapper Browne’s inventive runway shows.

Browne then tapped him to oversee his first women’s shop, in Seoul, which opened in 2014: a 400-square-foot space sumptuously paneled in travertine and furnished with bronze fixtures.

Since then, the pair has collaborated on 13 more projects, including shops in London, a pop-up in the Paris department store Le Bon Marché, and the recent revamp of Browne’s sleek Tribeca flagship, which now includes a women’s salon.

Studio Mellone, whose Chelsea offices share a floor with the art gallery of André Viana, Mellone’s longtime partner, has also handled residential interiors for such tastemakers as shoe designer Brian Atwood, Christie’s Loïc Gouzer, and art dealer Vladimir Roitfeld. On the retail front, Mellone was recently tasked with developing a new store concept for Carolina Herrera, a project he’s not able to discuss at this point. But suffice it to say the fashion world is under intense pressure to reinvent its retail approach in the digital age, and Mellone’s spare, resolutely modern, and undeniably chic aesthetic has caught on—with the new and old 62

guard alike. “For me, Studio Mellone is a lab of ideas,” he says.

“I want to explore architecture, design, furniture—all of it.”

Now, if he could only convince Viana, a passionate, Portuguese-born collector, to push the pared-down look even further. “I worked for a lot of classicists early in my career, but deep down I’m more of a minimalist, and I’m just beginning to fully express that,” Mellone says. “I like symmetry and a simplicity of form. I want to create interiors that are interesting, layered, and rich but have something of me, even if it’s expressed subconsciously.” studiomellone.com —VICKY LOWRY

FROM TOP: COURTESY OF STUDIO MELLONE; COURTESY OF JASON WU; JOSHUA M C HUGH; FRAN PARENTE

Clockwise from left: The Mellone-designed Thom Browne women’s boutique in Seoul. The fragrance bottle he created for Jason Wu. Workspaces for members of Mellone’s team. The chic interiors Mellone conceived for Clover Grocery, an upscale health market in Manhattan’s West Village.

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SPOTLIGHT

From top: In Ellsworth Kelly’s chapel, stainedglass windows cast tinted reflections onto the floor and walls. As serene without as it is within, the structure sits on the University of Texas at Austin campus.

Simply

Sublime

the center, while the walls display 14 abstract black-and-white A RADIANT MINIMALIST CHAPEL BY ELLSWORTH KELLY IS UNVEILED IN AUSTIN marble panels representing the Stations of the Cross.

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espite having one of the largest collegiate art museums in the U.S. on its campus, the University of Texas at Austin has long been more of a draw for college-football fans than for contemporary art aficionados. But the February 18 opening of the only freestanding building designed by American minimalist Ellsworth Kelly—a chapel-like space conceived in 1986 and refined in the last years before his death, in 2015—has now elevated Austin as an art-world destination. The structure “is grand and intimate all at once,” says Simone Wicha, director of the university’s Jack S. Blanton Museum of Art. Titled Austin, it is part of the museum’s collection and sits on green space adjacent to it.

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More than 40 public artworks have sprung up around campus over the last decade. Overseen by the university’s Landmarks program, these long-term loans and site-specific commissions include a James Turrell Skyspace, on the roof of the student-activity center; poetic photographic portraits by Ann Hamilton, in the medical school; and a 160-foot-long abstract mural by José Parlá, inside a new business-school building designed by Ennead Architects. “For a lot of people coming to this university, it’s the first opportunity to have experiences with great works of art,” says Landmarks founding director Andrée Bober. The addition of Kelly’s final, monumental masterpiece has made that experience all the richer. blantonmuseum.org —HILARIE M. SHEETS

© ELLSWORTH KELLY FOUNDATION, COURTESY OF BL ANTON MUSEUM OF ART, THE UNIVERSIT Y OF TEXAS AT AUSTIN

Informed by Kelly’s study of churches during his years in France from 1948 to 1954, and echoing such chapels as Mark Rothko’s in Houston and Henri Matisse’s in Vence, France, the 2,715-square-foot rounded white-stone building takes the form of a simple cross. On three of its sides, stained-glass windows—arranged alternately in starburst, grid, and tumbling-square patterns—reproduce the color spectrum. As sunlight shifts during the day, tinted reflections reminiscent of Kelly’s monochromatic geometric-shaped canvases appear on the floor and walls within. “It is extraordinarily calming,” says Wicha. “The world outside just disappears.” As a focal point, one of the artist’s totemic sculptures in redwood rises at

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Cultural Diplomacy HOW JACQUELINE KENNEDY

BROUGHT THE MONA LISA TO AMERICA AND CAPTIVATED A NATION

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mong the postwar American figures who inspired the nation’s love of the arts, Jacqueline Kennedy was a leading light.

The First Lady believed that the White House should showcase America’s cultural heritage. She was instrumental in having Congress declare it a museum in 1961 and undertook a complete renovation that culminated in her televised tour of the White House in February 1962. But Mrs. Kennedy also wanted to bring art to the people outside the presidential residence. As recounted in Margaret Leslie Davis’s 2008 book, Mona Lisa in Camelot: How Jacqueline Kennedy and Da Vinci’s Masterpiece Charmed and Captivated a Nation, recently reissued by the White House Historical Association (a nonprofit organization the First Lady founded), Mrs. Kennedy succeeded beyond all expectations.

Her promotion of the visual arts began during her first year in the White House, when she regularly visited the National Gallery of Art to see her friend John Walker, the museum’s director, and got better acquainted with its treasures. She had developed a relationship with Walker as

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Clockwise from left: Crowds awaiting the inauguration of the Metropolitan Museum of Art’s Mona Lisa exhibition in New York in February 1963. Handlers pack up the painting for its voyage to the U.S. two months prior. The menu for a White House dinner honoring André Malraux and his wife, Madeleine, in May 1962. Jacqueline Kennedy speaking with Malraux after the dinner.

a teenager while spending time at her family’s Virginia home and going to the National Gallery with her mother. It was where her love of art and culture began, flourishing further during her junior year studying at the Sorbonne in Paris. When the Kennedy family moved into the White House, Mrs. Kennedy found predominantly neoclassical, Federal-style furnishings that had been chosen in the 1920s, much to her dismay. During her renovation, to replace the many reproductions hanging on the walls, she convinced Walker to let her borrow two of her favorite Cézanne landscapes from the National Gallery.

CLOCKWISE FROM TOP LEFT: BETTMANN/GETT Y IMAGES; IMAGNO/GETT Y IMAGES; ABBIE ROWE, WHITE HOUSE/JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM; STRINGER/GETT Y IMAGES; AP IMAGES; ABBIE ROWE, WHITE HOUSE/JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM; JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM

BACKSTORY

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CLOCKWISE FROM TOP LEFT: BETTMANN/GETT Y IMAGES; IMAGNO/GETT Y IMAGES; ABBIE ROWE, WHITE HOUSE/JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM; STRINGER/GETT Y IMAGES; AP IMAGES; ABBIE ROWE, WHITE HOUSE/JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM; JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM

She proudly hung them in the new Green Room, soon the highlight of the presidential parlor.

Mrs. Kennedy’s boldest move came during her first year in the White House, on the occasion of a presidential trip to Paris. She had been enthralled with André Malraux’s famous novel La Condition Humaine (Man’s Fate) as a French-literature student, and she had always wanted to meet the writer, who was now France’s minister of culture.

Upon her arrival in France, Malraux personally escorted her through Paris’s sites while her husband met with President Charles de Gaulle. After she attended several engagements, the French public was charmed by the American First Lady’s perfect French and deep knowledge of the country’s rich history.

It was apparent that President John F. Kennedy was upstaged by his wife when he exclaimed: “I am the man who accompanied Jacqueline Kennedy to Paris!”

Mrs. Kennedy also charmed Malraux. At their final dinner in Paris, the First Lady told him about her dream of bringing da Vinci’s Mona Lisa—one of art history’s greatest masterpieces and the most famous painting in the Louvre— to the U.S. to share with millions of Americans. He whispered a promise that he would try to persuade the Louvre to loan it. Overcoming strong resistance (the painting was, and still is, considered a national treasure), Malraux

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prevailed. The fragile painting would have to be transported by the SS France ocean liner in a temperature-controlled box in its own stateroom, accompanied by armed guards. The temperature, which was alarm-monitored, would not be allowed to fluctuate by more than one degree throughout the entire journey!

And so, in December of 1962, Mrs. Kennedy’s dream came true as the Mona Lisa reached American shores, stopping first at the National Gallery, then at New York’s Metropolitan Museum of Art. Nearly two million people ended up viewing the masterpiece, many traveling long distances and waiting in line for hours. Jacqueline Kennedy had brought the best of the visual arts to the American people and, in doing so, created a blockbuster show that made history. —LISA FAYNE COHEN

From top: Malraux and his wife with the Kennedys (and Lyndon Johnson standing behind them) before the May 1962 dinner.

Fireboats surround the SS France as it enters New York Harbor carrying the Mona Lisa.

Visitors to the National Gallery.

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GAME CHANGERS

Ahead of the Curve

THESE SEVEN INTREPID ART-WORLD INSIDERS ARE SHAKING THINGS

UP WITH BESPOKE CULTURAL TRAVEL EXPERIENCES, A MARKET-SAVVY APP FOR COLLECTORS, AND

GENEVIEVE GARRUPPO

EXPANSIVE CURATORIAL VISIONS

Metropolitan Museum of Art curator Shanay Jhaveri in front of the Temple of Dendur.

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GAME CHANGERS SHANAY JHAVERI

Most people go out for a beer after defending their doctoral dissertations. Shanay Jhaveri got on a plane—from London, where he was wrapping up grad school at the Royal College of Art, to New York—for an interview for a curatorial job at the Metropolitan Museum of Art. The position he ended up with, assistant curator of South Asian art, was specially tailored for the enterprising and elegant Jhaveri, who was born in Bombay (now officially Mumbai) to a family of collectors. “I was brought up in an artistic atmosphere, surrounded by artists, musicians, and intellectuals, and that has remained with me,” says Jhaveri.

Upon starting at the Met in 2016, he was given a mandate to help beef up the museum’s holdings in modern and contemporary art from countries like India, Pakistan, Sri Lanka, and Bangladesh, and to develop exhibitions.

This spring, he’s making his Met curatorial debut with two projects. On March 12, he’ll unveil a major work by Indian artist Ranjani Shettar, and then in April he takes the spotlight as curator of this year’s prestigious rooftop commission, created by Karachi-born, Poughkeepsie-based sculptor Huma Bhabha. “Huma’s work bears the mark of how the ancient relates to the contemporary—exactly the kinds of connections we are endeavoring to make in our department,” says Jhaveri.

Meanwhile, his independently curated exhibition “Everything We Do Is Music,” featuring works inspired by classical Indian music, travels this spring to the Pasquart center in Biel/Bienne, Switzerland. And he is working on a sequel to his first book, Outsider Films on India 1950/1990, this one focused on America. “I’ve always been fascinated with India’s relationship to the West and the West’s relationship with India,” he says. “It’s a kind of bifocal vision.”

And a particularly relevant one today. “There has always been incredible work made in India, but now it’s getting more attention,” Jhaveri says. “The field just keeps opening up.” metmuseum.org —VICKY LOWRY MARIANE IBRAHIM

Mariane Ibrahim is no stranger to risk. Not only had the dealer never worked in a gallery before opening her eponymous space in Seattle in 2012, but when she did, she was determined to buck art world convention: “I wanted to create an environment for people to look at art, mostly of African descent, through a normalized lens,” explains the gallerist, who hails from New Caledonia, in the South Pacific.

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Mariane Ibrahim at the door of her Seattle gallery.

Six years later, thanks to her persistence, the gallery has come to reflect the trends and concerns of contemporary art production in Africa and its diaspora. Focusing on the representation of such promising black artists as Ayana V. Jackson, Kudzanai Chiurai, and Lina Iris Viktor, Ibrahim feels she has been “entrusted by the artists to share, in the most accurate way, their intention and practice,” she says.

This is precisely what is achieved in the recently opened “Harmattan Tales,” the first solo show of German-Ghanaian artist Zohra Opoku (through March 17), whose work explores the lives of Muslim women living in Accra, Ghana.

With time, Ibrahim has extended her bold approach to art fairs. “I try to stay away from simply putting work on the walls without any staging,” she explains. At the 2016 Seattle Art Fair, she asked French-Togolese artist Clay Apenouvon to wrap the exterior of her booth in ripped-up black plastic bags to call attention to the paucity of black artists on the market and in museums. And at New York’s Armory Show last March, Ibrahim’s installation of photography- and fabric-based works by Opoku won her the fair’s inaugural $10,000 Presents Booth Prize, which honors young dealers.

