Galerie Summer 2018

SENSATIONAL STYLE

LiveArtfully

FROM COAST TO COAST ART LOVERS’ GUIDE TO MARSEILLE IN THE STUDIO WITH

SEAN SCULLY

SUMMER 2018 ISSUE NO 9

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A text-based work

by Mark Bradford in a Palm Beach home designed by Aman & Meeks.

104 CLASSIC COOL Serene glamour meets eye-catching art at a Palm Beach villa transformed by Aman & Meeks. By Vicky Lowry 114 SETTING THE SCENE Darren Star’s Hamptons hideaway gets a ravishing reboot by designer Waldo Fernandez. By Deborah Copaken 124 DESERT BLOOM A Palm Springs house by Marmol Radziner is an ode to elegant indooroutdoor living. By Stephen Wallis 138 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. Produced by Stefanie Li

154 IN HIS ELEMENT A visionary in the art of theater, Robert Wilson turns his summers into a swirl of creativity. By Tim McKeough

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160 NEW HORIZONS Liz Anne and Phokion Potamianos delight in a beachfront bungalow artfully updated

by Eddie Lee. By Michael Slenske

DOUGL AS FRIEDMAN

146 MIX MASTER Blending modern interiors and Tuscan architecture, Penny Drue Baird conjures a dream house. By Kathleen Hackett

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58 Clockwise from far left: Darren Star’s sundrenched East Hampton living room, with a painting by Jonas Wood.

Abstractionist Sean Scully in his studio. A canvas by Etel Adnan. The Tiwal 3 inflatable sailboat.

114 32 18 EDITOR’S LETTER

By Margaret Russell 23 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

32 THE ARTFUL LIFE: SHOPPING Design essentials for summer.

41 THE ARTFUL HOME New products for stylish solutions.

50 CUISINE Three international chefs share what they love about their home kitchens.

By Jacqueline Terrebonne 54 OBSESSIONS When high jewelry meets artisanal expertise, a timepiece becomes a gorgeous objet d’art.

By Alexander Friedman 14

58 STUDIO VISIT Longtime master of abstraction Sean Scully expresses the ineffable. By Julie Baumgardner 62 POINT OF VIEW Reed Krakoff, designer and aesthete, talks about his sources of inspiration.

By Margaret Russell 64 BACKSTORY Alberto Giacometti’s fabled workspace is gloriously re-created in Paris.

By Hilarie M. Sheets 68 TRENDING TALENT Five artists whose eye-opening work you won’t want to miss.

74 COLLECTOR Honoring her noble Italian family’s legacy, Alessia Antinori is committed to the art of today.

By Christine Schwartz Hartley

CLOCKWISE FROM FAR LEFT: RICHARD POWERS; MICHAEL MUNDY; COURTESY OF THE ARTIST AND GALERIE LELONG & CO.; COURTESY OF TIWAL

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VLADIMIR KAGAN Wysiwyg Chair exclusively through HOLLY HUNT

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124 York’s R & Company debuts a dramatic new space. By Tim McKeough

A Brice Marden painting anchors the dining room of a sophisticated Palm Beach villa transformed by Aman & Meeks. Photography by Douglas Friedman; styled by Anita Sarsidi.

88 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

32 78 SPOTLIGHT A nonagenarian Lebanese-American writer, Etel Adnan has her first solo U.S. museum exhibition. By Julie L. Belcove 82 CONCIERGE The Cultivist’s guide for where to eat, stay, and play in the City of Angels.

By Joey Lico 86 GALLERY TOUR With inspiring plans for the future, New 16

COVER

90 DESTINATIONS A historic port city, Marseille has become a major French destination for art and architecture. By Alexander Lobrano 170 REAL ESTATE From the Hamptons to Hawaii, sensational houses to buy. By Geoff rey Montes 174 SOURCES 176 IN FOCUS Dries Van Noten on why a Cecil Beaton gouache of Wallis Simpson means so much to him.

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CLOCKWISE FROM FAR LEFT: ROGER DAVIES; JOHN DOL AN; PETER MURDOCK; JOSHUA M C HUGH. COVER: ARTWORK © 2018 BRICE MARDEN/ARTISTS RIGHTS SOCIET Y (ARS), NEW YORK

Clockwise from far left: A bath in Palm Springs clad in silver travertine. Fashion designer Dries Van Noten. In a Long Island dining room, a Mark H. Luedeman table and Philippe Hurel chairs. A melamine dessert plate from Juliska.

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MARGARET RUSSELL, Editor in Chief

editor@galeriemagazine.com Instagram: @margaretrussell 18

FROM TOP: OWEN HOFFMANN/PATRICK M C MULL AN; COURTESY OF TIFFANY & CO.; COURTESY OF SCAD; COURTESY OF RIZZOLI

Above: At the Savannah School of Art and Design (SCAD) this spring, interviewing Reed and his wife, Delphine, about their recent book, Houses That We Dreamt Of. Right: The book, published by Rizzoli.

W

hen I was thinking of a headline for this issue’s Trending Talent feature and landed on “Seeking Beauty,” I realized that’s exactly what my work at Galerie is all about. Even though editing a magazine is essentially running a business, the best part of it lies in the ideas, passion, and emotion that go into producing each and every page. Of course, the pursuit of beauty and inspiration is also what drives the diverse creative talents on our radar right now—people such as abstract painter Sean Scully, celebrated interior designer Waldo Fernandez, and the visionary architectural team of Leo Marmol and Ron Radziner.

It also drives Reed Krakoff, someone who has long struck me as having an exceptional eye for beauty and who is profiled in our Point of View feature. We’ve known each other for more than two decades, and in that time I have seen his taste change and mature as his career expanded and his family life blossomed with his wife, Delphine, and their children. Because of him, I have come to better appreciate designs as varied as Joris Laarman’s sculptural resin furniture and Tiffany Studios’ Turtle Back stained-glass lamps (which I used to think of as lugubrious).

I am grateful for that, and for Reed’s characteristically low-key, mindful observations.

He once told me, “I find beauty in everyday things— that’s what I always pay attention to.” And for that matter, shouldn’t we all?

From left: The Blue Box Cafe at Tiffany & Co.’s Fifth Avenue flagship, one of the earliest—and most visible— innovations by Reed Krakoff, the brand’s chief artistic officer. Reed with me at an auction-house event.

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Photo: MATTHEW KLEIN

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CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

EXHIBITIONS With her piercing gaze, floweradorned coiffures, and bold sartorial choices, Mexican artist Frida Kahlo (1907–1954) made herself instantly recognizable. After her death, her husband, muralist Diego Rivera, locked her personal effects in her Mexico City bathroom, stipulating they remain sealed for 15 years after his own death. His wish was forgotten, however, and they remained there for more

than five decades. Leaving Mexico for the first time ever, this trove of some 200 objects goes on view at London’s Victoria and Albert Museum on June 16 in “Making Her Self Up,” through November 4. Kahlo’s Tehuana skirts, hand-painted corsets, pre-Columbian jewelry, and letters are complemented by her selfportraits and the photographs Nickolas Muray took of her, such as the one above. vam.ac.uk —LUCY REES GALERIEMAGA ZINE.COM

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August 26, German artist Carsten Höller and Italian plant neurobiologist Stefano Mancuso are exploring the question inside the famed 15th-century Palazzo Strozzi in Florence.

In the most dramatic part of the installation, visitors are given bean plants, then asked to scoot down a pair of Höller’s monumental, intertwined steel slides. Next, scientists compare the specimens’ responses to the human carriers’ feelings. Local art-and-science hero Leonardo da Vinci would be proud. palazzostrozzi.org —L.R. Carsten Höller’s slides at Palazzo Strozzi, Florence.

Rough Point in Newport, Rhode Island, with David Webb earrings.

| DESIGN For most of her life, heiress Doris Duke (1912–1993) followed the advice her father had given her on his deathbed in 1925: “Trust no one.” Yet for all her guardedness, she trusted someone: New York jewelry designer David Webb. Having inherited priceless stones and older jewels, Duke asked Webb to reinvent them as pieces she actually wanted to wear.

On view until November 11 at Rough Point, her estate in Newport, Rhode Island, “Designing for Doris: David Webb Jewelry and Newport’s Architectural Gems” showcases the designer’s creations for Duke along with architectural renderings of the area’s Federal and Colonial houses she worked hard to restore. newportrestoration.org —CHRISTINE SCHWARTZ HARTLEY Caption tk

HOTELS Straddling the centuries and the continents, the ten-suite jewel-box Casa Blanca 7, in San Miguel de Allende, Mexico, recently opened after a three-year renovation. Located in a 300-year-old landmark estate in the center of this charming, vibrant hilltop town, the hotel now seems in perpetual bloom, just like its lavender- and jasmine-filled courtyard. Reaching beyond the building’s original Spanish Colonial influences, design firm Fisher Weisman (of San Francisco and San Miguel) introduced Moroccan elements into the decor of the high-ceilinged spaces—Berber carpets, inlaid furniture from Marrakech—while blending in contemporary touches such as the firm’s own gold chandeliers and regional cement tiles cast in modern hues. casablanca7.com —JACQUELINE TERREBONNE 24

The courtyard at Casa Blanca 7, San Miguel de Allende, Mexico.

CLOCKWISE FROM TOP: MARTINO MARGHERI; COURTESY OF CASA BL ANCA 7; COURTESY OF NEWPORT RESTORATION FOUNDATION; COURTESY OF DAVID WEBB

EXHIBITIONS Do plants have emotions? Through

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| BOOKS Few gifts are quite as thoughtful as a volume that truly meets the recipient’s special interest, be it 19th-century French topiary, the history of chairs, German Expressionist art, or something more obscure. A charming bookstore owned by the 12th Duke of Devonshire and operating from the same Mayfair, London, townhouse since 1936, Heywood Hill specializes in satisfying its clients’ idiosyncrasies. This pointed approach has earned it a devoted following, who include the Queen of England and fashion star Erdem Moralioglu. Along with its eclectic stock, the store offers such bespoke services as curating custom libraries and fulfilling a “Year in Books” subscription, wherein readers receive a new, surprising opus every month following an initial personal consultation. As the service launches in the States this summer, the duke recommends five books for an artful life. heywoodhill.com —L.R. COLLECTING No jaunt to the British capital for the season would be complete without the acquisition of some new treasure, and Masterpiece London (June 28–July 4) may be just the place to find it. Held on the grounds of Sir Christopher Wren’s Royal Hospital Chelsea, the fair’s ninth edition features 160 international exhibitors offering stunning works of fine art, furniture, design, and jewelry, from antiquity to the present day. One of this year’s highlights is a celebration of Thomas Chippendale’s 300th anniversary by London dealer Ronald Phillips. Also of note is a joint exhibition by New York rare-books dealer Daniel Crouch and medieval-art specialist Les Enluminures of Paris and New York, inviting visitors to reflect on the concept of time, something the current pace of life rarely allows. masterpiecefair.com —CLAUDIA BAILLIE

Art and the Power of Placement Victoria Newhouse (Monacelli Press, 2005) Sanctuary: Britain’s Artists and Their Studios Hossein Amirsadeghi (Thames & Hudson, 2012) The Pot Book Edmund de Waal (Phaidon Press, 2011) Exhibitionist Richard Dorment (Wilmington Square Books, 2016) On Being an Artist Michael Craig-Martin (Art/Books, 2015)

A sixth-century-B.C. neck amphora at Kallos Gallery.

| RESTAURANTS Move over, Aperol Spritz.

There’s a new “It” summer cocktail. At Frenchette, a New York restaurant by Riad Nasr and Lee Hanson—veterans of Keith McNally hot spots Balthazar, Pastis, and Minetta Tavern—the Rose Piscine is making waves. A twist on the South of France habit of drinking rosé in a Burgundy glass and calling it a piscine (or swimming pool), the drink mixes 3 oz. of dry rosé, 1 oz. of vodka, ¼ oz. of St-Germain, ¼ oz. of Giffard Pamplemousse, a splash of soda, and some ice. Fancy straw highly recommended. frenchettenyc.com —J.T.

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~SHOPS Beloved decorator Jack Deamer has a new storefront on the shimmering South Fork of Long Island, this time in East Hampton (he used to be in Sag Harbor) and in partnership with a friend, Alessandro di Tosto. Called JED | Le Lampade, the charming ivy-covered shop (above) offers Deamer’s sharply curated mix of furniture, decorative objects, and art from the 18th century to the 20th, alongside the lighting fixtures and 1950s Italian pieces in which Di Tosto specializes. Seekers of the beautiful and rare are sure to find something to cherish, from an exceptional Gio Ponti glass desk to fawn hide–covered French stools. “I’m not a shopkeeper who decorates,” Deamer explains. “I’m a decorator with a shop.” jeddesign.com —C.S.H.

FROM TOP: PAUL BARKER, COURTESY OF CHATSWORTH HOUSE TRUST; COURTESY OF KALLOS GALLERY; ARTHUR GOL ABEK, COURTESY OF JED DESIGN; MEL ANIE DUNEA

The library at Chatsworth House, the ancestral seat of the Dukes of Devonshire.