“What I am trying to achieve is a form of legacy,” she says. “I would like the next generation to see an Ayana V. Jackson or

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a Zohra Opoku in a museum long after we’re gone, so they can be inspired and say, ‘If they did it, so can I.’ ” marianeibrahim.com —ANTWAUN SARGENT

CLOCKWISE FROM TOP LEFT: EMMA M C KEE; PABLO SALGADO; JASON SCHMIDT

DAISY PEAT / MARLIES VERHOEVEN

When Marlies Verhoeven and Daisy Peat launched the global arts club the Cultivist three years ago, their goal was to provide members with experiences that went far beyond skipping lines at world-class museums or circulating among VIPs at art fairs—although these are definitely core benefits.

In a very short time, the pair has exceeded all expectations: The Cultivist now organizes studio visits, artist luncheons, museum tours, and tailored itineraries, among other cultural activities, in art destinations as varied as Abu Dhabi, London, and Mexico City. The two young entrepreneurs, who ran a Sotheby’s VIP program for seven years before striking out on their own, have seen their business expand exponentially. The Cultivist staff has grown from 6 to 16, its membership is up to more than 1,000 worldwide, and its offices have expanded from London and New York to Brussels and Los Angeles, with Shanghai soon to open. (The annual fee is $2,500.) And

Till Fellrath (left) and Sam Bardaouil.

before,” Verhoeven explains, “but we actually love a challenge.” A couple wants to see art in Baku, Azerbaijan?

No problem. A museum is closed? Piece of cake: “We had members who didn’t realize that the Baltimore Museum of Art was closed, so they contacted us,” Verhoeven recalls.

“It was a day the museum was open for work, but not to the public. Someone came down and gave them a private tour.” For Verhoeven and Peat, that was just another day at the office. thecultivist.com —V.L. SAM BARDAOUIL / TILL FELLRATH

Marlies Verhoeven (left) and Daisy Peat.

if most members are collectors—“from the top 200 worldwide to some just starting out,” Verhoeven says—a good number are renowned artists as well, such as Marina Abramović, Cindy Sherman, and Richard Phillips. So far, no member’s inquiry has stumped the Cultivist team. “Ninety-five percent of the requests are for things we have done many times

Earning a doctorate in art history and joining a museum staff is not the sole route to curatorial stardom, as Sam Bardaouil and Till Fellrath—a former actor and a former economics professor, respectively—have proved. The young guns behind Art Reoriented made waves early with a searing installation addressing the conflict between Lebanon and Israel for the Lebanese pavilion at the 2013 Venice Biennale. Since then the collaborators, based in New York and Munich, have been independently curating modern and contemporary art shows at major museums, including one that traveled to the Centre Pompidou in Paris, the Reina Sofía in Madrid, and Tate Liverpool. They also → GALERIEMAGA ZINE.COM

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GAME CHANGERS

Chris Vroom, of Collector IQ and Art+Culture Projects, at home in Brooklyn.

chair the Montblanc Cultural Foundation, which supports global arts initiatives and acquires works by emerging artists for its collection. “When we decided to work together, we made the decision not to be tied down to the general policies or politics of an institution,” Bardaouil says. “It gave us a lot of freedom.”

Experts in Middle Eastern art, Fellrath and Bardaouil are mounting a show on pan-Arabic modernism for the Art Dubai fair in late March, while their exhibition “Art et Liberté: Rupture, War and Surrealism in Egypt (1938–1948)” travels to Stockholm’s Moderna Museet in April, and their monograph on the late Lebanese painter Paul Guiragossian awaits publication by SilvanaEditoriale, also in March.

“What we are hoping to do with every project is to get people to ask questions, to show the complexity of our human existence and coexistence, and to get people to listen to other stories,” Fellrath explains. With two new major museum exhibitions on international modernism still under wraps, they continue to crisscross the globe with a fresh eye. “In a sense we are international nomads,” Fellrath says. “Incurable nomads,” Bardaouil adds. “It’s impossible to have pets—and plants, hardly.” artreoriented.com —V.L. 72

Christopher Vroom was working in equity research in 1997, when the National Endowment for the Arts was forced to cut its artist grant program. The situation didn’t sit well with him: “I wanted to figure out a way my business experience could be helpful in creating a more systematic support structure for artists” and encourage philanthropy “to be more efficient,” he explains. Two years later, Vroom ended up founding Artadia, a grant-making organization offering unrestricted cash awards. Totaling more than $7 million in the last two decades, Artadia’s grants have assisted well-known artists such as Nick Cave, Amie Siegel, and Hank Willis Thomas, among many others.

With time, the entrepreneur’s engagement with the arts has shifted, though his focus remains on efficiency. In 2011, Vroom cofounded Artspace, one of the first major online marketplaces for collectors and institutions, and in the past year, he has launched Art+Culture Projects, a platform for publishing limited-edition prints and multiples, as well as a novel app called Collector IQ. Not unlike CellarTracker for wine buffs, Collector IQ seeks to demystify the art market. While offering straightforward sales analytics and art valuations based on auction-house, art-fair, and private-sale results, the app also connects collectors with advisers, dealers, institutions, and—most interestingly—lending agents. These discreet intermediaries can place collectors’ works on temporary loan to museums and other organizations in exchange for cash or a tax write-off. “Many collectors don’t realize that the things they have on their walls have liquid value,” Vroom says, noting that the art-lending industry is growing by 15 percent per year. “There’s a massive store of owned wealth sitting hidden on balance sheets all over the world,” he adds.

A collector himself, Vroom has made the most of his own purchases. Beginning as a young research analyst tracking Sotheby’s stock, “I bought my first pieces at auction, Francis Bacon lithographs, because that’s what I could afford,” he recalls. Since then, he’s handled his fair share of art, acquiring works on paper by many German Expressionists, paintings by Marlene Dumas, photographs

by Cindy Sherman, and sculptures by Adrián Villa Rojas and Bunny Rogers. But for all his success, Vroom has tried to remain grounded: “I still have those Bacons,” he says. artandculture.com; collectoriq.com —MARGARET CARRIGAN

GENEVIEVE GARRUPPO

CHRISTOPHER VROOM

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AUCTIONS

On n the Block c ck

 ANSEL ADAMS, THE TETONS AND SNAKE RIVER, GRAND TETON NATIONAL PARK, WYOMING (1942) Sold at Doyle New York (December 14) Toward the end of his life, the photographer reated “Museum Sets” of ten images— all produced in his studio and signed by him—which collectors were legally bound not to sell. For the first time ever, a set was offered piecemeal in a deaccession by the College of New Rochelle, in New York. This iconic gelatin-silver print fetched $81,250.

FASCINATING SALES FROM AROUND THE WORLD

LAURA OWENS, UNTITLED (2012) Sold at Sotheby’s New York (November 16) Lively bidding for this 9-by-7-foot mixed-media painting drove the price to $1.45 million, well over the artist’s previous $360,000 auction record and the $200,000–300,000 estimate. The canvas is one of seven from Owens’s “Pavement Karaoke” series, five of which went on view a week earlier in the Whitney Museum’s mid-career survey of the Los Angeles artist's work.

ETRUSCAN BRONZE APPLIQUÉ Sold at Christie’s London (December 6) The best-preserved and only example to have remained in private hands—the other four known such pieces are in museum collections—this extraordinary figure, circa 500–475 B.C., represents the sun god Usil and was acquired for £296,750 ($397,348).

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SHAUN LEANE, COILED CORSET (1999–2000) Sold at Sotheby’s New York (December 4) This sale of collaborations between jeweler Shaun Leane and fashion designer Alexander McQueen featured daring pieces that dissolved distinctions between adornment and art. Designed for the Overlook collection, this corset of 97 aluminum coils was precisely fitted to the model’s measurements. The only work in the sale to be signed by both men, it commanded $807,000. —JEANNIE ROSENFELD

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CLOCKWISE FROM FAR LEFT: COURTESY OF SOTHEBY'S; COURTESY OF PHILLIPS; ANSEL ADAMS/NATIONAL ARCHIVES/THE LIFE PICTURE COLLECTION/GETT Y IMAGES; COURTESY OF CHRISTIE'S IMAGES LIMITED; ROBERT FAIRER; COURTESY OF SOTHEBY'S



ALBERTO GIACOMETTI, “FIGURE” FLOOR LAMP (1933–34) Sold at Phillips New York (December 12) One of several objects commissioned by designer Jean-Michel Frank for his client Elsa Schiaparelli, this patinated bronze lamp with a paper shade embodies the imaginative minimalist spirit these men shared. An early version featuring a narrow base, it sold for $325,000.

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JULIAN CHICHESTER

JULIANCHICHESTER.COM new york

| london

CONCIERGE

From top: São Paulo’s Hotel Unique makes a striking architectural gesture. Its popular rooftop restaurant and bar draws a stylish crowd.

AS CURATOR FOR THE CULTIVIST— A MEMBERS-ONLY GLOBAL ARTS CLUB WHERE SHE SERVES AS EXPERT CONCIERGE—JOEY LICO SHARES HER SHORTLIST OF WHAT TO SEE AND DO IN THE BRAZILIAN CITY

N

ot only the most populous city in Brazil but the entire Americas, São Paulo is so businessenormous it’s intimidating. But Sampa, as it is affectionately called, also offers a diverse cultural life that beats to a round-the-clock pulse.

WHERE TO STAY

• São Paulo had been a bit behind on tourist-worthy hotels until 2003, when the Fasano hotel, designed by Isay 76

Weinfeld and Marcio Kogan, opened in the high-end Jardins neighborhood. Its elegant tower is where I head for a power lunch among the city’s business barons, and it’s a stylish place to stay. Otherwise, you should consider the Emiliano nearby—it’s the one I choose when I visit the city. Designed

by Arthur Casas, it is much more youthful in spirit and has a handy helipad to beat the airport-transfer traffic. fasa-no.com.br; emiliano.com.br • Locally referred to as “the watermelon” for its crescent shape, and just a short walk from São Paulo’s verdant Parque →

COURTESY OF HOTEL UNIQUE

São Paulo Sensational

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庄喆 CHUANG CHE

A Pioneer of Chinese Modern Art

March 15

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ART F I N D L AY

CONCIERGE

Ibirapuera, Hotel Unique is one of the city’s techiest.

Especially cool is the garage-door-style divider separating the bath from the sleeping and lounging areas in just about every room. The hotel’s rooftop Skye Restaurant & Bar attracts a chic crowd, but the lobby bar is where I stop for a glass of wine—the list is superb and the staff friendly without being invasive. hotelunique.com.br WHERE TO EAT

• The city is one of Latin America’s top food destinations, so I always encourage visitors to experience as many restaurants as possible and avoid wasting a meal on room service. Without fail, my first stop in the morning is Coffee Lab, in the multicultural Pinheiros neighborhood, where I take the advice of expert baristas to decide what

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CLOCKWISE FROM TOP LEFT: ROGÉRIO VOLTAN (2); COURTESY OF MUSEUAFROBRASIL; PEDRO KOK; COURTESY OF JK IGUATEMI

Clockwise from top: Coffee Lab is the place to go for “micro-lot” coffee (inset).

The FIESP building is a distinctive 1970s São Paulo skyscraper on Paulista Avenue.

The Goyard boutique stands out among the offerings at the luxury shopping center JK Iguatemi.

to order. They offer all the standards, like cappuccino and espresso, but what makes this place worth the wait—and there is always a line—are the “micro-lots” of coffee produced on a small scale to preserve their singularity.

There are brews here you will likely not find anywhere else in the world, or even the city, again. coffeelab.com.br • One thing you should know about São Paulo is that it has some of the best sushi in the world. You will still want to go for traditional Brazilian dishes at restaurants like the sensational Ema (never skip its specials), but if you can get two of the eight seats available at Jun Sakamoto, take them!

My food-expert friends say the 16-course omakase is better than you’ll have at most top sushi restaurants in Japan. grupomarakuthai.com.br/ema.html • If you’re looking for something a little more low-key, one of my favorite dinner spots is the very homey Chou, in Pinheiros. You’ll want to grab a table in the backyard after a hot day, and order mezze to share. Not far from there is Carlos Pizza, also an easy standby, especially if you’re in the mood for dessert. They have some of the best in the city, such as the Don Pedro and the Tiramisu Norma. chou.com.br; carlospizza.com.br

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One of the galleries in the MuseuAfroBrasil, which focuses on the cultural contributions of Brazilians of African descent.

• Another great choice for lunch or dinner, if you’re looking to mix with the art and design crowd, is Restaurante Spot, just off Paulista Avenue. Make sure you grab a table by the windows to the left of the entrance so you can dine with a view of the fountains on the small plaza outside. restaurantespot.com.br WHAT TO SEE

• It pains me to admit this, but nothing makes me question why I live in New York City like making the rounds of São Paulo’s art galleries, which are primarily located in Jardins, where luxury is not in short supply. Prepare to be awestruck by the beautiful interplay between the gardens and the art at Mendes Wood DM, which represents Brazilian art stars such as Paulo Nazareth and Solange Pessoa, among others.