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wempe.com

The new Istanbul cabin in the Venice Simplon-Orient-Express.

—GEOFFREY MONTES

Must-See Summer Exhibitions Blenheim Palace, England

Yves Klein

A Catherine the Great Fabergé egg at Hillwood Estate, Museum & Gardens.

July 18–October 7 More than 50 works by the late French artist will take over this spectacular 18th-century country estate. Highlights include key pieces from Klein’s “Monochrome” and “Fire” series as well as “Anthropometries,” in which paint-covered female collaborators imprinted Klein’s canvases. blenheimpalace.com

Los Angeles County Museum of Art

In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art

May 6–September 9 “The past is never dead. It’s not even past,” wrote William Faulkner. That much is clear in this enthralling group of 125 contemporary photographs, paintings, and sculptures—by the likes of Shirin Neshat, Parviz Tanavoli, Newsha Tavakolian, and Pouya Afshar— that draw on Iran’s rich history of storytelling. lacma.org

legendary jeweler of the Imperial Russian court bring fresh discoveries about 19th-century goldsmithing and jewelmaking. Rare, stone-encrusted Fabergé Easter eggs from the collection of the museum’s founder, Marjorie Merriweather Post, are on display alongside loans from Prince Albert II of Monaco, New York’s Metropolitan Museum of Art, and the Musée d’Orsay in Paris. hillwoodmuseum.org

San Francisco Museum of Modern Art

Donald Judd: Specific Furniture

July 14–November 4 Renowned for his minimal, rectilinear sculptures, Donald Judd also designed furniture for his five-story SoHo studio in the early 1970s. Now iconic, these pieces will be presented alongside furniture the artist collected, including items by Gerrit Rietveld, Mies van der Rohe, and Rudolph Schindler, among others. sfmoma.org

Whitney Museum of American Art, New York

Mary Corse: A Survey in Light

June 8–November 25 After a half-century under the radar, Mary Corse, a pioneer of the West Coast’s Light and Space Movement, is finally having her first museum survey.

Expect to marvel at the experimental ways in which the artist has illuminated her paintings—with electric light, ceramic tiles, and glass microspheres. whitney.org

Berkshire Botanical Garden, Stockbridge, Massachusetts

Beautiful Strangers: Artists Discover the Garden

May 26–October 8 In this ambitious show, outdoor sculptures

by Wendell Castle, Alice Aycock, Michele Oka Doner, and Robb Wynne find their place amid the verdant Berkshires landscape. berkshirebotanical.org —L.R.

Hillwood Estate, Museum & Gardens, Washington, D.C.

Fabergé Rediscovered

June 9–January 13, 2019 Spectacular treasures from the 28

CLOCKWISE FROM TOP: COURTESY OF BELMOND (2); © YVES KLEIN ESTATE; PETE SEAWARD, COURTESY OF BLENHEIM PAL ACE; ALEX BRAUN, COURTESY OF HILLWOOD ESTATE, MUSEUMS & GARDENS

| TRAVEL The world’s most fabled train ride became even more romantic in April thanks to luxury hospitality group Belmond, which unveiled a ravishing new carriage aboard its storied Venice Simplon-Orient-Express. Comprising just three opulent Art Deco–inspired suites, the addition was overseen by London’s Wimberly Interiors and features custom work by artisans in glassblowing, marquetry, and mosaics. Named and decorated after the line’s most evocative stops—Paris, Venice, and Istanbul— the cabins represent the height of luxury rail travel, down to the last detail of their marble bathrooms. “Designing within such a confined space was certainly challenging, but we are delighted with the results,” says Wimberly vice president and studio director Rachel Johnson. “Every item and finish has a story to tell.” belmond.com

Blenheim Palace and Yves Klein’s Blue Venus (S 41), 1962.

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SHOPPING: DESIGN ESSENTIALS FOR SUMMER WRITTEN AND PRODUCED

BY MARGARET RUSSELL

Going green takes on new meaning with MARTIN KATZ’S mesmerizing emerald-andplatinum ring. Set with a 5.92-carat Colombian emerald, it also features baguette diamonds and a band of tapered emeralds and carré diamonds. martinkatz.com In a new collaboration with London’s National Gallery, SAVOIR BEDS will reproduce any work from the museum’s collection as upholstery for its bespoke beds. A painting by Jan van Huysum Paulus was the source for the Harlech bed (shown); prices, including the mattress set, start at $17,000. savoirbeds.com

EROS RAFFAEL’S

lyrical lamp, handmade in Italy of cerulean Murano glass, stands 40 inches high and comes with a blue cotton drum shade. It costs $940; shipping is additional. artemest.com

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Durable Splatter and Spin melamine dinner and salad/ dessert plates by JULISKA are perfect for summer entertaining; they cost $18 and $16 each, respectively. juliska.com

CLOCKWISE FROM TOP: COURTESY OF MANSOUR MODERN; JOSHUA M C HUGH; COURTESY OF SAVOIR BEDS; COURTESY OF ARTEMEST; COURTESY OF MARTIN KATZ

Inspired by an antique textile, the Gabrielle wool-and-silk rug, by designer KERRY JOYCE for MANSOUR MODERN, is available in custom sizes and colors; a 9' x 12' rug costs $13,500. mansourmodern.com

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34 East 61st Street New York, NY 10065 nyc@liaigre.us Coming Soon - 102 Madison Ave New York, NY 10016 137 NE 40th Street Miami, FL 33137 mia@liaigre.us liaigre.com

Painterly fabric borders from

SAMUEL & SONS’

Cirque collection include the embroidered pointillist Brielle (shown in two colorations) and the handprinted Skylar; Aubree is a serpentine lace. All to the trade only. samuelandsons.com

Toco, a viscoseand-linen damask in a batiklike pattern, is from the Zapara collection

by HARLEQUIN. It comes in ocher (shown) and silver; to the trade. stylelibrary.com

Summer just became more fun with the TIWAL 3 inflatable sailboat.

Packed in two small bags, it inflates and assembles in 20 minutes. It accommodates two adults or an adult and two children, and costs $6,195 at the MoMA Design Store. store.moma.org The Arla sofa by MADE GOODS, crafted of twisted faux rope, is elegant enough for your living room yet so impervious to the elements that it can be used on a terrace or in your garden. It measures 75" w. x 33" d. x 44" h. and costs $9,600. madegoods.com 34

CLOCKWISE FROM TOP LEFT: COURTESY OF ST YLE LIBRARY; COURTESY OF L ALIQUE; JOSHUA M C HUGH; COURTESY OF MADE GOODS; COURTESY OF TIWAL

The charming Anemones bud vase by LALIQUE, in green satin-finished crystal, is 5.5" high with a 5" diameter. It costs $950; a larger size is also offered. lalique.com

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STARK STUDIO RUGS’

MISAHARA’S shimmering Plima earrings are fashioned of pink sapphires, pink tourmalines, and white diamonds set in 18K yellow gold. Measuring 2.25" long and 1.25" wide, the pair costs $33,000. misahara.com

Stylesetter AERIN LAUDER is an expert at making a pretty bed. Her new bedding includes, from top, Avion Ikat, Scalloped, and Fairfield, all from the AERIN collection by

WILLIAMS SONOMA HOME.

The Lasso floor lamp, one of interior decorator CELERIE KEMBLE’S first designs for ARTERIORS, is wrapped in jute rope and topped with a linen drum shade and jute finial. It stands 63" tall and costs $1,095. arteriorshome.com

Prices start at $79. wshome.com

With a bold silhouette inspired by midcentury French designs, JIUN HO’S Kama stool is made of cerused white oak. It is offered as a barstool or counter seat, in a range of finishes, and in a Jiun Ho textile or c.o.m. To the trade. jiunho.com

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CLOCKWISE FROM TOP LEFT: COURTESY OF MISAHARA; COURTESY OF STARK STUDIO RUGS; COURTESY OF ARTERIORS; COURTESY OF JIUN HO; COURTESY OF WILLIAMS SONOMA HOME

Bellatrix carpet, a wool, silk, and linen blend, will add graphic pattern to your floor. Available in a range of sizes; to the trade. starkcarpet.com

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Where Leisure Becomes Legend DISTINCTIVE ARCHITECTURE, RESIDENCES & HOMESITES GOLF CLUB

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TENNIS

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The Maioliche range, the latest iteration of fashion designers DOLCE & GABBANA’S kicky collaboration with SMEG, will arrive Stateside next year. In a classic majolica pattern, the 36" gas stove, with five burners and two cooking modes, is from the fashion brand’s Sicily Is My Love collection—its third with SMEG—and includes a range and hood, a refrigerator, and an assortment of small appliances. smegusa.com

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GAGGENAU’S Vario 400 series gas cooktop features five multi-ring burners, including one for a wok, and electronic flame monitoring; $5,799. gaggenau.com

These samples of grooved papier-mâché wall panels are just one of several innovative wall coverings created from recycled paper by PAPER FACTOR. Prices start at $44 per square foot. ateliercourbet.com Inspired by a 19thcentury FrancoIndian original, the Jumeirah mantel

by CHESNEY’S is hand-carved of statuary marble. Available in custom sizes; $15,250. chesneys.com

CLOCKWISE FROM TOP LEFT: JOSHUA M C HUGH; COURTESY OF GAGGENAU; COURTESY OF CHARLES EDWARDS; COURTESY OF IKSEL; COURTESY OF CHESNEY’S; COURTESY OF REJUVENATION

The Large Hanging Pagoda Lantern, handmade by CHARLES EDWARDS in nickel-finished brass with Duck Egg Blue paint, is nearly 3' tall and 2' deep. charlesedwards.com

REJUVENATION’S

Modern House Numbers, of cobalt-blue aluminum, are $39 each. rejuvenation.com

D Rajput Fantasy, a scenic wallpaper inspired by Rajput miniature paintings, is the latest design from the IKSEL DECORATIVE ARTS studio. It will be available soon, to the trade, from SCHUMACHER. fschumacher.com 42

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& C E L E R I E

K E M B L E

This Morotai wall covering, from the Trancoso collection by ÉLITIS, features panels of 12"-square tiles of meticulously cut shells; to the trade. elitis.fr

Made of textured solid bronze, Edge cabinet knobs and pulls by ROCKY The ultimate new speaker, DEVIALET’S Gold Phantom costs $3,319, including its Treepod stand. devialet.com

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MOUNTAIN HARDWARE

come in ten finishes. rockymountainhardware.com

Part of KELLY WEARSTLER’S Gem collection for ANN SACKS, the Swell tiles create easy patterns with their loosely drawn lines. annsacks.com

BERTAZZONI’S majestic Professional Series 48" gas range, featuring six burners, a griddle, a convection oven, and a broiler, costs $8,249. bertazzoni.com

CLOCKWISE FROM TOP LEFT: COURTESY OF ÉLITIS; COURTESY OF BEVOLO; COURTESY OF ANN SACKS; COURTESY OF BERTAZZONI; COURTESY OF DEVIALET; COURTESY OF ROCKY MOUNTAIN HARDWARE

Candlelit Governor Pool House lanterns are handcrafted by BEVOLO in a copper or stainless-steel finish. In three sizes, they start at $400. bevolo.com

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800.262.0336

Made of solid brass, KOHLER’S Purist bathroom fittings have a low gooseneck spout and lever handles, and showcase the firm’s new Rose Gold finish. kohler.com

Luxor tile by ARTISTIC TILE reflects the beauty of the lotus flower, in marble inset with polishedlimestone mosaic. It is priced at $95 per square foot. artistictile.com

CAMBRIA’S latest

The Heritage Wine Station by and dispenses four bottles—standard size or magnum—on your countertop or built in; $6,499. dacor.com DACOR preserves

RH, RESTORATION HARDWARE’S Aspen

washstand, crafted of rustic French oak, offers ample storage for towels; $3,446. rh.com

The Kove fire pit, from outdoor expert BROWN JORDAN, creates instant ambience. Measuring 13" high with a 44" diameter, it’s available in four finishes and costs $2,486. brownjordan.com 46

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nonporous, maintenance-free quartz surfaces include Levven (left) and Skara Brae, inspired, respectively, by river stone in northern England and historic stone buildings in Scotland.

cambriausa.com

CLOCKWISE FROM TOP: JIM WESTPHALEN, COURTESY OF HUBBARDTON FORGE; COURTESY OF KOHLER; COURTESY OF CAMBRIA (2); COURTESY OF BROWN JORDAN; COURTESY OF RH; COURTESY OF ARTISTIC TILE; COURTESY OF DACOR

The sculptural Cascade cable-hung pendant by HUBBARDTON FORGE features asymmetrical steel batons that project from an LED-lit steel frame. hubbardtonforge.com

5/9/18 10:45 AM

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© Uneek Image, © Michael Lowry Photography Architecture by Phil Kean, LLC AA26002050, Phil Kean Designs, Inc. CRC1327855, PKD Studio, LLC ID6290

INTERIOR DESIGN

Left: In the kitchen of Ruth Rogers, of London’s River Café, the stainless-steel counter and cabinet surfaces reflect the ambient light. Below: Rogers with her husband, Pritzker Prize–winning architect Richard Rogers, who designed their kitchen in 1984.