Housed in a 1958 Rino Levi building, Luciana Brito Galeria perfectly marries landscaping and architecture to showcase international artists like Bosco Sodi, Alex Katz, and Marina Abramović. Be sure to ask if you can pop into the wine cellar, which has remained intact through the years. Don’t miss Casa Triângulo and Galeria Nara Roesler, where the art on display and the staff always impress. During my travels, I try to stop for an espresso with their directors: It’s the best way to catch up on the Brazilian art scene from an insider’s perspective. mendeswooddm.com/en; lucianabritogaleria.com.br; casatriangulo.com; nararoesler.art • In the Parque Ibirapuera, you’ll find the striking concreteand-glass modernist Museu de Arte Moderna de São Paulo (MAM), designed by Lina Bo Bardi in 1957 and completed in 1968, a city landmark that features the best collection of European art in Latin America. After looking at the Picassos,

I like to have a local beer and grilled-cheese sandwich at its canteen. From MAM, it’s a short walk through the park past a famous Oscar Niemeyer–designed auditorium, the Auditório Ibirapuera, to the MuseuAfroBrasil, an art and ethnographic museum that highlights the importance of people of African descent in Brazilian culture. Given the great docents, it’s worth asking for a short tour to acquaint yourself with the country’s rich heritage. mam.org.br; museuafrobrasil.org.br WHERE TO SHOP

• To find local designers, you must visit Amoreira, which is owned by cousins Cristina Rogozinski and Fernanda Rezende. Its offerings are well curated, so I always stock up on Estudio Manus porcelains and Amoreira candles as gifts for friends and family. amoreira.com.br • Brazilians love bookstores, so a trip to São Paulo absolutely must include a visit to the wonderful concept bookshop Livraria da Vila. I always check its schedule of readings and musical performances ahead of time to get a taste of the city’s emerging talents. It is located in the JK Iguatemi luxury shopping center, so you’ll be able to indulge either before or after visiting. livrariadavila.com.br • Cartel 011 is one of the most forward-thinking and hippest spots in town. It’s a multidisciplinary environment in Pinheiros where creative businesses coexist with a retail space (where I buy Brazilian designers like Evoke), a restaurant and bar (get the fried rice balls with red-onion jam), and an art gallery, as well as workstations where you can spot art directors, fashion designers, and tech entrepreneurs. cartel011.com.br —JOEY LICO GALERIEMAGA ZINE.COM

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BOOKS

Rhapsody in Green

A NEW MONOGRAPH CAPTURES

T

o understand how the gardens conceived by Wirtz International Landscape Architects manage to inspire contemplation and wonder in equal measure, it helps to know one thing: The Wirtzes are serious classical-music lovers. The celebrated Belgian firm founded

by Jacques Wirtz in 1950 and now run by his two sons, Peter and Martin, is admired for its visually arresting, distinctively sculptural compositions that unfold in almost symphonic fashion. “It’s about themes and counter-themes, variations on a theme, rhythm, and sequencing,” explains Peter Wirtz. “And at the emotional level, when you create gardens, it’s to take people away from earthly worries and really bring them to another place.” A lot like music.

Clockwise from top: Cascading waters on a hilly property above Lake Geneva, as featured in a new book

by Wirtz International Landscape Architects (cover pictured). It showcases the beauty and bravura of such creations as a labyrinth in a Brussels garden and parallel canals amid cherry blossoms on the grounds of a German corporation.

The Antwerp firm, which employs 40 full-time gardeners and has multiple offices in Europe as well as in the U.S. and Japan, takes on commissions ranging from gardens for private residences to green spaces for corporate campuses to prestigious public parks (among the firm’s notable projects was a reimagining of Paris’s Jardin du Carrousel du Louvre in the early 1990s). Combining a deep sensitivity to each setting, a virtuosity in balancing lines, shapes, and volumes, and a creative vision that sometimes verges on the surreal, projects by the Wirtzes always make a lasting impression.

The bravura and beauty of their creations are captured in a new book, The Wirtz Gardens: Part III (Wirtz International, $140), the third in a series devoted to the family’s work, and the first to include properties in the U.S., Switzerland, and Japan. Featuring views of 30 enchanting gardens (each accompanied by a plan and a short text), the stunning volume immerses readers in transcendent verdant realms, where clipped boxwood hedges draw gracious curves between heritage trees, waves of ornamental grasses ripple toward a rose garden worthy of Versailles, or yew trees shade an oasis of winding brick paths, coiling hedges, and serene water features.

“After all,” asks Peter Wirtz, “isn’t it the goal of any creator, of any artist, to elevate human beings?” Perhaps, but his firm certainly does so with uncommonly ravishing results. wirtznv.be —CHRISTINE SCHWARTZ HARTLEY

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COUNTERCLOCKWISE FROM TOP: BERTRAND LIMBOUR (3); COURTESY OF WIRTZ INTERNATIONAL

THE WIRTZ FAMILY’S LYRICAL LANDSCAPES

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CUISINE

Rustic Refined P LOCAL BOUNTY MEETS GLOBAL FLAIR AT SWYFT

ast a small lawn planted with heirloom apple trees in the village of Kent, Connecticut, inside a meticulously renovated 1780s clapboard house, chef Joel Viehland and preservation advocate Anne Bass are realizing their vision for a pair of ambitious restaurants. The first fruit of their collaboration is the recently opened Swyft, an expansive, casual space serving small plates and wood-fired pizzas. It will be followed this summer by Ore Hill, offering fine dining in a charming wainscoted space. Together, these new spots promise to elevate historic Kent as a food destination.

At both restaurants, Viehland—a three-time James Beard Award nominee—aims to strike a balance between rustic charm and the global sophistication one would expect from a chef whose résumé includes stints with New Orleans superstar Donald Link and Copenhagen’s celebrated Noma.

Local and seasonal will be very much in play, with produce sourced from Bass’s own Rock Cobble Farm, where she grows 40 types of beans and 34 varieties of tomatoes, while the restaurant’s Arne Maynard–designed garden will provide an assortment of edible flowers.

Signature offerings at Swyft include a silky Bolognese that riffs on a dish Viehland had in Italy, a fish crudo with a bright blast of yuzu, and crisp concoctions cooked in the

From top: Kale-and-potato pizza at Swyft in Kent, Connecticut.

The restaurant’s entrance. Classic pasta Bolognese.

Period pine clads the carefully refurbished interior.

Rock Cobble Farm provides produce.

wood-burning Pavesi oven. Pizzas are made with a flavorful Neapolitanstyle crust, the result of a blend of local and Sicilian flours with yeast from a 30-year starter. “Swyft is the culmination of my experience as a chef and of what I love to eat,” says Viehland. For Ore Hill, he will craft complex but unpretentious daily tasting menus.

The interiors of both spaces were overseen by Singapore designer Yvette Adams, who consulted with historicpreservation expert Jeffrey Morgan to create rooms that, she says, “feel inevitable and not too designed.” At Swyft, she peeled back centuries of renovations and installed hand-honed period pine beams and a stone fireplace. For Ore Hill, she restored the intimate rooms that once made up the house, providing diners with cozy candlelit nooks.

“There’s such historic integrity,” notes Adams. “You can see the centuries-old layers of the building.”

All of this exquisite care would surely make the property’s original owner, Asaph Swift—a grandson of Englishman William Swyft and one of Kent’s first settlers— immensely proud. orehillandswyft.com

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EVAN SUNG, COURTESY OF SWYFT

—JACQUELINE TERREBONNE

1/31/18 11:20 PM

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DESTINATIONS

,

Lisbon s New Light A DYNAMIC CULTURAL REVIVAL IS MAKING THIS STORIED CITY THE MOST EXHILARATING PLACE TO VISIT

W

hat is it about Lisbon that is stirring up so much excitement among seasoned travelers?

Perched at the mouth of the Tagus River and built on seven hills, this intimate Portuguese harbor city has long been among the Continent’s most beautiful and poetic capitals. Also one of its oldest ports, Lisbon has been an important trade center for centuries, attracting merchants and adventurers from around the world. In the last few years, it has been drawing a whole new set of travelers thanks to its dynamic renaissance.

Contemporary buildings like the Champalimaud Centre for the Unknown, designed by Charles Correa and devoted to biomedical research, and Amanda Levete’s sculptural Museu de Arte, Arquitetura e Tecnologia (MAAT) are transforming the riverbank skyline, while concept shops like A Vida Portuguesa are celebrating the country’s rich crafts heritage.

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Ambitious chefs such as José Avillez are using local ingredients to create innovative Portuguese dishes, and passionate restaurateurs like André Magalhães, of the always packed A Taberna da Rua das Flores, are looking to the country’s past for a modern take on traditional cuisine. Stylish, intimate boutique hotels—the most noteworthy is the six-suite Santa Clara 1728—are opening up at an astonishing rate.

International tourists and businessmen are no longer visiting for just a few days. Many are buying or renting houses and moving in, including, most famously, pop legend Madonna.

Many expats, such as Joanna Hecker, an American who settled in Lisbon six years ago, are initiating projects that have contributed to the new cultural spark. Three years ago, Hecker and her Portuguese partner, Ricardo Lopes, launched the Living Room Sessions, a series of intimate concerts in rotating private apartments. One month, local talent Sara

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FROM FAR LEFT: PAULO COELHO, COURTESY OF EDP FOUNDATION; COURTESY OF CASA-MUSEU MEDEIROS E ALMEIDA; WESTEND61/GETT Y IMAGES; PAULO BARATA

From far left: A night view of the Museu de Arte, Arquitetura e Tecnologia (MAAT).

The piano room at Casa-Museu Medeiros e Almeida. The city’s ancient Alfama neighborhood, with the domed Church of Santa Engrácia.

Bairro do Avillez, a trendy spot..

Tavares will be singing her heart out to a crowd of 170; the next month, Nigerian star guitarist Keziah Jones performs.

“Lisbon is one of those places that is going through such an exciting transitional moment right now that it is tangible every day,” Hecker says. She points to the country’s recent financial crisis and the influx of immigrants as influences.

“The crisis forced a lot of people here to be creative and resourceful, which was not necessarily characteristic of the previous generations,” she says. “Portugal is finally coming out from decades of very conservative leadership, which had a suffocating influence on culture in many ways. The generation working and creating now is the first generation that is free of all that.”

Felipa Almeida, one half of the successful Lisbon design team AnahoryAlmeida—responsible for the recently opened São Lourenço do Barrocal, a much-buzzed-about resort in the Alentejo region—grew up in Switzerland and studied in Paris, but returned to Lisbon, where she was born, 12 years ago. It’s where she feels most inspired and at home. “There is such creative energy in Lisbon at the moment,” she says, “with many small artisanal studios opening up and talented people collaborating.” She is especially excited about ceramic ateliers such as Sedimento, Caulino Ceramics, and Margarida Fabrica. In the last few years, Almeida and her

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partner, Ana Anahory, have been busy designing chef José Avillez’s many Lisbon projects, including the wildly popular Bairro do Avillez, a culinary destination that occupies a former convent in the Chiado neighborhood. It houses a gourmet emporium and several restaurants, one of them accompanied by a cabaret. Equally ambitious is the Palácio Chiado, an 18th-century palace transformed into a busy culinary hub with seven dining options, including one by the trendy sushi chain Suchic.

For Japanese fare, Avillez prefers Go Juu, conveniently located across from the stunning Fundação Calouste Gulbenkian, a private museum that art dealer André Viana calls one of the most special art institutions in the city. Viana, who was born in Portugal but is based in New York City, also recommends the Casa-Museu Medeiros e Almeida, describing it as “a lovely townhouse near Avenida da Liberdade, with an important French and Continental furniture and art collection.”

The dynamic friction of Lisbon’s past rubbing up against a progressive, experimental present is generating most of the pearls to be found there today. The city’s creative crowd is just as inspired by Portuguese heritage as it is by the desire to reach a global audience. That means there is a strong respect for historic architecture and a tendency to expose, →

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DESTINATIONS COMPORTA CALLING An hour’s drive from Lisbon, Comporta is Portugal’s most celebrated beach resort. It won’t remain under the radar for long. Like many fledgling jet-set destinations, the town was—and still is—an area of fishing villages with ties to a wealthy family, the once powerful Espírito Santo clan. As you drive along its main road, there is almost nothing that hints of privilege. But as soon as you are invited into the homes—everyone from designer Philippe Starck to gallerist Patrick Perrin, founder of the PAD Art Fair, has a secluded estate here—or stroll the endless and often empty pristine beaches, it becomes clear how exclusive the area is. Until now, most visitors have been staying in rental properties such as Casas Na Areia or at the only true luxury hotel, the Sublime Comporta, an enchanting property of connected, modern pine trees and sand. But this summer, a new property, currently named Quinta da Comporta, is set to open.