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he home kitchens of chefs are worlds unto themselves, providing insight into how they think when cooking their own meals, when there’s no staff to chiffonade, baste, and blanch. Using hands-on experience acquired in the trenches, these men and women have designed beautiful, functional spaces where cooking is for fun and family. Here, legendary chefs Ruth Rogers, Jean-Georges Vongerichten, and Massimo Bottura let us peek inside their pantries.

Off the Menu THREE STAR CHEFS SHARE

WHAT THEY LOVE ABOUT THEIR HOME KITCHENS

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This chef had an ace in the hole when designing her kitchen: her husband, Richard Rogers, the Pritzker Prize–winning architect behind the Centre Pompidou and Lloyd’s of London.

This space was completed in 1984, a few years before her restaurant launched, and Rogers credits it with inspiring her career. “I think that having such an amazing kitchen is why I actually wanted to open River Café,” she says. With a new book, River Café 30 (Knopf), celebrating the restaurant’s third decade, Rogers still cooks at home at least two nights a week.

• The open plan influenced the way the kitchen at River Café was designed, with everyone helping to prep instead of being cornered off in stations.

• The overall design brief was to keep things light, clean, and shiny. The all-stainless counter and cabinet surfaces reflect light from the double-height windows around the room.

• Simplicity is key, so there are only four burners—which are Smeg by Renzo Piano, the architect with whom Richard Rogers collaborated on the Pompidou—as well as two Gaggenau ovens.

• For her morning espresso, Rogers uses a La Pavoni coffeemaker designed in 1905, which many consider a piece of industrial art. →

KATE MARTIN

RUTH ROGERS

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From top: Jean-Georges Vongerichten’s streamlined kitchen in his New York City apartment. Jean-Georges Vongerichten. Massimo Bottura with his wife, Lara Gilmore, in their kitchen in Modena, Italy.

Known for flawless open restaurant kitchens, Vongerichten has a similar home environment, designed by Thomas Juul-Hansen. “The kitchen in my New York City apartment is minimal and modern,” he says.

“I like to come home to a space that isn’t overcomplicated but has the necessities.”

• Concealed appliances include a paneled 48-inch Viking refrigerator and an Electrolux glass-top induction-cooking surface with a wok station in the center.

• Custom-made pendant lights by Hervé Descottes, of L’Observatoire, illuminate the kitchen workspace, providing enough light to render additional downlights unnecessary while blending into the living area’s overall aesthetic. The French designer created lighting for all the chef ’s restaurants.

• A very large (30-inch) stainless-steel Franke sink and a Dornbracht faucet with a hose attachment keep things tidy.

MASSIMO BOTTURA

The Italian chef is praised for creating edible works of art at his Osteria Francescana in Modena, and his most recent projects include the Gucci Osteria in Florence and Refettorio in Paris. His latest book, Bread Is Gold (Phaidon), addresses food-waste issues with recipes for extraordinary meals made with ordinary ingredients.

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• Fully equipped with professional steel modules and a large workbench designed by chef Gualtiero Marchesi for Boffi, the block in his Modena kitchen has a gas cooktop with five burners (including a large middle one) and a cast-iron grill on the saucepan level.

• Damask-pattern ceramic tiles by Casa Dolce Casa add warmth and a bit of glamour to the steel-clad workspace.

• A classic of Italian design, a Flos chandelier by Gino Sarfatti brings character to the kitchen. —JACQUELINE TERREBONNE

FROM TOP: GREG DELVES; ROBIN MARCHANT/STRINGER; FILIPPO BAMBERGHI

JEAN-GEORGES VONGERICHTEN

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Sometimes art is all about alchemy, as in the Hermès Arceau Pocket Millefiori’s combination of an unconventional black crystal dial resembling alligator skin and a sapphire glass case back sheathed in leather.

Inspired by 19thcentury paperweights with millefiori patterns (made by Cristallerie Saint-Louis), the striking dial results from a closely guarded mix of minerals and incandescent crystal. hermes.com

A striking innovation in this annual limited edition, wood and gold-leaf marquetry makes the Cartier Ronde Louis Cartier Marquetry watch all the more artful.

Each piece features Macassar ebony veneers over 24K gold leaf, with peridots for the iconic panther’s eyes. cartier.com

Creative Genius WHEN HIGH JEWELRY

MEETS THE ULTIMATE IN ARTISANAL EXPERTISE, A TIMEPIECE BECOMES A GORGEOUS OBJET D’ART

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Great art often tells a story, and the Vacheron Constantin Métiers d’Art Les Aérostiers series of five timepieces evokes the early days of hot-air ballooning. The 18K white gold case is complemented by an 18K pink, yellow, or white gold dial. vacheronconstantin.com

Nature is the greatest artist. It produces vibrant, precious gems and inspires with foliate motifs and animal plumages. All are on graceful display in the Bulgari Diva’s Dream collection, where rainbows of glittering bezels—brilliant-cut diamonds, mandarin garnets, tourmalines, and pink opal elements—are set in 18K gold and speak to the jeweler’s rich tradition of sourcing and setting the finest gemstones. bulgari.com

—ALEXANDER FRIEDMAN

CLOCKWISE FROM FAR LEFT: COURTESY OF HERMÈS; COURTESY OF CARTIER; COURTESY OF GRAFF; COURTESY OF BULGARI; COURTESY OF VACHERON CONSTANTIN

The gravity-fighting mechanism called a tourbillon represents the pinnacle of the art of horological engineering.

The Graff Mastergraff Floral Tourbillon is framed by diamonds and has a motherof-pearl dial covered with enamel flowers, whose petals are hand-painted on white gold and applied in a 50-hour process. In an additional feat of mechanical expertise, three of the blossoms also turn with the hours. graffdiamonds.com

5/3/18 7:42 PM

COLOR CRUSH S P R I N G 2 018 C O L L E C T I O N

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ORAL REPRESENTATIONS CANNOT BE RELIED UPON AS CORRECTLY STATING REPRESENTATIONS OF THE DEVELOPER. FOR CORRECT REPRESENTATIONS, MAKE REFERENCE TO THE DOCUMENTS REQUIRED BY SECTION 718.503, FLORIDA STATUTES, TO BE FURNISHED BY A DEVELOPER TO A BUYER OR LESSEE. All artist’s or architectural renderings, sketches, graphic materials and photos depicted or otherwise described herein are proposed and conceptual only, and are based upon preliminary development plans, which are subject to change. This is not an offering in any state in which registration is required but in which registration requirements have not yet been met. This advertisement is not an offering. It is a solicitation of interest in the advertised property. No offering of the advertised units can be made and no deposits can be accepted, or reservations, binding or non-binding, can be made in New York until an offering plan is filed with the New York State Department of Law.

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Artistic Rebel LONGTIME MASTER OF

ABSTRACTION SEAN SCULLY EXPRESSES THE INEFFABLE

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Sean Scully standing in front of What Makes Us Too, 2017, in oil on aluminum. Below: The artist’s “Landline” paintings hang in his studio in a Hudson River town.

The works hanging in Scully’s towering Hudson River studio these days are moody oils on aluminum from his “Landline” series; vibrant figuratives of his son, Oisín, his “greatest creation”; and his latest addition, a six-painting manifesto featuring American flags with fallen stars, the result of his need to reflect on the American obsession with guns. “And thus ends my career as a political artist,” he quips.

Expression as an intellectual pursuit and a physical state is what leads Scully to the studio nearly every day of his life.

“I love working. I admire it in people, too,” he says, and his unflinching practice has kept him in favor among dealers, collectors, and curators alike since the ’60s. But that’s not the only secret to his success. “You can’t rely on me to be a good boy,” he chuckles.

Indeed, Scully’s rebelliousness—from his emotional landscapes to his going against the tide as an abstractionist in a sea of figuration—has sustained his five-decade career. “You know, I was a star out of art school. I’m not crippled by modesty,” the painter says. “But really, you’ve got to be unstoppable, and to be unstoppable you’ve got to be connected to life force, or energy.”

Scully’s energy is on display this year and into the next with some 20 solo exhibitions across the globe, from the Forte Belvedere and the Museo Uffizi in Florence, Italy, in June to the De Pont Museum of →

MICHAEL MUNDY

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he first thing you should know about Sean Scully— the Irish-born U.S. painter and artist twice nominated for Britain’s prestigious Turner Prize—is that he’s sentimental. Painting’s last stalwart of modernist abstraction stands easily above six feet, in the sort of frame that served him well as a teenage street fighter, but what lies inside him is rather tender.

He freely admits as much. “Basically, I’m incredibly emotional,” Scully blurts out unabashedly, in his Irish-inflected Cockney cadence. (Born in Dublin in 1945, he was raised in South London, settling in New York after a graduate fellowship at Harvard in the early ’70s.) After all, evidence of this trait is on the wall.

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background photo: BrianLiao (W ik iM edia Common s)

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contemporary art in Tilburg, the Netherlands (through late August), and the Yorkshire Sculpture Park in Wakefield, England (September 29–January 6, 2019). Concurrently, Scully will have a homecoming of sorts at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., where his “Landline” series will be on view from September 13 through early January 2019. (His last show there, in 1995, was a sweeping mid-career retrospective.) Drawn from natural surroundings and rendered in colors both subdued and bright, the contemplative series has occupied the painter for the better part of this decade. Each work’s hues are, to some degree, a reflection of Scully’s whereabouts: He has moved his main studio from Manhattan to a Hudson River town, and has been spending more time in London, where he has a residence. Scully also maintains studios in Berlin and rural southern Germany.

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The infinite lines of his atemporal horizons will meet their match in the Hirshhorn’s iconic curving walls, in an infinite loop that “will just run around and around and around forever,” Scully says. Impervious to time and evocative of the divine, his “Landline” works, like his paintings overall, knock at the ineffable, that indescribable something else about being human. As he would say, “I really do believe we’re angels in the making.” seanscullystudio.com —JULIE BAUMGARDNER

FROM TOP: COURTESY OF THE ARTIST (2); MICHAEL MUNDY

Clockwise from left: Ghost 2016, part of the artist’s reflection on the American obsession with guns. Boxes of Air, 2015, an open construction in Corten steel, installed outside the studio.

Pastel-on-paper “Landline” works in progress.

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Change Agent

REED KRAKOFF, DESIGNER AND AESTHETE, TALKS ABOUT HIS SOURCES OF INSPIRATION

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lways deeply attuned to both the pleasures and the challenges of creating the best in design, Reed Krakoff has forged a brilliant career. He transformed sleepy leather brand Coach into a mostwanted accessories mecca in the 2000s, launched his own fashion label in 2013, and became chief artistic officer of Tiffany & Co.—the first executive-level design position in 62

the storied firm’s long history—a little more than a year ago. After introducing Everyday Objects, his homeaccessories collection for the company, Krakoff recently unveiled his debut jewelry collection, Paper Flowers, a spirited, glamorous ensemble of petal-shaped pieces.

With his French wife, Delphine, a sought-after interior designer, he has furnished residences for their young family with visual and decorative arts of the highest order. A photographer, collector, and curator, Krakoff brings a refined aesthetic to all he does. Here, he provides some insight into what drives him.

I studied painting when I was in school in Boston, and I still draw every day. I sketch on my iPad. The people who inspire me right now are artists Allan McCollum, Elie Nadelman, and Henri Fantin-Latour, and designers Joris Laarman and the Bourellec Brothers. The Bourellecs created a site-specific installation for Delphine and me, Clouds, that has been reimagined in each space we’ve placed it. It takes on a new life each time.

I’m fascinated by materials such as concrete, plywood, industrial felt, Tiffany sterling silver, and sculptural marble resin. One of my favorite pieces is a cast marble resin armchair by Joris Laarman.

CLOCKWISE FROM FAR LEFT: MART YN THOMPSON; REED KRAKOFF; IVAN TERESTCHENKO; STEVE BENIST Y, COURTESY OF JORIS L AARMAN STUDIO AND FRIEDMAN BENDA; REED KRAKOFF; SCOTT FRANCES/OTTO; COURTESY OF PAUL KASMIN GALLERY

From left: Reed Krakoff’s office desk, with his Sterling Silver Paper Cup for Tiffany & Co. The designer.

Krakoff co-published this book about Claude and FrançoisXavier Lalanne, whose work he collects.

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Clockwise from above: Joris Laarman’s 2008 Bone Rocker. A portrait Krakoff shot of Julianne Moore. A Fishers Island house by Thomas Phifer and Partners.

Ronan and Erwan Bourellec’s Clouds in the Krakoffs’ Connecticut dining room.

The new Tiffany & Co. design that best reflects my vision is the Sterling Silver Paper Cup, from my first Everyday Objects collection last year.

Every year I create a photo album for Delphine.

They’re the perfect way to remember our family summers.

Taking my own photos has taught me how hard it is to get a great picture.

My best purchase at auction was also my first major art acquisition, a large Jean-Michel Basquiat oil stick on paper. I bought it for $750.