Designed by Portuguese architect Miguel Câncio-Martins, along with renowned French decorator Jacques Grange (who has a house minutes away) and famed American landscape designer Madison Cox, it will offer 29 suites, 16 townhouses, and four villas overlooking dunes and rice fields. Later this Above: The elaborate gardens of the 17th-century Palácio dos Marqueses de Fronteira.

Right: The fire pit and pool at the Sublime Comporta, a beach resort near Lisbon.

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rather than erase, the layers of the past. For instance, hotelier João Rodrigues and architect Manuel Aires Mateus, who have designed some of the country’s most dramatic houses, beautifully renovated fishermen huts with sand floors, called Casas Na Areia, in the nearby beach resort of Comporta (see sidebar). Their Lisbon hotel, Santa Clara 1728, an elegant 18th-century townhouse that overlooks the Tagus (and also serves as Rodrigues’s home), represents another smart reinvention of a historic space using clean lines and organic materials. As with other projects by Rodrigues and Mateus, the hotel feels like a nostalgic dream of a moment in Portuguese history. “We travel to the past and try to bring back the memories of the craft and the buildings and the heritage,” he says.

While proud of Lisbon’s renaissance, Rodrigues cautions that the number of tourists walking through some parts of the city has sometimes felt overwhelming for locals.

Designer Felipa Almeida agrees: “Although all the new people here are helping to create this very rich moment, we also have to be careful about preserving the city. Once a place loses its soul, it’s hard to get it back.” Right now, though, Lisbon has soul in spades. —GISELA WILLIAMS

year or in early 2019, shoe designer Christian Louboutin plans to open a boutique hotel south of Comporta, near the charming village of Melides, where he has an estate. Although the high season is summer, the insider secret is that May and late September are the best times to go, when most visitors have vanished.

FROM TOP: UNIVERSAL IMAGES GROUP NORTH AMERICA LLC/DEAGOSTINI/AL AMY STOCK PHOTO; COURTESY OF SUBLIME COMPORTA

wood-and-glass villas scattered among 17 acres of

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PROMOTION

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RICARDO L ABOUGLE

Andalusian and Moroccan accents lend an exotic air to this sumptuously curtained corridor in a Marrakech riad.

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CROSSING B MOORISH MEETS MODERN IN MAITE AND PAOLO BULGARI’S SENSATIONAL MARRAKECH RIAD TE X T BY V I CK Y LOWRY PH OTO G R A PH Y BY R I C A R D O L A B O U G LE PRO D U CE D BY A N ITA S A R S I D I

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G BORDERS The Marrakech riad of Maite and Paolo Bulgari was designed by decorator Pablo Paniagua and his architect brother, Gustavo. A living room off the entrance hall is furnished primarily with custommade pieces. The armchairs are covered in a Rubelli velvet. For details see Sources.

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ack when she was a college student in her hometown of Madrid, Maite Carpio Bulgari and her friends liked to visit Marrakech on long weekends and holidays.

It was a fashionable thing to do, as well as a quick trip—like flying from New York to Toronto, except the getaway was sunnier and infinitely more exotic.

Years later, she would return to the Moroccan imperial city, this time with her husband, Paolo Bulgari, chairman of the famed Italian jewelry and luxury-goods dynasty (and great-grandson of its founder), and their young children in tow. “My daughter Marina walked around the medina with a scarf covering her mouth because she didn’t like the smells,” Maite recalls, laughing, “and Carlotta wanted to buy all the animals she found in the streets.”

What the Rome-based couple did buy, a decade ago, was a derelict parcel in the heart of the medina—basically “just a pile of sand and rocks,” says Maite—where they would painstakingly construct a gracious Moroccan riad, with a garden and multiple courtyards and an inviting rooftop terrace overlooking the bustling historic center.

Construction on the two-story, seven-bedroom house took five years, with work slowing in summers, thanks to the extreme heat, as well as during the annual monthlong observance of Ramadan—not to mention the general unhurried pace of the meticulous local crew. And when it came time to find the right decorator for the interiors, that process turned out to be nearly as protracted. “I looked all over Europe, but everyone I talked to wanted to make the house too sophisticated,” says Maite, who is a screenwriter and TV producer with her own production company. “I wanted the interiors to reflect Moroccan style but be simple and easy to live in.”

Then, on a trip with some friends to Seville, the Andalusian capital where the architecture retains striking Moorish influences that date back to the Middle Ages, Maite had an epiphany. “I realized what I needed was a Spanish designer from Andalusia,” she says, “someone who already had the right aesthetic, for whom Morocco would not be foreign.”

Some online research led her to Pablo Paniagua, a Málaga-born designer with whom she instantly connected— “a coup de foudre,” as she playfully puts it. Paniagua, who The entrance arcade, which leads from the medina, comprises a succession of arches of Moroccan brick and tadelakt, a type of plaster; kilims from the High Atlas Mountains line the floor.

works alongside his two brothers at their Madrid studio, has decorated everything from high-style apartments in London and Barcelona to the Garden Court Hotel in Palo Alto, California. He has a reputation for creating unfussy, elegant interiors that are contemporary yet timeless, with a touch of Andalusian flair. The Bulgaris told Paniagua they wanted their home to embrace the local culture while avoiding a predictable ye olde Marrakech look.

Throughout the home Paniagua used Moroccan tiles and the traditional polished plaster known as tadelakt, while his brother Gustavo, an architect, conceived richly detailed coffered ceilings, handcrafted in Spanish cedar. Many of the furnishings were custom made in the spirit of classic Moroccan craftsmanship, such as the dining room’s expansive table of walnut and brass, but Paniagua also mixed in select antiques sourced from Spain, including such exquisite finds as a 16th-century velvet-upholstered chest in the entrance courtyard and an ornate 19th-century secretary inlaid with mother-of-pearl and exotic woods in the foyer. Curtains and upholstery embroidered with ancient Berber motifs were handwoven by artisans from the High Atlas Mountains. “We wanted to give a soul to the riad,” the decorator says. “It has a Moroccan sensibility with an Andalusian essence.”

What the riad doesn’t have is fine art. Even though the Bulgaris are serious collectors and Paniagua is passionate about art, they wanted to respect prohibitions, observed by many Muslims, against depicting human and animal forms.

Instead, they turned to the boldly colored, often geometricpatterned kilims found all over Morocco, hanging them, along with monumental mirrors, like paintings. Antique lanterns and lamps, meanwhile, provide a sculptural presence. “It was very difficult to renounce images,” Maite admits, “but we felt that it was not possible to have figurative paintings. In the end, we found another solution.”

The riad was finally completed nearly two years ago, and the family particularly enjoys coming for Christmas and other holidays. For them, a typical day in Marrakech starts with a traditional Moroccan breakfast, often followed by a steam in their hammam and then a walk through the medina, which “is always full of fantasy and chance,” remarks Maite. Lunch is usually served on the rooftop terrace, after which everyone finds a shady spot to settle in with a book or the newspapers. They are, after all, on Morocco time. “Here, you are no longer in a hurry—you can just relax,” says Maite. “If people arrive an hour late, nobody cares.”

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The inlaid secretary in the foyer is 19th-century Spanish. Left: In the main courtyard, Maite Bulgari with her daughters, Carlotta (left) and Marina, reclining on a Pablo Paniagua–designed daybed.

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The Bulgari family’s collection of antique Egyptian alabaster jars is displayed in the green parlor. Pablo Paniagua designed all of the seating, as well as the center table and the nailhead-studded folding screens; the benches are covered in a Rubelli velvet.

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In a stairway, a massive mirror hangs above a 1940s Villa Kérylos–style bench upholstered in a Manuel Canovas chenille. Right: The library’s sofa, covered in a Loro Piana linen, and the cocktail tables were designed by Pablo Paniagua.

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Left: A 19th-century Moroccan silk-and-silver textile with Berber tribal motifs is displayed in the master bedroom, where the bed canopy is lined in silver-colored silk by Jim Thompson.

The 1940s French gilded-bronze bench is upholstered in green linen by Loro Piana, and the Pablo Paniagua–designed curtains were handwoven and embroidered by local artisans. Above: The walls and counters of a guest bath are clad in traditional ceramic mosaic tiles.

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Adjacent to the swimming pool, the fireplace room features colorful mosaic tile, as well as an ikat fabric that is gathered and draped from bronze hardware.

Left: A view of the pool courtyard.

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ELEGANT GEOMETRY DESIGNER DAVID KLEINBERG TAKES A CLASSIC PARK AVENUE APARTMENT FROM HUMDRUM TO HIGH STYLE

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In the dining gallery of Jane and Budd Goldman’s Park Avenue apartment, designed by David Kleinberg Design Associates (DKDA) and architect John B. Murray, a Marc du Plantier–inspired table is paired with a Lindsey Adelman chandelier and lacquered chairs upholstered in a Larsen silk; a painting by Richard Pousette-Dart (left) and a Richard Diebenkorn aquatint complement a John Chamberlain sculpture. For details see Sources.

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reating a new home for yourself is one of those challenges in life—and there are many—when you can either hold fast to the taste and vision you already have or spread your style wings and fly somewhere new. When Jane and Budd Goldman found what they considered their dream apartment in a beautiful prewar Park Avenue building, they were pretty certain they knew exactly what to do with the place. So after hiring designer David Kleinberg and architect John B. Murray to oversee the renovations, Jane handed them a list with two columns: things the couple liked and things they didn’t. (Among the no-no’s: blond wood, mixed metals, and anything midcentury modern.)

“My husband and I have decorated a number of places, and we never trusted anyone to get it right,” says Jane, a former university educator who serves on the board of a charter school in the South Bronx (her husband is a private investor). “I often felt I had to monitor every aesthetic decision, from paint colors to throw pillows. We especially didn’t want an apartment that was going to date itself or look like it came straight from a showroom—sterile and devoid of character. We wanted something timeless.”

The Goldmans had chosen Kleinberg because of his well-earned reputation for preserving the graceful bones of traditional spaces while infusing them with a modern sense of ease and luxury. It turned out to be an ideal match. “We clicked with David instantly,” Jane recalls. “He is so disarming and warm and unaffected and sincere. And we quickly saw that his sense of style was much better than our own, so a strong trust developed fast.”

That doesn’t mean the Goldmans handed him the keys to the kingdom overnight. Take Kleinberg’s core idea for a new layout—which was literally a core idea. As in many old Park Avenue residences, the dining room was off to the side. The designer proposed moving it to the center of the apartment and making it a kind of gallery, almost a courtyardlike space, that would open onto the entry hall, living room, and kitchen and also serve as the corridor to the bedroom, den, and library. In the middle of this novel space, Kleinberg ultimately installed a ten-foot-long custom-crafted table with a polished sapele-wood top on a nickel-plated base.

During the day, the table (inspired by one Kleinberg loved by the French designer Marc du Plantier) functions like a library table or entry table—a surface that can pinch-hit in any way needed. Then at night, with the addition of a suite of dining chairs that are used in various spots throughout the apartment, the space turns magically into a seriously elegant formal dining room.

“That idea took some convincing,” says Jane. “I had never seen anything like it, so it was a bit disconcerting.”

As Kleinberg explained, the change opens up the entire apartment and ensures that what is one of the least-used spaces in many homes becomes a focal point here. Plus, when the Goldmans entertain, as they often do, guests will be more inclined to move freely about. “There’s always a lot of dancing and laughter in our house,” says Jane, “and these open spaces really encourage that.”

Another item on the Goldmans’ checklist that required a little finessing from Kleinberg: the couple’s preference for a neutral color scheme. In their view, the splashes of color should come from their art collection, a carefully edited group that includes works by John Chamberlain, Richard Diebenkorn, David Hockney, Vik Muniz, and Cy Twombly.

Safe as that approach might be, executing it beautifully is not such a simple task. As Kleinberg puts it, “Van Day Truex once said that working with neutrals can make you feel like you fell into a big bowl of porridge.”

In order to give the rooms a sense of depth and richness, Kleinberg deployed a fantastic variety of materials, from cool, lustrous marble to sumptuous mohair and buttery-leather upholstery to textured wall coverings and carpets. The more you look around, even the quietest surfaces catch your notice. Such as the powder room’s beautiful glass sink: Reverse-painted with silver leaf, it has a mesmerizing, mysterious depth that pulls you in.

“Nothing here shouts,” says Kleinberg. To him, the most striking thing in the apartment is the expansive dining table.

Even more audible gestures, such as the living room’s eye-catching curtains in wide, graphic stripes of gray, white, and bronze, don’t stray from the designer’s formula of discreet sophistication. Neutral has never looked so forward.

“If we ever have another apartment to renovate,” says Jane, “I would simply hand David a check, and I wouldn’t even participate!” So long to that list of dos and don’ts.

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Curtains of a graphic silk stripe by Clarence House set the tone in the living room; a Cy Twombly work hangs at left, and a Vik Muniz C-print is displayed over the chaise. The lacquered-brass cocktail table is from Bernd Goeckler, DKDA designed the mahogany-andglass side table after an André Sornay original, and the silk-and-jute rug is by Edward Fields. Right, from top: A Jasper Johns screen print surmounts a French 1940s cabinet by Maxime Old and vintage Angelo Brotto table lamps. A work by Juan Genovés hangs in the gallery.

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In the study, a Chuck Connelly painting is mounted between Porta Romana sconces, and the rug is by Patterson Flynn Martin.

A painting by Richard Estes overlooks the study’s desk.

Left: In the den, a David Hockney lithograph is displayed against a studded-burlap wall covering from John Rosselli & Assoc. The sofa is by Avery Boardman, and the sconces are by Holly Hunt.

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The kitchen features a DKDA-designed table and Bertoia chairs by Knoll; the pendant lamps are by Remains Lighting.

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Anthony Lawrence Belfair crafted the bed in the master bedroom and upholstered it in a Holly Hunt fabric; the painting is by Karl Klingbiel, the 1930s chandelier is from Karl Kemp, and the curtains are of a Rubelli damask.

Left: The master bath’s ceiling fixture is by Boyd from Donghia, and the sink fittings are by Lefroy Brooks.

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TREASURE TROVE

COLLECTOR BETH RUDIN DEWOODY CREATES A PRIVATE LAIR FOR HER SIGNATURE HIGH-IMPACT ART TE X T BY JA N E LLE Z A R A PH OTO G R A PH Y BY F I RO OZ Z A H E D I

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In the lobby of the Bunker, Beth Rudin DeWoody’s invitation-only art space in West Palm Beach, a gold-plated Richard Hughes sculpture overlooks a standing figure by Tom Friedman and a white-painted steel sculpture by Monika Sosnowska, as pieces by Studio Job (left) and Tony Oursler lurk beneath the stairs. Right: DeWoody with her miniature poodle, Rooz, in front of a work by Jim Lambie.

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hen super-collector Beth Rudin DeWoody created the Bunker, her new facility in West Palm Beach for displaying and storing works from her vast trove of contemporary art, she didn’t intend for it to be open to the public. But ever since a December opening party attended by nearly 600 guests, including reporters from local papers and The New York Times, the Bunker has attracted a lot of public interest. “We’re getting calls from the concierge of the Breakers hotel about people who want to come over,” DeWoody says.

“Unfortunately, we really can’t do that. It’s not zoned as a museum.”

The idea for the Bunker arose from a simple need. DeWoody’s collection, totaling some 10,000 pieces, had long ago outgrown her homes in Los Angeles, New York, and West Palm Beach. So when

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she learned a few years ago that a 20,000-square-foot former munitions factory in West Palm was available, she jumped at the opportunity. After acquiring the 1925 Art Deco building, she undertook minimal interventions—meeting egress requirements, upgrading climate controls, redoing bathrooms.

“The building is beautiful on its own,” she says of the Bunker, a name she chose because of its location on Bunker Road, in a previously industrial area that’s home to a thriving antiques district.

The building’s gallery spaces can display close to 500 works, and it has viewable storage for a few hundred more. Visits are by invitation only, though DeWoody plans to open up the Bunker during big cultural events, especially at the time of Art Basel Miami Beach and the nascent Palm Beach Art Weekend, in early December.

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A captivatingly chaotic Nick Cave Soundsuit, perched on a cart, highlights a large mixed gallery, where a seated figure by Luis Flores keeps watch beneath Rachel Owens’s dangling cleats. Clockwise from far left: In a room of silver-toned works, Michael Brown lawn chairs join an Arik Levy rock-form steel table topped by an H. C. Westermann figure; a framed Rachel Hovnanian work is displayed in the corner. The food-themed space is lined in tropical-fruit wallpaper by the collective Fallen Fruit. A tiled work by Richard Anuszkiewicz serves as a vibrant backdrop for acrylic and resin sculptures by various artists.

DeWoody, who began collecting as a teenager, has amassed an enormous range of art, favoring works that are eye-catching, playful, and often provocative. Combing through her holdings with curators Phillip Estlund, Laura Dvorkin, and Maynard Monrow allowed her to get reacquainted with pieces she hadn’t seen in years—among them a group of Op Art paintings that are now displayed together at the Bunker. It’s one of several themed sections created for the inaugural installation. Others include silver-toned works, art about art, and food-related art, which gets its own riotous room, featuring cake sculptures by Louise Erhard and by Vincent Olinet alongside Olaf Breuning’s lemon-shaped pig with strawberries for eyes. “This wasn’t about pulling out my most famous art but the quirky things,” says DeWoody. “I wanted it to be fun.”

A trustee at New York City’s Whitney Museum and the Hammer in L.A., DeWoody is an active lender to exhibitions, and works will rotate in and out of the Bunker as they head off to various destinations. But the big turnover will happen annually, at year-end, around the Palm Beach Art Weekend.

DeWoody, who has been coming to Palm Beach since childhood and still spends winters there with her husband, photographer Firooz Zahedi, hopes that buzz around architect Norman Foster’s expansion of the local Norton Museum of Art will raise the community’s cultural profile. Will that add to the number of people asking to visit the Bunker? “We’ll work it out,” says DeWoody. “This is still very new—but it’s exciting to think of Palm Beach and West Palm as a true art destination.”

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T R I I P LB ITHE S

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FOR THE LATEST MAKEOVER OF HIS PARIS PIED-À-TERRE, ARCHITECT SIG BERGAMIN SHOWS HIS WILD SIDE

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f the desire to constantly rethink and remake your living spaces is an affliction—one that strikes designers with unusual frequency—then Sig Bergamin has an acute case.

Despite having homes on three continents and a bustling São Paulo–based practice with a glittering clientele of tastemakers and business tycoons, the Brazilian architect and decorator just can’t shake the urge to add new pieces, revitalize old favorites, even start over entirely fresh. “I am an interior designer, and I like change often—that’s my problem,” says Bergamin, offering a smile and a shrug.

So it was that Bergamin and his husband, architect Murilo Lomas, found themselves transforming their Paris pied-à-terre for the second time in less than five years. The pair, who also have homes in São Paulo, New York City, and the Brazilian beachside town of Trancoso, spent six months on a top-to-bottom redo of the apartment, located on a quiet side street just off Place Vendôme. The two-bedroom residence had been created by combining adjoining flats in neighboring buildings, one dating from the 18th century and the other from the 19th century. First time around, the couple decorated the interior with a subdued, moody palette and understated antiques. It was an elegantly cozy scheme that, while hardly minimal, featured fewer flourishes than Bergamin’s typically eclectic and electric rooms, where audacious combinations of color, pattern, and texture are the rule.

Recently Bergamin, feeling it was time to get back to his exuberant ways, “decided to change everything,” he says.

Fresh paint and upholstery shifted the color wheel from browns and taupes to saffrons, golds, and reds. “It feels happier, brighter. There’s more life,” offers the designer. “It looks like a totally different home.”

In the living room, which has 15-foot ceilings and soaring windows, the previously mocha-hued walls now sport bold black-and-white stripes that bring to mind the striped columns of artist Daniel Buren’s iconic Les Deux Plateaux installation in the Palais Royal courtyard. A chocolate velvet In the Paris pied-à-terre that Sig Bergamin, a Brazilian architect and decorator, shares with his husband, architect Murilo Lomas, a 1940s ceramic vase is displayed on a parchment-covered cocktail table; the sofa is by Antonio Citterio for B&B Italia. For details see Sources.

sofa with tassels accenting its ruched and pillowy roll arms looks brand-new in burnt-orange velvet. A pair of vintage Pierre Paulin armchairs, found at a Paris flea market, were reclad in a punchy vermilion fabric. At one end of the room, Bergamin clustered a newly acquired Biedermeier bench and a neoclassical 1940s desk with a group of Louis-style chairs, upholstered in a zippy fuchsia-tinted zebra print. “Mix, mix, mix—that’s my way,” says Bergamin. “The decor here is all about color and pattern, color and pattern.”

A few steps up from the living room, that mantra is in full force in the small parlor that serves as the couple’s dining room, where they host intimate dinners with friends or set up buffets for larger groups. Bergamin, who loves richly patterned textiles, lined the walls with more than 200 yards of multicolored floral fabric, perfectly hung to conceal doors leading to bedrooms and a small kitchen. Billowy curtains that frame tall windows overlooking a quiet cul-de-sac are of the same fabric. All of this is reflected in the room’s mirrored ceiling, creating the feeling of a tentlike Orientalist fantasy.

Lending a contrasting modernist note are a set of minimalist chairs cushioned in green velvet and a 1950s blackened-steel bar cart by Mathieu Matégot.

Just as important to the home’s vivacious personality are the art and objects on display. Composed of pieces that Bergamin and Lomas have collected over the years, it’s a deeply personal assembly of the bold and the beautiful, high and low, antique and contemporary. There are German, Scandinavian, and American ceramics from the 1940s through ’60s, classical bronzes, Murano-glass vessels, even a color-streaked ceramic bulldog (a gift from a client).

Artworks by Brazilian artists Vik Muniz, Beatriz Milhazes, and Luiz Paulo Baravelli are given pride of place alongside luminous abstractions by Lomas in a mix that also includes photographs, posters, and antique portraits. “If I see something beautiful, I buy it immediately,” says Bergamin.

“I never think about where it’s going.”

For now, at least, the designer says he’s putting the brakes on further acquisitions in Paris. “I have to stop,” Bergamin declares. “I have no more room!” Of course, he has been known to change his mind.

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A large silkscreen and wood-block print by Beatriz Milhazes dominates a corner of the living room; a Francis Bacon lithograph hangs in the foreground (left), and a Luiz Pizarro painting is mounted at right. Vintage Platner lounge chairs by Knoll and 1970s Pierre Paulin chairs surround the cocktail table, which is based on a Hubert de Givenchy design; the floor-toceiling curtains are of a Kravet fabric.

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The living room is clad in a cotton awning stripe by Ralph Lauren Home; on the far wall, two works by Murilo Lomas flank a large painting by Luiz Paulo Baravelli. A vintage Jansen bureau plat serves as a dining table, and the chairs are covered in a Scalamandré cut-velvet tiger print.

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A work by Francis Bacon is displayed on a mirrored wall in the master bedroom; the fabrics on the headboard and daybed are from Pierre Frey, and the curtain and wall-covering fabric is by Kravet. Opposite: A photograph by Michel Comte overlooks a vintage desk and an Eames armchair by Herman Miller.

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On Manhattan’s Upper West Side, three stunning yet subtle Agnes Martin canvases punctuate the circular living room of art adviser Andrea Glimcher and her young family. A curved Ochre sectional sofa is covered in a fabric from Holly Hunt, the Womb Chairs by Eero Saarinen for Knoll are from Design Within Reach, the Joseph-André Motte low table was acquired at Demisch Danant, and the Sergio Rodrigues armchair is vintage. The pieced hide rug was designed by Glimcher, who oversaw the apartment’s decor; Alan Wanzenberg did the renovation. For details see Sources.

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COMBINING MULTIPLE APARTMENTS IN A FAMED MANHATTAN BUILDING, ANDREA GLIMCHER TEAMS WITH ARCHITECT ALAN WANZENBERG TO CRAFT A STYLISH, ART-FILLED FAMILY HOME

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Glimcher stands beside a Robert Rauschenberg work that fills nearly an entire wall of the master bedroom; her dress is by Gabriela Hearst.

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arely six months after Andrea Glimcher moved into he storied Ansonia on Manhattan’s Upper West Side in 2004, she began casting an eye next door. On maternity leave with her first child, Katharine, she was already imagining outgrowing the three-bedroom apartment, though she loved its architectural details and European flair. So on New Year’s Eve she left a bottle of Champagne with what she calls “a sweet but to the point” note, expressing interest in buying if the neighbor was interested in selling.

It worked. By the time Katharine turned two, a deal had been struck and a renovation quickly orchestrated. But Andrea and her then-husband, Marc Glimcher—who both worked at his family’s Pace Gallery, where he serves as president—weren’t finished. In 2011, following the birth of their son, Alexander, two apartments directly upstairs came on the market in quick succession. “To have a situation where this amount of space could be assembled was unusual,” says Andrea, who now heads her own consultancy, Hyphen, assisting artists, institutions, and collectors with management and special projects.

The Glimchers snatched up both units and tapped architect Alan Wanzenberg, whose expertise with historic buildings they admired, to design the now 6,000-square-foot penthouse duplex. Though the couple divorced before the four-year project was completed, Andrea carried on, working closely with Wanzenberg to create a family home that would also serve as a compelling setting for her sizable collection of contemporary art—primarily pieces by friends and artists she has long admired.

Presiding serenely over the living room, for example, are several Agnes Martin works, distinguished by her signature pale, penciled lines. Hanging in Katharine’s bedroom is a crumpled metal sculpture by John Chamberlain, a baby gift from the artist. Several works by Kiki Smith—including her hypnotic video of jellyfish, in the kitchen—punctuate the apartment, as do pieces by Chuck Close, George Condo, Alex Katz, Vik Muniz, Will Ryman, and Pat Steir.