The five books every art/design library should have are Horst: Interiors, by Barbara Plumb; Claude & François-Xavier Lalanne, on which I collaborated; Martin Szekely, Elizabeth Lebovici’s deep dive into the designer’s

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furniture and objects; Le Corbusier: Le Grand, a real feat of design and research; and Jean-Michel Frank, Pierre-Emmanuel Martin-Vivier’s book about Frank’s role in Parisian high society in the Art Deco period.

My next personal project will be a modernist house on the ocean. It’s the first one Delphine and I are constructing from the ground up. There’s something special about being on the water, and we’re going to build a small house with a contemporary architect. I’ve been inspired by the work of a few, especially Thomas Phifer, who is doing a place for a friend of ours.

If I had a mantra, it would be “Work hard and don’t be a jerk.” Life doesn’t need to be overcomplicated.

—INTERVIEW BY MARGARET RUSSELL

5/9/18 10:59 AM

Studio Session

ALBERTO GIACOMETTI’S FABLED WORKSPACE IS GLORIOUSLY RE-CREATED

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he tiny Paris studio was barely 250 square feet and had no running water until the late 1950s, yet Alberto Giacometti, one of the 20th century’s greatest sculptors, hardly ever left after setting up shop in 1926.

There, his psychologically charged, elongated figures proliferated, in paintings directly on the walls and sculptures across the cement floor, until his death in 1966. The writer Jean Genet described the dust-coated space as Giacometti’s “other self, the essence and ultimate residue of his artistic contribution.” As Giacometti Foundation director Catherine Grenier explains: “It was a mythical place in Paris— everybody wanted to come to the studio.”

When the Giacometti Institute—the foundation’s first public space—opens on June 21 in a Montparnasse Art Deco mansion near where Giacometti worked and lived, everyone will be able to come at last. The institution’s centerpiece is the permanent reconstruction of the artist’s unruly studio. It is

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packed with more than 70 bronze, plaster, and clay sculptures, most never before exhibited, as well as furniture and wall paintings excavated and conserved by his widow, Annette.

Hundreds of photographs of the original studio, taken by such visitors as Robert Doisneau and Gordon Parks, were used to create the installation, visible through two glass walls.

Beyond hosting this extraordinary shrine, the 3,800-square-foot institute will serve as a study center and a space for exhibitions about Giacometti and artists with a relationship to him, with pieces drawn largely from the foundation’s collection of the artist’s work, which includes some 350 sculptures, 90 paintings, and more than 5,000 works on paper. The inaugural show explores the friendship between Giacometti and Genet, whose book The Studio of Alberto Giacometti immortalized his creative process.

The foundation has also collaborated on a major Giacometti retrospective that opens at the Guggenheim Museum in New York on June 8 and features an existential ensemble of oversize sculptures commissioned by Chase Manhattan Bank for its New York plaza, a project Giacometti abandoned after two years.

“It was the most important commission he ever had, but he thought it was a failure,” Grenier explains. “He was never happy with his work—and those are now his icons.” fondationgiacometti.fr —HILARIE M. SHEETS

FROM TOP: ERNST SCHEIDEGGER, © 2018 STIFTUNG ERNST SCHEIDEGGER-ARCHIV, ZURICH; RENDERING © GIACOMETTI ESTATE (GIACOMETTI FOUNDATION + ADAGP) PARIS 2018

From top: Alberto Giacometti painting among plaster models in his Paris studio, circa 1960.

The fabled space is being re-created in the new Giacometti Institute, which features the gallery and library (in rendering below) and other amenities.

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5/3/18 11:23 AM

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Seeking Beauty

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

From top: Bay Area–born artist Hugo McCloud in his Brooklyn studio. Made of a sheet of bronze distressed with chemicals and a blowtorch, Dividing Lines, 2017, is part of his “Metal Paintings” series.

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Although crafted out of quotidian materials such as tar paper, plastic, wood, and wrought metal, Hugo McCloud’s lustrous paintings are anything but rough-hewn. His surfaces glisten with soft patinas and frostlike foil layered with washes of rich color, often basic house paint applied by spray gun.

“Because my work is labor-intensive and uses everyday materials, I spend a lot of time considering the social economics behind how our culture assesses value,” says the Bay Area–born Brooklyn artist, who often takes images abstracted from art-historical references and couture spreads and stamps or veils them with paint or aluminum leaf.

McCloud has been prolific since his big break in 2012.

He’s had solo shows at Turin’s Luce Gallery and nearly annual exhibitions at New York’s Sean Kelly Gallery, the last of which saw him transform an entire warehouse in Bushwick, Brooklyn, into a temporary gallery outpost during the Armory Show, New York’s large contemporary art fair in March. There, the artist debuted his latest “Metal Paintings,” soldered bronze panels treated with chemicals and toned with a blowtorch to create darkly luminous striations. His career is only gaining steam: High-profile collectors such as real estate mogul Martin Margulies and Pamela Joyner—a connoisseur of “Afropolitan abstraction”—have added McCloud to their holdings.

McCloud is bringing brighter, more vibrant iterations of his metal paintings to his first show with Susanne Vielmetter Los Angeles Projects, opening July 21. “I’m playing with more color and manipulations of patina,” he says. “There’s a sense of the unknown in the work that I still want to explore, a new way of bringing beauty to light.” skny.com —MARGARET CARRIGAN →

FROM TOP: MATT BUCHWACH; BOTH IMAGES COURTESY OF SEAN KELLY, NEW YORK

HUGO MCCLOUD

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JULIAN CHICHESTER

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MODUPEOLA FADUGBA

Since making her debut in 2014, Togo-born, Nigeria-based artist Modupeola Fadugba has been causing a stir with dreamy, intricately detailed artworks crafted in acrylic, burnt paper, gold leaf, and ink. Yet her works’ sumptuous surfaces belie their serious undertones. In her latest series, “Synchronized Swimmers,” for instance, young women in black swimsuits and ballerina buns kick and twist in a sea of shimmering pastel water. But upon closer inspection, their refracted limbs are a patchwork of burn holes and discoloration, and the viewer wonders: Are they swimming or drowning?

The self-taught artist is armed with degrees in chemical engineering and economics, as well as one in education from Harvard, and spent years working in research and policy in Nigeria’s education sector. But, Fadugba explains, “I found myself drawing in the mornings and evenings every day, until the art started to take over, and I just jumped in. The swimmers are symbolic of my personal journey in the art world, too.” Now she uses art as her platform to explore cultural identity, sociopolitical issues, and women’s empowerment.

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FROM FAR LEFT: ADEOLU DADA, COURTESY OF THE ARTIST; COURTESY OF THE ARTIST AND GALLERY 1957; FREDRIK NILSEN, COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES

Left, from top: Modupeola Fadugba working on Gold Sun, 2018, in her studio in Lagos, Nigeria.

One of the three works in Pink Lake: The One That Looked Back, a 2017 Fadugba triptych. Right: Mary Weatherford’s City, 2017, layers neon over fields of paint.

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In the wake of small solo shows in Lagos, London, and Paris, Fadugba caught the attention of collector and gallerist Marwan Zakhem, of Gallery 1957 in Accra, Ghana. He brought her work to Art Dubai in March, and his booth sold out. Next, Fadugba is heading to New York City to spend the summer with a group of senior swimmers, the Harlem Honeys and Bears, to work on her first solo show at Gallery 1957 in the fall. modupeola.com —LUCY REES MARY WEATHERFORD

In the land-inspired legacy of Southern California artists, the work of Ojai-born Los Angeles painter Mary Weatherford is a poetic ode to West Coast ecologies, including endless coastlines, rugged hillsides, and neon-illuminated streets.

But rather than depict landscapes, her paintings abstract the factual details of a given moment—location, temperature, time of day—and distill them into their atmospheric qualities, producing swarms of overlapping colors of various opacity that retain the visibility of the artist’s brushstrokes.

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In the mid-1990s and through the aughts, Weatherford was embedding her canvases with natural flourishes, including actual seashells, sponges, and starfish. In her 2012 “Bakersfield” series, she began incorporating tubes of neon into her works, a decision that proved transformative. As evidenced in her first show with L.A. gallerist David Kordansky in 2014, these stripes of light stretched across diluted expanses of vinyl-based Flashe paint turned her linen canvases into electrified night skies.

Striking another note, her 2014 Canyon featured the hazy, rosy undertones of sunset, with red and white neon evoking the endless streams of headlights and taillights that dominate aerial views of Southern California.

Now decades into her career, Weatherford is expanding her practice. At her last Kordansky show, in 2017, her canvases had grown as large as 10 by 20 feet; her next solo exhibition will be at art powerhouse Gagosian. With her first career survey planned at the Contemporary Arts Museum Houston in August 2019, Weatherford seems well on the way to long-overdue acclaim. gagosian.com —JANELLE ZARA →

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TIMOTHY HYUNSOO LEE

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windows. “Most people who use the station are commuting to and from the city,” he says. “I wanted to turn it into a sanctuary.

The hope is that the installation will help them find a moment of peace.” timothyhlee.com —SARA ROFFINO CHRISTINA QUARLES

Christina Quarles’s paintings lie somewhere between figuration and abstraction, stretching the human body over the canvas in tangles of bent and elongated limbs. Their outlines are loosely defined by washes of pastels that run and bleed together, taking on ambiguous, almost liquid properties.

Arms and legs slip through the walls, floors, and tables implied by the artist’s patterned surfaces, and then come shooting out the other side. This transgressive fluidity forms the central theme of Quarles’s practice, defying the rigid definitions placed on the human experience.

“My work is very much informed by the edge of the frame and the boundaries that demarcate the self,” says the Chicago-born, Los Angeles–based biracial artist, who understands that identity exceeds the limitations of labels.

“As someone who was born to a white mother and a black father, I always felt that the term mixed was insufficient.”

In “Made in L.A. 2018,” the fourth iteration of a biennial focusing on the area’s artists, at the Hammer Museum in Los Angeles (June 3 through September 2), Quarles’s bodies are about to become amplified in a multiple-canvas installation occupying a 16-by-21-foot wall. Magnetic as they are, the works will easily sustain the increased public attention.

As her Miami gallerist, David Castillo, explains, recalling his first encounter with Quarles’s work when she was a student at Yale (she completed her MFA in 2016): “They drew me in, on a personal level.” Expect to be drawn, too. christinaquarles.com —J.Z.

FROM TOP: COURTESY OF DAVID CASTILLO GALLERY, MIAMI; COURTESY OF THE ARTIST AND SABRINA AMRANI GALLERY, MADRID

From top: Christina Quarles explores the body in We Gunna Live with Water fer tha Rest of Our Lives, 2017.

Timothy Hyunsoo Lee with his A tremor, a touch, a ripple (han, sun, keum, man), 2018.

Timothy Hyunsoo Lee was in his final year of pre-med studies at Wesleyan University in 2012 when he realized his life’s work was in the studio rather than the clinic. “It hit me that the skills I was developing to work in a medical setting actually suited me better in a visual art context,” explains the multimedia artist, now represented by Sabrina Amrani gallery, in Madrid. “A lot of people call the shapes in my paintings diamonds or scales, but I’ve always referred to them as cells because they were inspired by laboratory work at school.”

Born in Seoul, raised mostly in Queens, and now living in Madrid, Lee turned to art in earnest when he used watercolors to explore the theme of childhood anxieties. For his earliest series, “Traces,” in 2012–13, he would slowly build small blocks of color, using the inevitable errors as a challenge to resolve the pattern. “I started off painting as a very personal investigation, and it eventually led into the exact opposite,” explains Lee, whose experimentations have flourished since he closed his Brooklyn studio and moved to Madrid in 2016. “Now my work is about mediating the microcosm with the macrocosm, or my own individual experience with a universal collective point.”

Following an exhibition at Manhattan’s Armory Show with Amrani in March, Lee’s public installation at the Stewart Manor train station in Garden City, New York, is to be unveiled in late June, transforming it into a chapel with laminated-glass

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Supporting Role

HONORING HER WINEMAKING FAMILY’S CULTURAL LEGACY, ALESSIA ANTINORI IS FULLY COMMITTED TO THE ART OF TODAY

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eyond her contagious vivaciousness, adventurous spirit, and seemingly endless energy, Alessia Antinori possesses another striking trait: Just like her maternal grandmother, Laetitia Boncompagni Ludovisi, she is a true mecenate, a patron of the arts.

A member of the 26th generation of the Antinori marquisate running the illustrious Italian winery Marchesi Antinori (with her sisters, Albiera and Allegra), Alessia Antinori has arts patronage written in her DNA: Her family has regularly called on artists to celebrate its house throughout its six centuries of existence, as demonstrated by the 20-some artworks on display inside Marchesi Antinori’s new sculptural, earth-toned headquarters in the Chianti Classico region, just outside Florence. Most notably, in the early 16th century, her ancestor Nicolò di Tommaso Antinori commissioned ceramist Giovanni della Robbia to create a glazed half-moon polychrome terra-cotta

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architectural ornament, called a lunetta, that featured the patron’s likeness to the left of Christ. Her forebear, Antinori explains, “was a good friend of Della Robbia, of Raffaello, and other great artists at that time.” New York’s Brooklyn Museum acquired the lunetta in the late 1800s—a family member put it up for sale in Florence, where an early board trustee bought it—and when the institution sought help to restore it a few years ago, Antinori readily offered the funds. “Even though we don’t own it, we decided without any doubt to have the restoration done,” she says.

But if preserving the family’s historic art collection is an aristocratic obligation Antinori takes seriously, what truly gets her excited is promoting the art of today. As she sees it, →

FROM LEFT: JOSHUA M C HUGH; ROCCO RORANDELLI; COURTESY OF ANTINORI ART PROJECT; MAURO PUCCINI

Clockwise from far left: Alessia Antinori. Vineyards surround the new Marchesi Antinori winery. A painting of the family tree is part of the Antinoris’ historic art collection displayed in a dedicated gallery. Rosa Barba’s Sun Clock was the first work commissioned by the Antinori Art Project.

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engaging with art “has to be an experience of how you are really living at that moment of your life.” And so, for the past two decades (when she started collecting during a business trip to China), she has immersed herself in contemporary art. In addition to taking over Laetitia’s seat on the International Council at New York’s Museum of Modern Art and recently joining the board of the American Academy in Rome (on which Laetitia also used to sit), Alessia has been forging her own trail as mecenate. A supporter of the Zaha Hadid–designed MAXXI in Rome, Italy’s first national museum of 21st-century art—she presides over the fundraising efforts and is helping to launch a U.S. foundation for the museum—she has also undertaken what may be her most ambitious and personal project yet.

Founded in 2012 and based at the winery, the Antinori Art Project solicits mostly site-specific commissions from young artists of national and international stature

whom Antinori and a curator jointly select. All artworks for the project touch on themes of tradition, innovation, nature, and time, which are as fundamental to the Antinoris’ history as they are to the art of making wine. The works include Rosa Barba’s 2012 Sun Clock, which transforms one of the property’s courtyards into a light-activated sculpture, and Jorge Peris’s 2016 Portal del Angel, in which the family’s antique terra-cotta oil urns, or orci, are arranged on stones, soil, and marble sourced nearby. Keenly aware that the family’s historic collection goes back centuries, Antinori sees her role as “giving it continuity,” because, as she points out, “one day this too will be the past.” antinori.it —CHRISTINE SCHWARTZ HARTLEY

FROM TOP LEFT: COURTESY OF THE BROOKLYN MUSEUM; COURTESY OF ANTINORI ART PROJECT (2); MAURO PUCCINI

Clockwise from above: A Della Robbia ceramic with an Antinori ancestor to the left of Christ. Yona Friedman’s Giant Fruits is part of the Antinori Art Project. The winery was designed by Archea Associati.

A 1631 portrait of Ludovico Antinori.

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Creative Edge

INTREPID NONAGENARIAN ARTIST ETEL ADNAN GARNERS THE LIMELIGHT

Etel Adnan paints the Sausalito, California, landscape she loves. Both works are called Untitled, 2017.

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Northern California. She began painting in 1958 and has long adhered to a strict routine: She places a small canvas flat on a table and applies paint with a palette knife, not a brush, always completing a canvas in one sitting. In Chagas’s view, this process is less rules-based—à la Sol LeWitt and other Conceptual artists—and more a kind of habit. “She’s interested in creating as direct a channel as possible from vision to canvas,” Chagas says. “I think that’s why she does them quickly.”

While Monet had his gardens at Giverny, for some 50 years Adnan has painted Mount Tamalpais, which she could see from her house in Sausalito, California. Even in recent years, living primarily in Paris, she has painted the peak from memory.

Season after season, year after year, in thick swipes of pigment squeezed straight from the tube, she has repeatedly rendered the mountain, a dominant triangle in almost childlike landscapes of simple, flat shapes and bright colors.

For years, Adnan renounced the French language of her youth as a tool of colonialism, weaponized to eradicate Arab culture. Instead, she wrote in English. Although she eventually found her way back to French, painting provided a way to transcend language. “I didn’t need to write in French anymore,” Adnan declared. “I was going to paint in Arabic.” eteladnan.com; massmoca.org —JULIE L. BELCOVE

COURTESY OF THE ARTIST AND GALERIE LELONG & CO.

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tel Adnan may be best known as a novelist, poet, essayist, and playwright who captured the horrors of war and the tragedy of exile, but in fact, the 93-year-old Lebanese-American is that rare creative talent who also paints in oil and watercolor (and designs tapestries) while still managing not to come off as a dilettante.

An exhibition on view through December at the Massachusetts Museum of Contemporary Art (MASS MoCA), in North Adams, interweaves her charged poetry and her vibrantly colored, sparely composed abstractions.

This is Adnan’s first-ever solo show in an American museum. “She makes a clear distinction between how she approaches writing and how she approaches painting,” says the show’s curator, Elise Chagas, a second-year graduate student in art history at nearby Williams College. “Her writing is historical and specific, where she is raging against the world.

Her painting is an expression of pure joy.” Or as Adnan once said, “It seems to me that I write what I see, paint what I am.”

Even so, Adnan has also found ways to juxtapose text and image.

Her acclaimed book-length poem The Arab Apocalypse, about the Lebanese Civil War, which displaced nearly a million people from 1975 to 1990, is peppered with drawings that evoke explosions and were produced contemporaneously with the poetry, not as an afterthought. Her leporellos, accordion-like books, similarly blend words and visual imagery.

Born in Beirut in 1925 and raised among the French-speaking elite, Adnan studied at the Sorbonne, the University of California, Berkeley, and Harvard before teaching philosophy in

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wo words—and you conjure the Hollywood Walk of Fame, the storied abodes of celebrities and stars, dense neighborhoods backing onto golden beaches, cars and palm trees. Forever regenerating, Los Angeles always has something new to reveal.

WHERE TO STAY Clockwise from top: A view of L.A. from Topanga State Park. The nonprofit art institution ICA LA. The Chateau Marmont. Garde, a home store.

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• Located in an area long thought best avoided, NoMad Los Angeles comes as an excellent reason to reconsider downtown’s iffy reputation. Set in an ornate 1920s neoclassical building that was once the Bank of Italy’s headquarters, the hotel now includes interiors by a legendary Parisian design name, Jacques Garcia. The mirrored coffee bar on the lobby level, modeled after the 300-year-old Caffè Florian in Venice, is a great place to see and be seen by L.A.’s artists and creative entrepreneurs. thenomadhotel.com • If the “new next” is not your thing, you can never go wrong with the Chateau Marmont, perched above Sunset Boulevard. The celebrity sightings notwithstanding, it’s one of the few hotels that boast private bungalows, a lovely pool, and lush gardens overlooked by arched colonnades. If you’re hoping to

squeeze into Bar Marmont, I’d suggest the lounge on the first floor instead—still celeb-packed, but a bit more low-key and convivial. chateaumarmont.com WHERE TO EAT

• Sure, the city is the new mecca for art, but one of my favorite things here is actually the food! I routinely start my day at Blacktop Coffee in the Arts District. Though it has arguably the best espresso in town (cleverly served with a shot of Topo Chico sparkling water), what I really love is the easygoing outdoor seating. Order a coffee and the ricotta toast (if you’re a purist, the avocado toast is also delicious) for a quick breakfast with a side of people watching. blacktop.la • Just steps away is Manuela, my go-to when friends and family are visiting and I want to impress. Not only does →

CLOCKWISE FROM TOP LEFT: DEBRA BEHR/AL AMY STOCK PHOTO; JONATHON VEL ARDI; RICHARD POWERS; COURTESY OF GARDE

DO IN THE CITY OF ANGELS

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WHAT TO SEE

• As a curator, my sightseeing tends to circle around art, but you can’t come to L.A. and ignore the incredible 84

The communityfriendly courtyard at contemporary art gallery Hauser & Wirth.

natural landscapes. Topanga State Park in the Santa Monica Mountains has great views of open grassland, live oak, and the Pacific Ocean, as well as 28 trails. My favorite trek begins at Los Liones Canyon trailhead and then arrives at a clearing on a ridge from which you look down on Pacific Palisades and the ocean beyond. It’s more than a five-mile hike, so I reward myself with a pizza and a glass of wine at Little Beach House Malibu, not too far from the park. parks.ca.gov; littlebeachhousemalibu.com • Los Angeles has some mega-museums and private collections that should not be missed—MOCA, the Broad, the Marciano Art Foundation, and LACMA—but I tend to spend my weekends exploring some of the smaller nonprofit institutions that are pushing the boundaries of viewership. When I’m downtown, I always make a point to check out the Mistake Room and ICA LA, where César García and Jamillah James, respectively, lead the curatorial visions, and each visit is a dive into new ideas and artists. In West Hollywood, LAXArt is experiencing the same kind of growth under Hamza Walker. tmr.la; theicala.org; laxart.org

WHERE TO SHOP

Scotti Sitz’s Garde is possibly my favorite home store anywhere in the world. Located in a former electronicsrepair shop, this showroom carries everything from Scottish mohair blankets to Simone Crestani’s whimsical glass vessels. A former executive at Calvin Klein and Giorgio Armani, Sitz designed the store herself, keeping the concrete floors and installing a poplar wall to display her international finds. gardeshop.com —JOEY LICO

CLOCKWISE FROM TOP LEFT: MUSEUM ASSOCIATES/L ACMA; JOSHUA TARGOWNIK, COURTESY OF HAUSER & WIRTH; COURTESY OF DORCHESTER COLLECTION; DOUGL AS FRIEDMAN/TRUNK ARCHIVE

From top: A glimpse of the David Hockney show at LACMA (through July 29). The hip restaurant scene at Here’s Looking at You. The Beverly Hills Hotel pool.

it have the friendliest staff but the tucked-away corners are perfect for meals with good conversation over cocktails. The art on the walls is also a draw for us culture vultures, as the place is co-owned by the presidents of the Hauser & Wirth gallery complex, of which it is part. manuela-la.com • Vegan- and health-friendly restaurants are in no short supply here, making it sometimes difficult to satisfy meat cravings. For those moments, Parks BBQ (get the beef brisket) and Here’s Looking at You, both in Koreatown, are two places I always recommend for a full belly. parksbbq.com; hereslookingatyoula.com • L.A. isn’t too much of a drinking city, given the necessity to drive, but with ride shares more available, locals are taking the time to enjoy happy hour. For this, you can’t top the Polo Lounge in the Beverly Hills Hotel: The wine list is superlative and the crowd a mix of celebrities and fashion and art folks. Make sure you snag a seat on the terrace if it’s warm enough—as the sun begins to set, the light is absolute magic. dorchestercollection.com

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Pushing Boundaries

WITH INSPIRING PLANS FOR THE FUTURE, ICONIC DESIGN GALLERY R & COMPANY

Now in its 20th year, R & Company is opening an additional exhibition and archival space (above) and publishing a book (below). Zesty Meyers (left) and Evan Snyderman.

Top right: Caterpillar hanging chair by Porky Hefer.

R & C O M PA NY 20 Ye ar s of D is co ve ry 20 Ye ar s of Di sc ov er y

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esty Meyers and Evan Snyderman, founders of the Manhattan design gallery R & Company, have never seen themselves merely as furniture dealers. “A big part of our job is being storytellers,” says Snyderman. “Telling people the histories of artists and individual pieces is one of our passions.”

Now R & Company has a much larger stage for telling those stories. After nearly two decades in a 2,800-square-foot Tribeca storefront, where the partners were early advocates of everything from the leggy lamps and tables of Greta Magnusson Grossman to the shaggy, beastly creations of the Haas Brothers and Porky Hefer, the company has expanded with gusto, opening an additional 8,000-square-foot three-story space one cobblestoned block away. The gallery’s growth coincides with its 20th anniversary and the release of a new book, R & Company: 20 Years of Discovery (Damiani).

Located on the lower levels of an 1869 cast-iron building, the cavernous second home was designed by California firm wHY and includes reconfigurable exhibition spaces, a 45-foot-high atrium, and an expansive archive and library open to visitors. “For 20 years, we’ve been hunting down and rescuing the archives of

designers we’ve championed,” says Meyers.

The treasures they have amassed—none of them for sale—include drawings by Magnusson Grossman, Joaquim Tenreiro, and Wendell Castle; Sergio Rodrigues’s magazine collection dating from the 1940s; hundreds of photographs by Julius Shulman; and other documents and small objects. Until now, Meyers and Snyderman used this collection as their personal resource for producing exhibitions and books, while also occasionally lending pieces to institutions such as the Los Angeles County Museum of Art and New York’s Museum of Modern Art. At R & Company’s new location, however, the partners are throwing the doors wide open with changing archival exhibitions, appointments for researchers, and public presentations. “We’ve already had events for fourth graders, as well as for scholars of the decorative arts,” says Meyers. “We really want to take it that far. Why should we limit what we can do?”