Wanzenberg had toyed with various layouts, but Andrea ultimately decided she wanted the family bedrooms, living room, and kitchen on the main floor and the less-trafficked spaces, including the dining room, upstairs, where porthole windows, while charming, provide less light. (Wanzenberg brightened things up a bit by adding some new skylights and refurbishing existing ones.) To connect the two levels, they opted not for a traditional grand staircase in the foyer but a space-saving spiral design toward the back of the apartment—

its form echoing the circular living and dining rooms it links. “It could have been a Park Avenue apartment,” the architect says. “What’s fun about it is the unconventionality.”

When it came to the kitchen, Andrea initially imagined a design inspired by her favorite Viennese patisserie, Demel, with its rich mahogany and brass accents. But she and Wanzenberg agreed that would feel too dark and instead ended up going for white cabinets, miles of Carrara marble, and a stainless-steel island she picked up at a restaurantsupply store on the Bowery. (Nods to Demel can be found elsewhere, however, including the staircase’s striking asymmetrical handrails—a perfect spiral of lacquered wood on one side and a gleaming curl of brass on the other.)

The decorating process was a bit like a theater piece, with helpful friends “entering stage left, exiting stage right,” Andrea says. “It’s made me appreciate all the creative—and resourceful—people in my life.” Her cousin, for instance, runs a leather-goods company and found the Colombian artisan who stitched a jagged-edged calf-hair rug for the living room.

Stumped for months about what to do with the dining room, Andrea decided to bring in a collaborator. “My life is working with and for artists, 24/7,” she explains. “I realized, I should invite somebody to do something in the dining room.”

She turned to her friend artist Adam Pendleton. “He was my first choice because of our mutual love of Sol LeWitt,” she recounts. “I said to him, ‘Why don’t you do a wall drawing?’ ” Pendleton, who is African American, responded by wrapping the entire room in a showstopping vinyl mural featuring the fragmented words BLACK LIVES MATTER. Not wanting anything to compete with Pendleton’s work, Andrea designed a clear acrylic table herself and surrounded it with mahogany bentwood chairs by Viennese Secessionist designer Gustav Siegel, an unexpectedly inspired choice. “I like contrasts that seem so far apart they actually fit together,” she says.

The final touch resulted from a stop at a traffic light in SoHo one day, when Andrea caught sight of what she thought was a plain black pendant light hanging in a shop.

On closer inspection, she found the piece, by Marcel Wanders, was anything but simple: The dome’s white plaster interior was a floral rhapsody, which Andrea realized would be reflected in the acrylic table. The effect, particularly at night, is dazzling. “It’s like a secret, or a surprise,” she says.

Discovering the light also affirmed her guiding philosophy, whether in art, decorating, or life: You have to walk through the world with your eyes open.

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The breakfast area’s mid-1950s dining set by Roberto Aloi and vintage pendant light are from Good Design; a Robert Mangold work on paper pops against walls painted in a Benjamin Moore gray, and a collection of his holiday cards is displayed on the kitchen shelves. Right, from top: In the living room, a large Agnes Martin canvas is flanked by an Isamu Noguchi Akari light sculpture and a Saarinen chair and ottoman by Knoll from Design Within Reach. Another Mangold work hangs to the right of the kitchen, which features Art Deco ceiling fixtures by Jean Perzel and a Sub-Zero refrigerator.

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Glimcher commissioned a site-specific work by Adam Pendleton for the walls of the circular dining room, and also designed the table, which was custom made by Plexi-Craft; the pendant lamp is by Marcel Wanders for Flos. A John Chamberlain sculpture rests on the table, and the suite of Gustav Siegel Vienna Secessionist armchairs is from Kimcherova; a self-portrait by Chuck Close hangs in the hall.

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A Spencer Finch work is displayed above the master bedroom’s Ivano Redaelli bed, which is framed by Art Deco nightstands and Isamu Noguchi Akari light sculptures; the bed linens are by Matouk, and the rug was custom made by Nasiri. Right: A hallway showcases a large George Condo canvas opposite a midcentury earthenware lamp by Antonia Campi and a work on paper

by Claes Oldenburg and Coosje van Bruggen; a drawing by Yoshitomo Nara hangs above the 1880s inlaid armchair, a family heirloom.

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FROM TOP LEFT: PIERO FASANOTTO, COURTESY OF FLOS; RICHARD POWERS (5); KEVIN NOBLE, COURTESY OF THE NOGUCHI MUSEUM; NICHOL AS KNIGHT, COURTESY OF THE NOGUCHI MUSEUM

ARTFUL EYE

1 Andrea Glimcher knew Marcel Wanders’s Skygarden pendant light would be perfect for her dining room when she spotted it in a shop window, but its lyrical, cast-plaster floral interior came as a delightful surprise.

By Flos; usa.flos.com

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2 Artist Adam Pendleton, a friend of Glimcher’s, created the dining room’s immersive wall work, Black Lives Matter.

“It’s extraordinarily moving, prompting significant and forward-moving conversations during dinner,” she says.

Already the work has been lent to museums in New Orleans, Cleveland, and Detroit; an exhibition copy is made and installed for the duration of a show.

3 It was a challenge for architect Alan Wanzenberg to perfect the apartment’s distinctive stair rails. One side is hand-lacquered wood, while the other is a single piece of brass, which had to be molded into its sculptural shape. “That railing came in and out of here at least five times,” Glimcher admits. “It required constant tweaking until it was right.”

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6 Years ago, while preparing an exhibit of Picasso ceramics for the Bellagio Gallery of Fine Art in Las Vegas, Glimcher went to an upstate New York ceramics auction, where she acquired several Picasso works for the gallery’s shop. “But I held this plate back for myself,” she says of the piece, pictured here above a George Condo painting and John Chamberlain sculpture.

4 Glimcher wanted a monumental kitchen island but was worried it might overwhelm the space. Her contractor from Stern Projects mocked up a foam-core version to scale. “I asked the entire job crew, about 18 to 20 guys, to join me in the kitchen area, just like a party crowd,” Glimcher recounts. “And that’s when the kitchen design changed and I found a small stainless-steel island at a restaurant-supply place.”

7 & 8 Akari light sculptures by Isamu Noguchi are scattered throughout the apartment.

“Noguchi lamps have a certain harmony and effortless beauty,” Glimcher says. “They are given pride of place in our apartment.” She is a frequent visitor to the Noguchi Museum, in Long Island City, which she calls “an oasis inside and out— and the perfect place to bring visiting friends.” noguchi.org

5 Paris’s Musée Picasso is a favorite of Glimcher’s, in part because of its celebrated Diego Giacometti furnishings.

“My Giacometti rug has the same sensibility I find appealing in his furniture,” she says. “Poetic and romantic, it’s also durable. It’s in my foyer, seemingly impervious to my two kids and dog.”

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COURTESY OF HERMÈS. OPPOSITE: PIERRE SCHWARTZ, COURTESY OF MUSÉE INTERNATIONAL DES ARTS MODESTES, SÈTE, FRANCE

Life Imitates Art TE X T BY JACQUE LINE TE RRE BONNE

P R O D U C E D B Y S T E FA N I E L I

The Promenade au Faubourg tray by Hermès, crafted from maple with a bridle-leather tab, features a playful depiction of the maze of stairs and hallways inside the legendary firm’s Paris flagship at 24 Faubourg Saint-Honoré; hermes.com.

Opposite: Working with cardboard, paper, and other prosaic materials, the Congolese sculptor Bodys Isek Kingelez constructed fantastical, elaborate models of imaginary cities, such as this one, titled Sète en 3009. The artist, who died in 2015, will receive his first full retrospective, at New York’s Museum of Modern Art, opening May 26; moma.org.

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COURTESY OF THE MUSEUM OF FINE ARTS, HOUSTON. OPPOSITE: COURTESY OF DIOR

A glorious array of rubies, diamonds, emeralds, chalcedony, agate, and rock crystal embellishes a 19th-century gilded-silver shield. The 20-inch-diameter masterpiece is a highlight of the exhibition “Peacock in the Desert: The Royal Arts of Jodhpur, India,” which debuts at the Museum of Fine Arts, Houston, on March 4; mfah.org. Opposite: For the spring 2018 Dior collection, designer Maria Grazia Chiuri used embroidered gem-colored rhinestones to spectacular effect on dresses such as this rainbow whirl of a shift; 800-929-DIOR. 141

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COURTESY OF KALLISTA. OPPOSITE: JASON WYCHE, COURTESY OF PUBLIC ART FUND, NY

A marvel of technology and style, this matte-black solid-metal faucet from Kallista’s Grid collection—produced using 3-D printing—seems to defy the laws of nature with its divided spout, while its pared-down, cubic forms nod to the modernist de Stijl movement.

Available this summer; kallista.com. Opposite: Minimalist master Sol LeWitt’s sculptural practice was radically reductive yet offered seemingly limitless possibilities for variation. Pictured here is his 1991 One x Two Half Off, in painted aluminum, part of a 2011 retrospective mounted by the Public Art Fund in Manhattan’s City Hall Park; publicartfund.org.

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COURTESY OF KALLISTA. OPPOSITE: JASON WYCHE, COURTESY OF PUBLIC ART FUND, NY

R E T R O

C H I C

STEVEN HARRIS AND LUCIEN REES ROBERTS GIVE A MIDCENTURY GEM IN PALM SPRINGS A RAVISHING RESTORATION

TE X T BY S TE PH E N WA LLI S PH OTO G R A PH Y BY S COT T F R A N CE S

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Featuring a cross-shaped plan and a palm-bordered terrace, the 1957 Donald Wexler house that architect Steven Harris and designer Lucien Rees Roberts renovated for themselves in Rancho Mirage, California, is the embodiment of classic Desert Modernism. For details see Sources.

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Harris takes his 1957 Porsche 356 Speedster on early morning drives into the San Jacinto Mountains.

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ometimes we’re lucky enough to find a place, a community, a home, that feels—unexpectedly— just right. When architect Steven Harris and his longtime partner, interior designer Lucien Rees Roberts, began looking at houses around Palm Springs a few years ago, it wasn’t for themselves but for good friends in need of guidance.

That hunt landed the friends, Hollywood agent Brian Swardstrom and movie producer Peter Spears, a house in Rancho Mirage by William Cody, one of the luminaries who made California’s Coachella Valley a nexus of the progressive midcentury architecture that came to be known as Desert Modernism. But the search also left a big impression on Rees Roberts and Harris, who asked a few real estate agents to keep an eye out for them.

Before long, an intriguing prospect turned up. It was a classic Desert Modern three-bedroom house from 1957, with a cross-shaped plan, lots of glass and steel, a palm-bordered pool terrace, and views out over an adjacent golf course to the mountains beyond. And it was in Rancho Mirage, just a few minutes’ walk from Spears and Swardstrom’s place. “As soon as I saw it on Google Earth and learned a little about it, I knew it was the house we wanted,” says Harris. “We pretty much agreed to buy it before we ever visited.”

That kind of trust-your-gut leap is perhaps easier to make when you already own six other residences in far-flung locations, as the New York City–based Harris and Rees Roberts do, and when you are as steeped in modernist architecture as Harris is. While they knew this house was significant, it took some sleuthing to figure out it had been designed by Donald Wexler, whose local projects included the Palm Springs International Airport main terminal and the Dinah Shore house, now owned by Leonardo DiCaprio. The clinching evidence came from the archives of celebrated landscape architect Garrett Eckbo, who conceived the house’s gardens and indoor floor planters.

The passage of time and some unfortunate choices during a 1970s renovation meant significant work was required, including removing air-conditioning ducts that had been added to the roof and undoing an expansion of the master bedroom that had spoiled the roof overhang.

Consulting Wexler’s and Eckbo’s drawings, the couple set about returning the property closer to its original state while updating all of the systems and introducing less water-dependent native plants to the gardens.

In the end, “every piece of drywall, Sheetrock, and plaster was taken off and replaced,” says Harris, “but we were careful to maintain important details and the spirit of the house.” Where Wexler had used wood paneling, they installed a strikingly patterned veneer of Brazilian rosewood.

They also called on a local specialist to match new terrazzo for the baths and kitchen with the original floors elsewhere.

Throughout the house, the furnishings are an assortment of custom Rees Roberts designs and vintage pieces acquired over the years. The master bedroom’s 1950s bed—its headboard outfitted with ashtrays, magazine pockets, and lights—was Italian design legend Gio Ponti’s own. In the dining room, a sculptural light fixture by Paris designer Alexandre Logé hangs above a showstopping late-’60s Willy Rizzo travertine table, a sculptural circle bored through its base.

The art is a similarly compelling mix. Works from three generations of notable painters in Rees Roberts’s family are on display, giving the collection a decidedly personal tint.