For the opening, Jeff Zimmerman produced a monumental “vine” chandelier, which sprouts enormous glass grapes that cascade down the three levels of the atrium. What will eventually follow is almost impossible to predict. That’s just fine with Meyers, for whom there is no other way forward: “Why not leave people guessing what’s next?” r-and-company.com —TIM McKEOUGH

JOSEPH KRAMM; COURTESY OF R & COMPANY

DEBUTS A DRAMATIC NEW SPACE

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Sold at Bonhams New York (March 19) This sculpture of the all-seeing lord with 1,000 hands and 11 faces commanded $1,212,500, reflecting its exquisite gilding, engraving, and turquoise inlays.

Because the work is inscribed with an artist’s name, Sonam Gyaltsen, experts may be able to use it to identify several strikingly similar but unattributed works in major museum collections.

On the Block

FASCINATING SALES FROM AROUND THE WORLD

JOHN BARTLAM PORCELAIN TEAPOT  (CIRCA 1760S) Sold at Woolley & Wallis,

Salisbury, England (February 20) Originally acquired for £15 at a regional auction, this vessel turned out to be one of seven known surviving examples by the first American porcelain manufacturer. Signs of repair and a missing lid did not matter to New York’s Metropolitan Museum of Art, which bought it for £575,000 ($802,470), outbidding a private American collector.

MARK BRADFORD, HELTER SKELTER I (2007) Sold at Phillips London (March 8) Mixing such media as paper salvaged from Los Angeles streets, string, and shellac, this example of Bradford’s layered Abstract Expressionism fetched £8,671,500 ($11,977,943), shattering the record for his work—£3,833,750 ($5,298,243)—set two nights earlier at Christie’s. He represented the U.S. at the 2017 Venice Biennale, and his installation at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., is on view through November 12.



 18K-GOLD PATEK PHILIPPE WRISTWATCH (1944)

ALFRED SISLEY, LA SEINE À BOUGIVAL (1877)  Sold at Christie’s Paris (March 23) Fetching €703,500 ($868,049), this oil by the French Impressionist was the most expensive painting in the sale. It was looted by the Nazis from the collection of jeweler Alfred Lindon and among the few works his son managed to reclaim after World War II. 88

Sold at Christie’s Dubai (March 23) One of King Farouk of Egypt’s notorious indulgences—he was prone to European shopping sprees—this chronographic timepiece with moon phases, perpetual calendar, and Arabic and dot numerals went for $912,500 in a lot that included a singular digital drawing of the piece on aluminum. Farouk ruled his country from 1936 until 1952, when Gamal Abdel Nasser overthrew him. —JEANNIE ROSENFELD

PRICES INCLUDE BUYER’S PREMIUM. CLOCKWISE FROM TOP LEFT: COURTESY OF BONHAMS; COURTESY OF WOOLLEY & WALLIS SALISBURY SALEROOMS LTD.; COURTESY OF PHILLIPS; COURTESY OF CHRISTIE’S IMAGES LIMITED (3)

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(954) 920-1700 johnrosselli.com LONDON Jamb Ltd (020) 7730-2122 jamblimi jamblimited.com TORONTO Y&Co (416) 968-7700 ycocarpet.com MELBOURNE Ellio Clarke +61 (03) 9516 3333 ellio clarke.com.au SYDNEY Ellio Clarke +61 (02) 9361 6199 ellio clarke.com.au BRISBANE Ellio Clarke +61 (07) 3852 1107 ellio clarke.com.au SPAIN Cotanda +34 (91) 57831 09 anঞcuariocotanda.com Photography by Roger Davies

Left: Notre-Dame-dela-Garde basilica overlooks the pastel-colored buildings around Marseille’s iconic Vieux Port. Below: Foster + Partners’ reflective polishedsteel canopy in the Vieux Port.

Magical Marseille BECOME FRANCE’S HOTTEST DESTINATION FOR ART AND ARCHITECTURE

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n her 1978 book, A Considerable Town, the late American writer M.F.K. Fisher startled many readers when she fell harder for the brawny port of Marseille than for the aristocratic city of Aix-en-Provence. The preferred Provençal destinations at the time were polite and picturesque. Today, her fascination with France’s second-largest city is shared by an ever-growing number of visitors, who come for its historical and architectural treasures as much as for its transformation into one of Europe’s most dynamic art and design centers. The catalyst for this urban revival was the ambitious infrastructure and cultural projects the city undertook in advance of its yearlong role as European Capital of Culture in 2013.

On a recent morning, as the train from Paris drew close to the handsome 19th-century Gare Saint Charles (the three-and-a-half-hour trip is a better choice than flying), a British professor of English literature who has lived in Marseille for 40 years volunteered his affectionate assessment.

“She’s a lovely old tart of a town, with very good bones,” he declared. “The old gal went through a rough patch, but now she’s coming out of it, and she’s prettier than she’s been in years.”

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Minutes later we arrived, and most travelers headed directly to Le Vieux Port (the Old Port), the city’s iconic heart, where the most striking emblems of its dazzling renewal were obvious: Foster + Partners’ dramatic redesign of the wharves, including the crowd-pleasing, open-air pavilion with a reflective polished-steel canopy, and Rudy Ricciotti’s spectacular Musée des Civilisations de l’Europe et de la Méditerranée (MuCEM), whose façade is clad in a remarkably delicate veil of cement lace.

Marseille’s vocation as a place of commercial and human exchange is entirely contained in Le Vieux Port. As the remains of several ancient Greek and Roman ships attest, the U-shaped harbor is where the city was born and, for centuries, earned its keep from fishing and shipping. When the Suez Canal opened in 1869, trade with France’s Asian colonies added to its already thriving commerce, and Marseille became one of the fastest-growing cities in the world. No building better evokes the prosperity and optimism of the era than the Palais Longchamp, erected to celebrate the transformative public-works triumphs of 19th-century Marseille. Although it houses the excellent Musée des Beaux-Arts (marseille.fr/ node/639), what makes the palace itself memorable is its →

FROM TOP: CORINNE KORDA; EDMUND SUMNER/GETT Y

THE HISTORIC PORT CITY HAS

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NOT FAR FROM MARSEILLE Aix-en-Provence (40 minutes) The 70th edition of the Festival d’Aix-en-Provence, July 4 through 24, presents Mozart’s The Magic Flute and Strauss’s Ariadne auf Naxos, among other works. festival-aix.com/en • An outstanding art and architecture walk (buildings by Tadao Ando and works by such artists as Andy Goldsworthy and Richard Serra) make Château La Coste a world-class destination. chateau-la-coste.com/en Arles (1 hour) The annual international photography festival Rencontres d’Arles takes over the city from July 2 through September 23. rencontres-arles.com/en Nîmes (1 hour, 15 minutes) Opening June 2, the new Musée de la Romanité traces the city’s fabled history, from a sixthcentury-B.C. Gaul settlement through the Roman period and into the Middle Ages. museeromanite.com

FROM TOP: © THE EASTON FOUNDATION/ADAGP PARIS, COURTESY OF CHÂTEAU L A COSTE; ERIC CUVILLIER, COURTESY OF INTERCONTINENTAL HOTELS & RESORTS; COURTESY OF HÔTEL C2

From top: A Louise Bourgeois sculpture at Château La Coste. The Hôtel-Dieu’s presidential suite. Hôtel C2’s private island and beach club.

architecturally exuberant staircase, horseshoe colonnade, and allegorical fountains.

In our time, the MuCEM—opened in 2013 at the northwestern corner of Le Vieux Port—may be the best symbol of Marseille’s renaissance. Established to examine the city’s complicated relationship with the Mediterranean world, it presents compelling exhibitions, including this year’s “Ai Weiwei Fan-Tan,” by the world-renowned Chinese artist (mucem.org). As the son of a famous Chinese poet who arrived in the West in 1929 upon disembarking in Marseille—at precisely the spot where the museum is today—Ai Weiwei was inspired to create a voyage through time and art, exploring ideas of East and West, original and copy, destruction and preservation (June 20–November 12).

Marseille’s other fascinating museums and monuments can keep art and design lovers busy for a week or two, but if time is limited, make sure you see La Cité Radieuse (marseilleciteradieuse.org), the vertical village built by Le Corbusier in 1947—and one of France’s greatest works of modern architecture. Head up to its rooftop for spectacular city views and temporary art shows at MAMO (mamo.fr)—the current one is by Jean-Pierre Reynaud—the art space created by French designer and Marseille resident Ora Ito, whose furniture is produced by Cappellini, among others. →

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This is a city where you’ll want a room with a view, and options abound. You can stay at the charming Grand Hôtel Beauvau (accorhotels.com) at the foot of Le Vieux Port, or opt for yet a grander panorama from a private terrace at the Hôtel InterContinental (ihg.com), in the superbly renovated 18th-century Hôtel Dieu, which sits on a hill overlooking Le Vieux Port and was once the city’s main hospital. Design and beach lovers might want to consider Hôtel C2 (c2-hotel.com), which features furnishings by Arne Jacobsen, Patricia

Left: The terrace of Le Petit Nice restaurant has a full view of Marseille’s historic harbor.

Below: Chef Gérald Passedat of Le Petit Nice.

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FROM TOP: COURTESY OF MAMO; LISA RICCIOTTI, COURTESY OF MUCEM; RICHARD HAUGHTON, COURTESY OF LE PETIT NICE (2)

From top: Felice Varini’s 2016 optical art installation for MAMO, the art space atop Le Corbusier’s Cité Radieuse.

The recently opened MuCEM is partially clad in cement lace.

Urquiola, and Ron Arad and offers a private beach club on an island in the harbor that is reachable by private shuttle.

As far as sustenance is concerned, Marseille is renowned for its earthy seafood-based cooking, notably bouillabaisse, and the best bowl in town right now is at Chez Michel (restaurant-michel-13.fr). But the city has recently emerged as one of the top restaurant destinations in France, with a light, healthy style of modern bistro cooking that reflects its various ethnicities. There is the sublime contemporary seafood cuisine at Le Petit Nice (passedat.fr), from Michelin three-star chef Gérald Passedat, as well as Alexandre Mazzia’s Restaurant AM (alexandremazzia.com) and the just-opened and in-demand La Mercerie (lamerceriemarseille.com), in the charming Noailles quarter.

Should you want to buy a souvenir, bars of the city’s famed olive-oil soap remain a good bet, but a better choice may be navettes—biscuits scented with orange-flower water—from the Four des Navettes (fourdesnavettes.com), in operation since 1781 near Le Vieux Port. Delicious with tea or coffee, they come in a charmingly retro tin that will remind you of Marseille forever. —ALEXANDER LOBRANO

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10th Berlin Biennale

Manifesta 12

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Melbourne Art Fair

Berlin June 9– September 9

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P R O M OT I O N

Clockwise from top left: Designer Jamie Bush, Galerie founder and editorial director Lisa Fayne Cohen, and Collective Design’s Steven Learner. A few of the many pieces in Maison Gerard’s space. The prize-winning chair installation in Jamie Bush’s booth. Alex Papachristidis and Galerie editor in chief Margaret Russell. The fair, held at Skylight Studio, showcased a range of styles and periods.

Galerie Hosts a Special Preview of

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Over 150 designers and design lovers joined Galerie magazine for a sneak peek of the Collective Design show before it opened to the public. The New York fair, which ran from March 8–11, showcased the best of 20th- and 21st-century design alongside experimental works that push the boundaries of art and design.

For the sixth edition of the fair, Steven Learner, its founder and creative director, assembled an impressive range of galleries, including Galerie Minimasterpiece, J. Lohmann Gallery, and Galerie Michael Bargo, plus capsule collections by Christopher Boots, Fernando Mastrangelo, Stickbulb, and Coil + Drift.

Galerie editor in chief Margaret Russell hosted a group of designers and friends of the magazine for a breakfast sponsored by Cambria. Guests included Thad Hayes, Brian Sawyer, Jamie Drake, Juan Montoya, Penny Drue Baird, Charlie Ferrer, Robert Stilin, and Don Stewart, as well as designers participating in the fair such as Ryan Korban, Billy Cotton, Alex Papachristidis, and Chahan Minassian.

Additionally, Galerie founder and editorial director Lisa Fayne Cohen and Margaret Russell saluted the best of the best with Galerie’s first-ever awards for the show. Recognized in five categories, the following booths were honored: Jamie Bush for Best Installation, Maison Gerard for Best Curation, Peter Lane for Best “Collective Concept,” Alex Papachristidis for Best “Collective POV,” and Alex Schweder for Most Innovative Design.

ERIK BARDIN (PORTRAITS); COURTESY OF COLLECTIVE DESIGN (INTERIORS)

THE COLLECTIVE DESIGN FAIR

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DOUGL AS FRIEDMAN

With its vibrant colors and evocation of childhood pleasures, Jeff Koons’s Dipstick sculpture encapsulates the spirit of this seaside bungalow in La Jolla, California.

Live Artfully

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

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Interior design firm Aman & Meeks and architect Michael Perry gave a glamorous update to a Palm Beach estate owned by blue-chip collectors. In the living room, a Takashi Murakami cartoon sculpture joins a text-based work by Mark Bradford (left) and a sculpture by Glenn Brown (right); a Jeff Koons mirrored piece is displayed over the mantel. The chandeliers were crafted

by Alexander von Eikh, and the sofas are upholstered in a Holland & Sherry chenille; the firm also made the rug.

The walls are finished in Venetian plaster in a Benjamin Moore white.

For details see Sources.

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SERENE GLAMOUR MEETS EYE-CATCHING ART AT A PALM BEACH VILLA TRANSFORMED BY AMAN & MEEKS TE X T BY V I CK Y LOWRY PH OTO G R A PH Y BY D O U G L A S F R I E DM A N S T Y LE D BY A N ITA S A R S I D I

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ollectors of contemporary art often elect to display their works in settings that echo the galleries they buy from: minimalist, colorless spaces devised to amplify the exalted objects without distraction.

But the last thing a New York couple wanted for their new Palm Beach retreat was an antiseptic white cube to showcase their wildly eclectic, world-class collection. They had no real wish to mess with the exterior grandeur of their Bermuda-style house, designed by the renowned Palm Beach architect John Volk, whose opulent mansions line the resort town’s storied waterfront boulevards. Yet the Tuscany-inspired, jewel-tone interiors, which had a 1980s sensibility, weren’t the right vibe either.

“We wanted to pay homage to the original architecture but make it fresh and new,” says the wife. “We needed more light and wall space for the art, yet we wanted a real family home, not a gallery.”

The couple, who have two sons, belong to a new generation of collectors making a beeline to the New York office of Aman & Meeks, a firm with a well-deserved reputation for crafting luxurious, curated interiors. The debonair principals, Jim Aman and John Meeks, have handled everything from fashion retail (Ralph Lauren) and furnishings emporiums (Newel Antiques) to Park Avenue showplaces and country estates, and they proved the ideal collaborators to channel the family’s needs for reviving this Palm Beach manor.

“I wouldn’t say our palette is neutral, by any means,” remarks Aman. “We do a glamorous serenity. You could change out the artwork, and the rooms would still look great.” And in this house, which features major works by the likes of George Condo, Jeff Koons, Takashi Murakami, and Mark Bradford, comings and goings are routine as pieces are lent to museum exhibitions and new works are acquired.

To better tailor the rooms for the artworks—some of which are quite large—the interior designers undertook a gut renovation, raising ceilings, removing windows to add wall space, and stripping out crown moldings for a look that’s crisp but hardly austere. Then the two went to work on the finishing touches that set the home’s stylish tone. “She likes

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things very clean, with clear colors, and while her taste is streamlined, she’s also traditional,” Aman says of the wife, who worked closely with the designers. Even though she is as passionate about contemporary design and architecture as she is about art, the wife admits, with a laugh, “We are relatively conservative people—the art definitely stands out more than we do.”

Walls finished in classic Venetian plaster add instant patina. A powder room’s inset stripes of mother-of-pearl catch the Florida light. Other surfaces are splashed in a suite of blues, the wife’s favorite color. A rich lacquer enlivens the library’s original mahogany millwork, while a barely-there hue on the master bedroom walls evokes the morning sky.

“We wanted to create understated backdrops that could hold the room, no matter how our clients integrated the art within,” Meeks says.

Blue accents were further employed on some of the eye-catching kitchen cabinetry, on the upholstery in the husband’s study, and in the master bedroom’s linens and pillows, custom embroidered with lively maritime motifs.

“The color palette was all used in harmony,” Aman says.

“Every room has something that relates to each other.”

Particular attention was paid to the ceilings, which, like the singular lighting throughout (most of the fixtures were specially commissioned), help to define the various spaces, adding character and complexity. Silver tea paper softly shimmers above the living and dining rooms, while gilded cork paper draws the eye skyward in the library. “You shouldn’t be able to walk in a room and figure things out right away,” Aman says. “It should be subtle.”

Antique and vintage furnishings add to the mix, playing off the gutsy art. Two 18th-century consoles with carved-wood dolphins look thoroughly modern after many coats of pale blue-gray lacquer, sharing space with an iconic Frank Stella T-shaped canvas in the signature stripes of his early works.

Frances Elkins’s loop dining chairs playfully echo the dancing squiggles of a Brice Marden painting. “Part of the fun of mixing eras is that good lines stand out on their own and work together with other pieces,” Meeks says.

“I didn’t want period rooms, contemporary or traditional,” the wife says. “I think those are boring. And it’s not how we want to live.” For all their ostensibly conservative leanings, when it comes to their homes, this collecting couple now have exhilarating interiors that are the equal of their daring taste in art.

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The dining chairs, chaise longues, and settee in the pool area are by McKinnon and Harris, and the John Dickinson side tables are by Sutherland.

The landscape design is

by Keith Williams of Nievera Williams.

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A Brice Marden painting anchors the dining room; the tables were custom made with mother-of-pearl inlay, the chairs are a Frances Elkins design, the ceiling is clad in Gracie silver tea-leaf paper, and a pair of 1930s Serge Roche plaster torchères stand at the door. Opposite: In the library, a Gerhard Richter painting hangs over the mantel, the Mies van der Rohe stools are by Knoll, and the cast-cement cocktail table is a vintage Italian design; brushed-gold cork paper by Stark is installed between the ceiling beams.

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From top: A Frank Stella painting dominates the foyer; the chandelier is

by Alexander von Eikh, the 18th-century Swedish bench is from H. M. Luther, and the bicycle is by Lilly Pulitzer.

Sculptures by Jeff Koons (far left) and Mark Grotjahn and a painting by George Condo are displayed in the gallery; a Daisy Youngblood sculpture can be seen through the door. Opposite: The kitchen features custom-designed cabinetry by St. Charles of New York with a marine-blue steel island by La Cornue, a Sub-Zero refrigerator, and a pendant light by Remains Lighting.

A glass-bubble ceiling fixture in the breakfast area, from Liza Sherman Antiques, dangles over a Yoshitomo Nara dog sculpture; the chairs are by McGuire, and the vinyl rug is by Stark.

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A monumental Anselm Kiefer painting hangs beside a shell sculpture by Katharina Fritsch in the master bedroom; the 1940s gueridon is by RenĂŠ Drouet. John Meeks designed the whitelacquer four-poster and custom-made Pratesi bed linens, which were embroidered by Holland & Sherry; the walls are coated in Venetian plaster in a Benjamin Moore white.

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SETTING THE SCENE

CELEBRATED TV WRITER AND PRODUCER DARREN STAR’S HAMPTONS HIDEAWAY GETS A RAVISHING REBOOT BY DESIGNER WALDO FERNANDEZ

In the double-height living room of Darren Star’s East Hampton retreat, which was designed by Waldo Fernandez, an artwork

by Cy Twombly is mounted over the fireplace, and custom-made club chairs are grouped around a vintage Jean Royère marbletop cocktail table; the iron-andporcelain chandelier is from the 1950s, and the rug is by Feizy.

For details see Sources.

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DARREN STAR’S HUGELY POPULAR TELEVISION SHOWS HAVE ALWAYS FUNCTIONED ON TWO LEVELS. There’s the shiny surface, and then

there’s the often stark, authentically human subtext. Beverly Hills 90210, his depiction of wealthy high schoolers coming of age—not as overprivileged teen clichés but as young adults dealing with real, complicated life issues—helped reshape the national conversation around adolescence while forever changing American TV. Undergirding the pink tulle and heels, the boozy nightlife, and the brunch dates in Sex and the City was a groundbreaking post-feminist examination of women’s friendships, careers, and sexuality. Darren’s most recent hit, Younger (on which I had the pleasure of consulting), tells the timely story of a middle-aged, recently separated woman forced to lie about how old she is in order to land a job, only to find herself having to navigate both ageism and sexism in the workplace.

So it came as no surprise to discover that Darren’s beach house in East Hampton works on two levels—and I don’t just mean that the upstairs is visible from the double-height living room. On the surface, it’s a traditional shingled four-bedroom house, featuring bright, generously scaled spaces filled with exquisite art and furnishings, all masterminded by celebrated designer Waldo Fernandez, whom Darren first called upon to help reinvigorate his historic Los Angeles estate a number of years ago. Much like that project, the East Hampton home would have every right to shout its importance, had its owner so desired. And yet its brilliance, echoing Darren’s shows, lies in its seduction. The compellingly understated spaces devised by Fernandez pull you—lightly, effortlessly—into an oasis of calm and nurture.

“I fell in love with the Hamptons more than 20 years ago, when I was in New York filming the series Central Park West,” says Darren. “Raised on the East Coast, I spent summers on the Delaware shore, and after many years in L.A., I realized how much I missed those summer days at the beach—the sense of pure escape. And the Hamptons combine the best of the beach with the best of being in the country.” His house, only a block from the ocean, has become a retreat for family and friends.

“Waldo,” Darren says, “brought it to the next level of relaxed comfort and simplicity.”

Darren and I attended the same high school in Potomac, Maryland, and we both fled the confines of those suburbs in search of something more. But we never met until he bought the rights to my first book. Though it was a memoir of the

wars I’d covered in my early 20s, what spoke to Darren was the girl from Potomac underneath. Similarly, what struck me the last time I visited him in East Hampton—where we’d gone to work on a new project—was the seamless way in which the house combines a familiar coziness with understated sophistication and luxury.

Darren is a passionate art collector. On a wall above the entryway, which opens directly to the living room, hangs a wittily humorous work by Greg Colson titled Things People Lie About. In the form of a pie chart, it features slices labeled “INCOME,” “ACCOMPLISHMENTS,” and “MARITAL STATUS,” with the largest reserved for “TRUE FEELINGS”—once again channeling the theme of text (what we project to the world) and subtext (who we actually are). At the top of the stairs is a large Massimo Vitali photograph of crowds frolicking at a beach. “I wanted the art in the house to feel playful, not too serious,” says Darren.

Designed in the 1990s by the celebrated Hamptons architect Francis Fleetwood, the house sits on a lovely plot with numerous trees and amazing light. But Darren felt it was just too ordinary. “Coming from L.A., I really wanted that platonic ideal of a classic Hamptons Shingle Style home,” he says. Improvements carried out by Fernandez included adding plank paneling to many interior walls and installing a massive limestone fireplace surround in the living room.

Some of the biggest changes came outside. “For me, being in the Hamptons is about spending as much time outdoors as possible,” Darren says. A new porch off the den has become “a prime hangout, day and night,” he notes, while the covered grilling and dining area outside the kitchen is where he spends some of his “best nights, cooking with friends, using the fabulous produce from local farm stands.” Farther out in the back, landscape architect Alec Gunn designed an intimate seating area with a stone fireplace, shaded by a wisteria-covered pergola, making it a perfect spot for a quiet lunch or after-dinner drinks.

On our last day at the house, after several hours of work, Darren and I wound down with a yoga session on the deck.

To the sounds of crashing waves, we looked out to the lush expanse of green, hyper-illuminated by the distinctive sunlight that has drawn many an artist to Long Island’s East End. In that moment, as the world and our inner selves realigned into hard-earned balance, I felt the parallel magical equipoise of this home.

TE X T BY D E B O R A H CO PA KE N PH OTO G R A PH Y BY R I CH A R D P OWE R S S T Y LE D BY A N ITA S A R S I D I

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A painting by Jonas Wood overlooks the sofa and woven-rush armchairs, which were custom made

by Fernandez; the cocktail table is by Waldo’s Designs. Left: TV and film director and producer Darren Star.

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Wisteria climbs the pergola, which shades an outdoor sitting area designed by landscape architect Alec Gunn; the teak outdoor furniture by RH, Restoration Hardware, has cushions covered in a Sunbrella fabric.

Right: The entrance hall features a soaring ceiling and works by Greg Colson (left) and Ed Ruscha; the console is a vintage piece by Axel Einar Hjorth.

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A work on paper by Ed Ruscha hangs in the beadboard-paneled den; the armchair is 1950s Italian, the custom-made cocktail table is by Waldo’s Designs, and the ceiling fan is by Lumens.

Opposite, from top: In the kitchen, vintage Arthur Umanoff barstools flank the island, the custom-made pendant lights are by Waldo’s Designs, and the range is by Wolf. A large-scale Massimo Vitali photograph and a custom-made Waldo’s Designs light fixture overlook the staircase.

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“I FELL IN LOVE WITH THE HAMPTONS MORE THAN 20 YEARS AGO,” SAYS DARREN STAR

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The master bedroom’s bed and nightstands were custom made, and the artwork is by Ruben Ochoa. Left: The dresser is a vintage T. H. RobsjohnGibbings design.

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DESERT BLOOM A STREAMLINED PALM SPRINGS HOUSE DESIGNED BY ARCHITECTURAL FIRM MARMOL RADZINER IS AN ODE TO ELEGANT INDOOR-OUTDOOR LIVING TE X T BY S TE PH E N WA LLI S PH OTO G R A PH Y BY RO G E R DAV I E S

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For an Aspen-based couple, architecture firm Marmol Radziner and designer Sophie Harvey created a modernist house in La Quinta, California, that reflects the subtle palette of the surrounding desert. Its pool area is furnished with outdoor seating by Minotti and Sutherland chaise longues, all with cushions covered in a Perennials fabric. For details see Sources.