Among the most significant works are the living room’s painting by legendary Brazilian landscape designer Roberto Burle Marx and a large abstract canvas by noted Slovenian artist Jože Ciuha. “We buy things we fall in love with,” says Rees Roberts. “They’re not necessarily particularly expensive, and in many cases, they’re not by famous people.”

An artist himself, Rees Roberts often spends mornings painting in the casita, a short bamboo-lined path away from the kitchen. “The light here is incredibly beautiful,” he says, “and in this house you feel very close to the landscape, the views.” Harris, for his part, likes to begin his days with a drive. A self-proclaimed “car freak” with a fondness for vintage Porsches, he typically sets out just after sunrise and heads up into the San Jacinto Mountains.

“Having driven nearly all of the passes in the Alps,” he says, “this is one of the most beautiful sets of switchbacks and climbing roads anywhere.”

The couple also enjoys entertaining a steady stream of out-of-town guests and an expanding circle of friends in Palm Springs. “So many colleagues, friends, clients—all kinds of people—happen to be here or are looking for a house here,” notes Harris. After cocktails and dinner on the terrace, cushions often get pulled off the chairs and everyone settles down for a movie on an outdoor screen. “What’s remarkable is that this is a house we didn’t mean to have,” says Harris. And yet they were clearly meant to have it.

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In a living room sitting area, a sofa and lounge chair designed by Rees Roberts & Partners are grouped around lacquered goatskin-top cocktail tables; the rug is by Crosby Street Studios.

Rees Roberts’s firm also updated the indoor floor planters and gardens conceived by legendary landscape architect Garrett Eckbo.

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SECTION

PHOTO CREDIT TK

The guest room features vintage Brazilian rosewood paneling and a custom-made bed dressed in Frette linens; an Alphonse Boube collage is displayed on a vintage Angelo Lelli stand for Arredoluce. The Plexiglas chair is covered in a hide from Moore & Giles, and the curtains are of a JAB linen blend. Opposite, from top: A Robert Murray sculpture and a painting by Frans Krajcberg animate the dining room; the chandelier is by Alexandre Logé, and the late-1960s Willy Rizzo table s paired with vintage Pierre Paulin chairs. The living room fireplace is flanked by a multimedia work and a bronze torso, both by Dorothy Ruddick; a Jože Ciuha painting hangs beside a sofa covered in a Holly Hunt fabric.

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From top: The bathroom’s castterrazzo countertop, pink porcelain sinks, and chrome fittings with Lucite handles are all original to the house; the sconces are vintage Austrian. A private outdoor shower features a Grohe showerhead and an armchair covered in a Perennials fabric. Left: The covered entrance provides sight lines through the house, out to the pool terrace.

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“THE LIGHT HERE IS INCREDIBLY BEAUTIFUL,” SAYS REES ROBERTS, “AND IN THIS HOUSE YOU FEEL VERY CLOSE TO THE LANDSCAPE”

A 1961 floor lamp designed by Afra and Tobia Scarpa for Flos illuminates the master bedroom. The base of the vintage Gio Ponti bed is upholstered in a Manuel Canovas chenille, and the carpet is by Crosby Street Studios; the large mixed-media work is by Kent Floeter.

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For a Chicago couple’s Paris pied-à-terre, designers Kelli Wilde and Laurent Champeau took cues from legendary decorator Madeleine Castaing. In the living area, a British Gallery reproduction of a Castaing bench, clad in an Edmond Petit zebra print, joins a custom-made Hutton Collections sofa in a Dedar cotton velvet and armchairs covered in a Pierre Frey velvet.

The table lamps are by Vaughan, the painting is by Francis Montanier, and the Castainginspired leopardpattern carpet was custom made in Belgium. For details see Sources.

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ART deVIVRE CHANNELING A FRENCH DESIGN LEGEND, LAURENT CHAMPEAU AND KELLI WILDE FASHION A PERFECT PARIS RETREAT TEXT BY IAN PHILLIPS PHOTOGRAPHY

BY RICARDO L ABOUGLE ST YLED BY ANITA SARSIDI

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adeleine Castaing, the supremely original and influential 20th-century French decorator, has been something of a theme lately for Paris designers Kelli Wilde and Laurent Champeau.

For one thing, the Franco-American partners—who are married—are currently renovating Castaing’s former residence in the Saint-Germain-des-Prés district for a client. But the legendary tastemaker also looms large in another Champeau & Wilde project, a pied-à-terre for a Chicago couple nearby on the Quai Voltaire.

Known for her friendships with artists such as Chaïm Soutine and Jean Cocteau, writer Henry Miller, and prominent socialite Francine Weisweiller, Castaing possessed a romantic sensibility, marked by a taste for 19th-century eclecticism—favoring quirky, poetic pieces over things deemed important—and a love of atmospheric color and pattern. Famously, she decreed that every interior should have at least a dash of leopard print. For their Chicago clients, Wilde and Champeau took Castaing’s advice and ran with it.

The centerpiece of the American couple’s 1,500-squarefoot, two-bedroom apartment is the gracefully proportioned space that contains the living and dining areas. With nearly floor-to-ceiling casement windows overlooking an inner courtyard, the room features elegant ceiling moldings and overdoors, quintessentially French details that proved irresistible to the clients. Champeau, who handles all of the firm’s architectural work, clad the walls in classic paneling that has simple picture-frame moldings, while Wilde spearheaded the mix of bespoke and vintage furnishings.

Castaing’s influence can be detected in the pale-pink moiré-pattern curtains and in the sitting area’s zebra-print-cushioned bench with floridly scrolling arms— a Castaing design. But her spirit is felt most in the room’s coup de théâtre: a 16-by-23-foot leopard-pattern carpet that Wilde and Champeau stretched virtually wall to wall, as Castaing did at her country house.

“It unifies the whole room,” Champeau says of the rug, which was specially woven in Belgium and had to be craned in through a bedroom window, due to its size and weight.

Notes Wilde, “The carpet stays within the overall register of the apartment but adds something a little bit more funky.”

Champeau and Wilde, who worked together for years under interior designer Tino Zervudachi before setting up their own practice in 2011, tend to act as complementary

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forces: his preferred style being rigorous and classically French and hers a bit looser and more playful. “What we do works by contrast,” says Champeau. “When it’s too matchy-matchy, too attendu, it loses interest.”

This project is one of a number of Paris pieds-à-terre the duo has done for American clients. Initially these owners had imagined acquiring something very modest. “Just a place to keep some clothes and a few bags,” as the woman puts it. But when she and her longtime partner found this apartment, with its 10.5-foot ceilings, great natural light, and perfect tranquillity (despite being slap bang in the heart of the city), they couldn’t pass it up.

Tailoring the residence to the couple’s needs, Champeau and Wilde made a few structural changes. Most notably, they transformed a third bedroom into a spacious bath with an adjoining walk-in closet. They also cleverly installed a pocket door in the guest bath so that the toilet can be partitioned off and used independently as a powder room. And Champeau added a number of new architectural details, all very much in keeping with French tradition. A prime example is the entry hall’s cabochon floor, to which he gave a twist by replacing the usual black marble dots with coffee-colored ones.

The furnishings retain a distinctly Parisian feel throughout.

The Louis XVI–style dining chairs recall the work of the venerable interiors firm Maison Jansen, while a pair of lamps in the master bedroom are made from the same black Portoro marble as the façade of Cartier’s iconic boutique on rue de la Paix. And there’s another Castaing carpet, featuring a dense leafy pattern, in the guest bedroom.

On the walls, Champeau and Wilde hung mainly modern works, including abstract collages created by the French painter Francis Montanier in the 1960s and ’70s. Certain items were sourced by the clients themselves, such as the carved-wood panel by Austrian artist Alfred Haberpointner that presides arrestingly over the dining area. And in a more traditional vein, they also provided a trio of old maps (the woman’s father has been a cartography enthusiast since boyhood), one of which is an 1817 plan of Paris, with engravings of the city’s major sights around its border.

“We wanted to create an ambience that respected what this place would have been like in the 19th century, while making it our own,” says the woman, who fell in love with Paris on her first visit at the age of 14 and long dreamed of returning to live there one day. “There’s a romance to all of this that never goes away.”

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A large carved-wood artwork by Alfred Haberpointner overlooks the dining area; the table is a bespoke design

by Hutton Collections, and the chairs and sconces are from a Paris flea market.

The glazed-earthenware bust and butterfly-filled cloches are from Stéphane Olivier.

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The chandeliers are from the 1940s, and the collage between the windows is by Anna Shanon. Left: The kitchen features a Lacanche range, a Hutton Collections stool upholstered in a Dedar fabric, and cement floor tiles laid in a trompe l’oeil geometric pattern.

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In the master bedroom, an Edoardo Menini collage rests on the mantel, and the bélier sculpture is by FrançoisXavier Lalanne. The bed is upholstered in a silk moiré and the curtains are of a damask, both by Dedar; the bench is covered in a Jim Thompson velvet.

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REAL ESTATE

On the Market

THREE STUNNING PROPERTIES WITH HISTORIC PEDIGREES TEXT BY GEOFFREY MONTES

◀ C ABO SAN LUC A S , MEXICO | $10 MILLION Enchantingly located on a cliffside some 250 feet above the Pacific, this 2001 residence served as a private getaway for the late American songwriter and record producer Luigi Creatore, who penned hits for Elvis Presley and Perry Como. Constructed with reinforced concrete and high-strength laminated glass, the Steven Harris–designed refuge features two wings, totaling 7,500 square feet and containing five bedrooms. At the center lies a marvelous desert courtyard: Incorporating boulders found on-site and enlivened by a garden of succulents, this leisurely, convivial space offers a two-story outdoor living room and a cantilevered infinity pool with captivating views of the Baja Peninsula. Contact: theagencyre.com.

R A P I DA N , V I R G I N I A | $ 7 M I L L I O N ▶ Built in 1859, this Greek Revival manor is the heart of the 760-acre Horseshoe Farm, a former plantation named for its U-shape, created by the bordering Rapidan and Robinson rivers. The six-bedroom mansion retains original moldings inspired by the Parthenon as well as hand-painted murals. Its signature hanging staircase was added in the 1930s by Edward Stettinius Jr., who served as secretary of state under Franklin D. Roosevelt and Harry S. Truman. An array of vineyards, stables, and ponds complement the formal gardens, which were sourced from Louisiana in the 1850s.

Contact: sothebysrealty.com. ID: XXBK6C 164

FROM TOP: ANTONIO MARTINELLI (2); SCOT T FRANCES; ADAM WAYL AND

W I C K L O W, I R E L A N D | $ 3 4 . 7 M I L L I O N ▶ Half an hour from Dublin, this handsome 18th-century castle has welcomed such pop-music luminaries as Michael Jackson, Mick Jagger, and Bono. They were guests of the Guinness brewing family, which acquired the 5,000-acre estate, named Luggala, in 1937. In the 1990s, Irish conservation specialists Sheehan & Barry Architects oversaw a multimillion-dollar refurbishment of the seven-bedroom Gothic Revival main lodge. Elsewhere on the vast property are several guest cottages with 20 additional bedrooms, as well as silvery waterfalls, a substantial loch, and dense woodlands ideal for hunting. Contact: sothebysrealty.com. ID: GHLH29

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March 9-11 VIP PREVIEW

March 8th

BY INVITATION ONLY

photo: Lost City Arts at Collective Design 2017

SKYLIGHT CL ARKSON NORTH 572 WASHINGTON STREET

NEW YORK CIT Y COLLECTIVEDESIGNFAIR.COM COLLECTIVEDESIGNFAIR.COM

SOURCES Items pictured but not mentioned are from private collections. (T) means item is available only to the trade.

All of the following images are © Artists Rights Society (ARS).

Pages 12 and 162: 2018 ARS, New York/ ADAGP, Paris. Pages 14, 126, 127, and 131: 2018 Agnes Martin/ARS, New York. Page 18: 2018 Brice Marden/ARS, New York.

Page 32: 2018 Frank Stella/ARS, New York.

Page 32: 2018 Succession H. Matisse/ARS, New York. Page 34: 2018 Mickalene Thomas/ARS, New York. Page 52: 1998 Kate Rothko Prizel & Christopher Rothko/ARS, New York. Page 58: Yinka Shonibare MBE. All Rights Reserved, DACS/ARS, NY 2018.

Pages 74 and 137: 2018 Alberto Giacometti Estate/licensed by VAGA and ARS, New York, NY. Pages 106, 132, 133, and 137: 2018 Fairweather & Fairweather LTD/ARS, New York. Page 109: 2018 ARS, New York / VEGAP, Madrid. Page 115: 2018 ARS, New York /DACS, London. Pages 120 and 124: The Estate of Francis Bacon. All rights reserved, DACS, London/ARS, NY 2018.

Pages 126–27, 131, 134–35, and 137: 2018 the Isamu Noguchi Foundation and Garden Museum, New York/ARS, New York. Pages 130–31: 2018 Robert Mangold/ARS, New York. Page 131: 2018 ARS, New York/ ADAGP, Paris. Pages 135 and 137: 2018 George Condo/ARS, New York. Page 137: 2018 Estate of Pablo Picasso/ARS, New York. Page 143: 2018 the LeWitt Estate/ARS, New York.

CROSSING BORDERS Pages 92–105: Interiors and upholstery

by Pablo Paniagua; pablopaniagua.es.

Pages 92–93: In white parlor, armchair by Tapicería Veroe; tapiceriaveroe.com.

Armchair upholstered in Ombra velvet, in dark orange, by Rubelli (T); rubelli.com.

Pages 98–99: In green parlor, custom klismos benches by Pablo Paniagua and made by Tapicería Veroe, upholstered in Ombra velvet, in wine, by Rubelli (T).

Page 100: In stairway, bench upholstered in Monceau chenille, in red, by Manuel Canovas (T); cowtan.com. Page 101: In library, sofa upholstered in Connemara linen, in sand, by Loro Piana (T); loropiana.com. Page 102: In master bedroom, French curule-style bench upholstered in Connemara linen, in green, by Loro Piana (T). Bed canopy lined with New Khmer silk, in silver, by Jim Thompson Fabrics (T); jimthompsonfabrics.com. Custom bed by Pablo Paniagua upholstered in New Khmer silk

by Jim Thompson Fabrics (T).

ELEGANT GEOMETRY Pages 106–13: Interiors by David Kleinberg Design Associates; dkda.com. Architecture

by John B. Murray Architect; jbmarchitect.com. Upholstery by Anthony Lawrence Belfair (T); anthonylawrence.com. Page 106: In dining gallery, custom Agnes chandelier

by Lindsey Adelman; lindseyadelman.com.

Armchair upholstered in Shan fabric by Larsen (T); cowtan.com. Page 108: In living room, custom Silk Mikado curtains by Clarence House (T); clarencehouse.com.

Cocktail table from Bernd Goeckler; bgoecklerantiques.com. Custom silk-and-jute rug by Edward Fields (T); edwardfields.com. Midcentury club chairs

by Studio Van den Akker (T); studiovandenakker.com. Page 110, top: In study, millwork by Vella Interiors; vellainteriors.com. Bentley sconces by Porta Romana (T); portaromana.com. Custom carpet by Patterson Flynn Martin (T); pattersonflynnmartin.com. Page 110, bottom left: In den, Hudson Square burlap wall covering, in sand, by Crezana, crezanadesign.com; from John Rosselli & Assoc.

(T), johnrosselli.com. Signature sconces by Holly Hunt (T); hollyhunt.com. Custom sofa by Avery Boardman (T); averyboardman.com. Sofa upholstered in San Carlo mohair velvet by Schumacher (T); fschumacher.com. Wool carpet from Patterson Flynn Martin (T). Page 111: In kitchen, Oskar 15 Pendant lights from Remains Lighting; remains.com. Harry Bertoia chairs, in polished chrome, from Knoll; knoll.com. Page 112: In master bath, Palos Verdes ceiling fixture by Boyd Lighting, boydlighting.com; from Donghia (T), donghia.com. Aletta sconce by Phoenix Day (T); phoenixday.com. Sink fittings by Lefroy Brooks; usa.lefroybrooks.com. Page 113: In master bedroom, custom curtains

by La Regence; nylaregence.com. Curtains in Ruzante silk damask, in argento, from Rubelli (T); rubelli.com. Chandelier from Karl Kemp Antiques; karlkemp.com. Bed by Anthony Lawrence Belfair (T); upholstered in Across the Horizon fabric, in perfect grey, by Holly Hunt (T). Wool-and-viscose carpet by Patterson Flynn Martin (T).

BLITHE SPIRIT Pages 118–25: Architecture and interiors

by Sig Bergamin; sigbergamin.com.br.

Page 118: In living room, Charles sofa by Antonio Citterio from B&B Italia; bebitalia.com. Walls covered in Stubbs Club Stripe cotton fabric, in ivory and black LCF65065F, by Ralph Lauren Home; ralphlaurenhome.com. Pages 120–21: In living room, vintage Warren Platner chairs,

GALERIE (ISSN 2470-9964), Issue No. 8, Spring 2018, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/ Editorial Director; James S. Cohen, Chairman; Adam I. Sandow, Chairman, SANDOW. Principal office: Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178. Editorial and advertising offices: GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178.

Subscriptions: Visit galeriemagazine.com/subscribe, or call 855-531-8900. Subscription prices: United States, $29.95 for one year (Canada, add $40); $9.95 per single copy. For customer service and changes of address, write to Customer Service Department, GALERIE, P.O. Box 1787, Lowell, MA 01853-1787.

Allow 4–6 weeks to receive first copy.

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reproduced by Knoll; knoll.com. Vintage Groovy Lounge chair by Pierre Paulin upholstered in Dune fabric, in corail, from Pierre Frey (T); pierrefrey.com. Pages 122–23: In living room, rayon-cotton curtains, in venetian plum #31326.10, by Kravet (T); kravet.com. Chairs upholstered in Tigre velvet, in red-and-black colorway,

by Scalamandré (T); scalamandre.com. Page 124: In master bedroom, cotton wall covering and curtains, #31392.916, from Kravet (T). Headboard upholstered in Alhambra fabric from Pierre Frey (T); pierrefrey.com. Daybed covered in Budapest fabric, in carmine, by Fadini Borghi, from Pierre Frey (T). Page 125: In master bedroom, desk chair by Herman Miller; store.hermanmiller.com.

ENSEMBLE CAST Pages 126–37: Andrea Glimcher of Hyphen Advisory; hyphenadvisory.com.

Architecture by Alan Wanzenberg; alanwanzenberg.com. Pages 126–27: In living room, Eternal Dreamer section sofa

by Ochre, ochre.net; upholstered in Vintage fabric, in platinum 818, by Mokum from Holly Hunt (T), hollyhunt.com. Vintage Joseph-André Motte low table from Demisch Danant; demischdanant.com. Page 128: Andrea’s dress by Gabriela Hearst; gabrielahearst.com. Makeup by Margret Avery for MAC Cosmetics. Page 130: In kitchen, Sterling Silver wall paint by Benjamin Moore; benjaminmoore.com. Pia Crippa Guidetti pendant lamp and Roberto Aloi dining table and chairs from Good Design; gooddesignshop.com. Page 131, top: In living room, Akari floor lamp, model UF4-L8, by Isamu Noguchi; shop.noguchi.org. Womb chair and ottoman by Eero Saarinen for Knoll, from Design Within Reach; dwr.com. Page 131, bottom: In kitchen, refrigerator by Sub-Zero; subzero-wolf.com. Pages 132–33: In dining room, Skygarden pendant light by Marcel Wanders for Flos; flos.com. Acrylic dining table by Andrea Glimcher and manufactured

by Plexi-Craft; plexi-craft.com. Vintage Gustav Siegel armchairs from Kimcherova; kimcherova.com. Page 134: In master bedroom, Timothy bed by Ivano Redaelli, ivanoredaelli.it; from JANGEORGe, jangeorge.com. Bedding by Matouk; matouk.com. Custom Nepalese rug by Nasiri; nasiricarpets.com.

RETRO CHIC Pages 144–55: Architecture by Steven Harris of Steven Harris Architects; stevenharrisarchitects.com. Interiors, landscape design, and select furnishings

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by Lucien Rees Roberts of Rees Roberts + Partners; reesroberts.com. Pages 148–49: In living room, Galaxy carpet, in taupe, by Crosby Street Studios (T); crosbystreetstudio.com. Page 150, top: In dining room, Bird chandelier by Alexandre Logé from Donzella; donzella.com. Page 150, bottom: In living room, custom sofa by Rees Roberts + Partners covered in Breathe Easy fabric, in latte, by Holly Hunt (T); hollyhunt.com.

Page 151: In guest room, bed linens by Frette; frette.com. Vintage Plexi Egg chair upholstered in Serengeti hide by Moore & Giles; mooreandgiles.com. Target fabric curtains by JAB Anstoetz Fabrics; jab.de.

Page 153, bottom: Outside, Rainshower Cosmopolitan showerhead, in brushed nickel, by Grohe; grohe.us. Vintage chair upholstered in Ishi fabric, in white sands,

by Perennials (T); perennialsfabrics.com.

Pages 154–55: In master bedroom, Galaxy carpet, in light gray, by Crosby Street Studios (T). Vintage Gio Ponti bed upholstered in Nevada fabric, in lin colorway, by Manuel Canovas (T); cowtan.com.

ART DE VIVRE Pages 156–63: Interiors by Champeau & Wilde; champeau-wilde.com. Pages 156–57: In living room, Woodville table lamps by Vaughan (T); vaughandesigns.com.

Custom sofa by Hutton Collections (T), huttoncollections.com; upholstered in Adamo & Eva cotton velvet, in indigo, from Dedar (T), dedar.com. Reproduction Madeleine Castaing bench from the British Gallery, Paris, british-gallery.com; clad in Bragance fabric, in zebre #15506, from Edmond Petit, edmond-petit.fr. Custom armchairs by Champeau & Wilde upholstered in Teddy mohair velvet, in noir, by Pierre Frey (T); pierrefrey.com.

Page 159: In dining area, custom table by Hutton Collections (T). Globes with butterflies and busts from Stéphane Olivier; stephaneolivier.fr. Page 160: In kitchen, stools by Hutton Collections (T), upholstered in Extension outdoor fabric

by Dedar (T). Range by LaCanche; frenchranges.com. Page 161: In living room, 1940s crystal chandeliers from Stéphane Olivier. Pages 162–63: In master bedroom, butterflies in frame from Stéphane Olivier. Pure Damask curtains by Dedar (T). Edoardo Menini collage from Stéphane Olivier. Vintage bench upholstered in velvet by Jim Thompson Fabrics (T); jimthompsonfabrics.com. Custom bed

by Champeau & Wilde, upholstered in Armoir Libre silk moiré, in poudre 015,

by Dedar (T).

GALERIE is not responsible for unsolicited manuscripts or art, and such material will not be returned.

Reprints and permissions: No part of GALERIE may be reproduced or transmitted in any form or by any means, electronic or mechanical, without the express written permission of the publisher.

GALERIE is a registered trademark of Galerie Media Group LLC. All rights reserved. GALERIE © 2018.

Printed in Canada.

GALERIEMAGA ZINE.COM

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JEAN-LUC LE MOUNIER

ORIGAMI CABINETS, 2016 Todd Merrill Studio annouces exclusive representation of Jean-Luc Le Mounier’s exquisite hand-made designs and bespoke furniture commissions.

Rendered in cast bronze, carved ebony, and an applied sand texture, the complex facade wraps each cabinet. The interior of the cabinets are finished in sycamore veneer marquetry. Each 90h x 40w x 21.25d inches

IN FOCUS

HISTORY-LOVING DESIGNER STEPHEN SILLS ON The first time I saw this beautiful cabinet was AN ANTIQUE OBSESSION in the late ’90s, at the sale of Charles de Beistegui’s collection from the Château de Groussay. I had bought other things and spent all I could, and this cabinet went for a lot, but I always remembered it. A beautiful English Regency writing-and-reading stand, it’s made of ebonized wood with brass mounts and lined with a superb mahogany. I just loved the purity and strangeness of it and all the little drawers. It was crafted around 1810, perhaps by Edward Wyatt, for Westminster Palace, and it survived the

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1834 fire. I couldn’t believe it when I spotted it in Christopher Gibbs’s London shop a few years later. When Bill Blass, a great friend, asked me what I’d seen in London that he would like, I told him about this amazing piece. The next time I went to his apartment, it was there. After Bill died, it was in his sale, and though I bought several things, I couldn’t afford this cabinet as well. Then recently I was at Christie’s with a client, and, incredibly, there it was. This time, I was the only one who bid, and I got it for a very good price. Eventually I’ll put it in my country house, but for now I’m enjoying it in New York. It was destiny that I own this piece. —STEPHEN SILLS

JOSHUA M C HUGH

Designer Stephen Sills at home with his Regency cabinet.

GALERIEMAGA ZINE.COM

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2/3/18 2:03 AM

B:9.25” T:9” S:8.5”

MADE OF PRECISION PLEASE DRINK RESPONSIBLY. Imported Cognac Hennessy®, 40% Alc./Vol. (80˚). ©2017 Imported by Moët Hennessy USA, Inc., New York, NY. HENNESSY is a registered trademark.

Client:

HENNESSY

HENN8855_AD1.M02.indd

Saved at: 7-31-2017 2:47 PM Printed at None

Desc: HENN8855 - PXI Galerie Ad Fonts: Hennessy Sans (Regular), Gotham (Bold, Book)

Job info:

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Pub: Specs:

Images: K_V.tif (CMYK; 300 ppi; 100%), HENN_Paradis_Imp_KO_rm.eps (77.7%)

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