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he Los Angeles architecture firm Marmol Radziner is no stranger to working in the desert, whether restoring midcentury icons like the Kaufmann House in Palm Springs or building original, modernist-inspired takes on indoor-outdoor living in Scottsdale, Las Vegas, and various points across California’s Coachella Valley.

One of the firm’s strengths is the artfulness with which it inserts architecture into natural surroundings. For a recent project in La Quinta, south of Palm Springs, the challenge was less about integrating a home into the desert landscape than it was integrating a desert landscape into the home.

When an Aspen-based couple—semi-retired businesspeople involved in a variety of philanthropic pursuits—approached Marmol Radziner about creating a residence in a new private development in La Quinta six years ago, they certainly weren’t looking for a conventional mega-mansion. “If you had ever told me that I’d own a house on a golf course in Palm Springs,” the wife remarks, “I would have said, ‘Clearly you haven’t met me.’”

The brief from the clients was straightforward but hardly simple to execute. “They wanted a home with main spaces large enough for entertaining, but also to have their zone of living still feel compact,” says Ron Radziner, who heads the firm with Leo Marmol. The homeowners, who are enthusiastic collectors, also requested some walls for large-scale artworks (a nearly 18-foot-wide Michael Chow painting required a living room wall to be extended by six inches) as well as a strong connection between the interior and exterior.

They got all that and more with Marmol Radziner’s design, which is anchored by a 6,500-square-foot structure containing double-height entertaining spaces, a large master suite, and a guest room. There is continuous flow from the kitchen into the dining and living areas, with sliding glass doors opening directly onto the terrace and offering glorious views of the San Jacinto Mountains. Across a courtyard, a guesthouse features two additional bedrooms.

The architecture has many of the firm’s signatures: striking rectilinear forms, abundant glass exposures, generous overhangs for shading, asymmetrical ceiling heights, and overlapping planes that create visual

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dynamism. But for all its cool, modernist bravado, this is also a house with a softer, subtler side.

Sophie Harvey, an architect and designer in Aspen and New York City, collaborated on the interior finishes and oversaw the furnishings, instinctively gravitating “toward neutrals and earth tones while keeping everything warm,” she says. “This is a very modern house, but there’s nothing cold about it when you’re inside.” Responding to the owners’ taste for “a little luxe,” Harvey prioritized comfort in the mix of contemporary and vintage pieces, while deploying “really yummy silk rugs” and lining entire walls with creamy leather behind the platform beds. “We wanted it to have a luxurious feel but in a simple, understated way.”

The choice of materials—limestone floors, teak ceilings, bleached-walnut millwork, concrete countertops in the kitchen, travertine in the baths—was about channeling the faded, dusty hues of the desert. “Even the plaster color of the building itself,” says Radziner, “is a gray, slightly greenish tone that blends with the landscape.”

That connection to the desert is reinforced by the striking landscaped courtyard spaces, which are ingeniously woven into and around the house. The masterminds behind the meticulously crafted gardens were Jody Rhone and Tom Pritchard, principals of Madderlake Designs, who drew inspiration from, among other things, a temple garden in Kyoto. “The home is built on a flat piece of sand, without a shred of contour, elevation, or green—it was a blank slate,” Pritchard recalls. “We sought to use native desert elements to tell a story and create a context that the house could belong to.”

To realize their vision, the designers doggedly tracked down perfectly craggy olive trees and handpicked granite boulders from a farmer’s fields some 60 miles away. “We spent days going around on ATVs and tagging different clusters,” says Pritchard.

“No one in Palm Springs had ever seen anyone do something like this.” Ultimately, they trucked some 430 tons of rocks to the house, painstakingly reassembling them in the precise configurations in which they’d been discovered. “It was a struggle, but finding the right boulders was key to realizing the concept that we had,” Rhone says. “They are like characters in a story.”

The story of this house was the work of multiple authors whose collaborative efforts produced extraordinary results. “Leo Marmol summed it up best,” the wife recounts.

“He told me, ‘You hired the A team, and they all gave you their A game.’ And it’s true.”

Opposite: Shadows cast a graphic pattern in a corridor, where a site-specific installation by artist Phillip K. Smith III, made of mirrored glass and LED lights, changes color throughout the day; the Azadeh Shladovsky rosewood-andsheepskin bench is from Jean de Merry.

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A large-scale work by Michael Chow anchors the living room, which features a bronze-and-lacquer cocktail table custom made

by Hudson Furniture, a sectional sofa by Minotti, and throw pillows covered in alpaca fabric by Rosemary Hallgarten. The Richard Wrightman stainless-steel barstools, at right, are upholstered in a Moore & Giles leather.

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Above: The pool chaises are by Sutherland, with cushions covered in a Perennials fabric, and the iron-and-travertine side tables are by Philip Nimmo from Jean de Merry; Minotti made the sofa and daybed grouped near the fireplace. Right: A pair of velvet-upholstered brass armchairs offer dramatic desert views in the living room; the sectional sofa and daybeds are by Minotti, and the silk rug was custom made by ALT for Living.

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Left: Korean artist Chun Kwang Young created the three-dimensional work in the dining area, the chandelier is by David Weeks Studio, and the dining chairs are vintage Milo Baughman designs; a 1950s Italian mirror from Wyeth hangs above a custom-made credenza by Hudson Furniture. Above: The kitchen cabinetry is crafted of bleached walnut with concrete countertops; the sink fittings are by Dornbracht, and the stools are by Minotti.

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Above: In the master bath, silver travertine from Tuscany lines the walls, the tub is a Claudio Silvestrin design by Boffi, and the tub filler and shower fittings are

by Dornbracht. Right: A painting by Sam Francis adds a splash of color to the serene master bedroom; B&B Italia swivel chairs flank a 1960s Paul Evans cocktail table, the horsehair bedside sconce is by Apparatus, and the silk rug was custom made by ALT for Living.

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1 Working from a bare site, landscaping firm Madderlake Designs decided to create a Japanese-style garden with locally appropriate elements.

Mature olive trees were introduced throughout the property because “they can be exceptionally beautiful,” says Madderlake’s Tom Pritchard. “They’re very craggy. They look and feel ancient. That kind of character is what we wanted.” madderlake.com

specimen at a nursery, Madderlake was told it was not for sale: It was being stored during the renovation of Spago, Wolfgang Puck’s flagship Beverly Hills restaurant, whose courtyard it had graced. Eventually, however, the tree was found to be superfluous, which allowed Madderlake to acquire it for the clients.

2 The massive olive tree between the main residence and the guesthouse—pictured here during its installation— came with a story. After spotting this exceptional

3 + 7 In the spalike master bathroom, a marble work by sculptor Saint Clair Cemin is a striking focal point, drawing your attention toward the garden beyond.

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(1, 2, 6) COURTESY OF MADDERL AKE DESIGNS; (7) COURTESY OF THE ARTIST AND PAUL KASMIN GALLERY; (3, 4, 8, 9) ROGER DAVIES; (5) WILL ADLER/MASSIF

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Born in Brazil and living between Brooklyn and Beijing, the artist creates works that combine organic form and surreal appeal. paulkasmingallery.com 4 Since his participation in the Desert X contemporary art biennial outside Palm Springs in 2017, Phillip K. Smith III has been gaining attention for his work, which ranges from his own 2013 mirrored cabin in Joshua Tree, California, to his 2018 piece in the courtyard of Milan’s Palazzo Isimbardi.

Here, in his installation in the 30-foot entryway, the mirrors and lights reflect the changing colors of the desert sky. “The piece is

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about bringing in the view of the clients’ garden and the shifting shadow throughout the day,” he says. royaleprojects.com 5 Before Michael Chow emerged on the dining scene in 1968, he was a struggling painter in London. As his restaurant became the place to be for art stars such as Andy Warhol and Jean-Michel Basquiat in the ’80s, he expanded his empire to other locations, all celebrated in a new book, Mr Chow: 50 Years (Prestel). Seven years ago, Chow, also known as Zhou YingHua, began painting again (a large canvas is displayed in the clients’ living room).

Fittingly, his first U.S. exhibition took place at the Andy Warhol Museum in Pittsburgh in 2016. mrchow.com 6 To instill rhythm into the environment, Madderlake extracted granite boulders from nearby farmland, handpicking the best rocks for shape, size, and texture.

Carefully placed throughout the house’s exterior and interior gardens, they were reassembled in exactly the same arrangements as they were found in the wild.

8 Interior designer Sophie Harvey commissioned artisan John Lyle to make a custom screen for the home’s entry.

Given the client’s fondness for one of Lyle’s cocktail tables, Harvey asked him to reimagine it as a 9-by-12-foot screen, with the brief that it would be more sculpture than furniture. johnlyledesign.com 9 The courtyard rooms feature full-corner disappearing floor-to-ceiling walls by NanaWall and apertures to the roof and gardens. Niches for napping are carved into the courtyards as well.

“The guest suites are some of the coolest spaces,” says architect Ron Radziner, “like little hotel suites with their own private gardens.” nanawall.com

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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 A collector and scholar, fashion designer Albert Kriemler turns his clothing and accessories for Akris into works of art.

The bright blocks of color often used by Alexander Girard, the midcentury American architect and textile designer, served as inspiration for Kriemler’s Mural Print Anouk Little Day Bag; akris.ch. Opposite: This detail of Photo-souvenir: From Three Windows, a 2006 photograph of a work by French Conceptual artist Daniel Buren, captures only part of his installation. Buren often challenges viewers’ perception of space by manipulating it with color and architectural frames; lissongallery.com.

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JOSHUA M C HUGH. OPPOSITE: COURTESY OF LISSON GALLERY

Life Imitates Art

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JOSHUA M C HUGH. OPPOSITE: COURTESY OF LISSON GALLERY

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COURTESY OF ROCHE BOBOIS. OPPOSITE: COURTESY OF THE ARTIST AND JACK SHAINMAN GALLERY, NEW YORK

Birds of a feather flock together on Maison Lacroix’s Finition Onyx Large Screen for Roche Bobois. Trimmed and hinged with solid brass, the elegant six-panel, digital-printed divider embodies the fashion house’s spirited opulence; roche-bobois.com.

Opposite: Sculptor and performance artist Nick Cave has long created works that are exuberant as well as labor-intensive.

For Bird Bush, from 2010, Cave wove miniature birds and found objects into a delightful creation; jackshainman.com.

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COURTESY OF ROCHE BOBOIS. OPPOSITE: COURTESY OF THE ARTIST AND JACK SHAINMAN GALLERY, NEW YORK

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COURTESY OF THE ARTIST AND PIEROGI. OPPOSITE: COURTESY OF PATEK PHILIPPE

With his illuminated dioramas, Brooklyn sculptor Patrick Jacobs creates portals into magical worlds. The rose-colored, hyper-real landscape of Pink Forest, from 2018, brims with details fashioned from plastic, paper, foam, and wood; patrickjacobs.info. Opposite: Artisanal craftsmanship has never looked as pretty in pink as in the Patek Philippe self-winding Calatrava Haute Joaillerie watch, which features a mother-of-pearl feather motif on the dial, plus 149 staggered-set diamonds and 182 pink sapphires on a white gold case.

The crown is set with a pink sapphire cabochon and 36 diamonds, and the strap is alligator; patek.com.

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COURTESY OF THE ARTIST AND PIEROGI. OPPOSITE: COURTESY OF PATEK PHILIPPE

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COURTESY OF ARTBOOK/D.A.P. OPPOSITE: COURTESY OF DOLCE & GABBANA

Multidisciplinary French artist Sonia Delaunay, an early abstractionist, positioned geometric shapes in strong colors that vibrated off one another. The undulating swirls of Gouache, from 1938, animate her work with rhythm and motion. Opposite: Bold mixes of color dominate Dolce & Gabbana’s spring/summer 2018 collection, which was inspired by the queen of hearts. Crafted from satin and with ruched embroidery details, this blouse radiates with intense, saturated hues; dolcegabbana.it.

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COURTESY OF ARTBOOK/D.A.P. OPPOSITE: COURTESY OF DOLCE & GABBANA

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MASTER MIX

Deftly marrying Tuscan architecture with a modern interior, Penny Drue Baird conjures her clients’ dream house

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TE X T BY K ATH LE E N H ACKE T T PH OTO G R A PH Y BY PE TE R MU R D O CK Interior designer Penny Drue Baird, of Dessins, infused a family’s Tuscan-style Long Island retreat with a cool, contemporary vibe. The library features an armchair by the Bright Group (foreground) and a pair of A. Rudin club chairs, a Promemoria sofa, and a cocktail table by Linley; the chandelier is by Fuse Lighting from Dennis Miller Assoc., and the rug is by Stark. For details see Sources.

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hat happens when a couple of empty nesters set out to create their dream getaway, a sprawling seven-bedroom Tuscan-style waterfront home on Long Island, only to decide after the initial plans are finished that they aren’t so enamored of oldworld Italianate interiors? No problem, responded their designer, Penny Drue Baird, whose reputation for exquisite architectural detailing and continent-hopping pursuit of rare furnishings has won her a devoted international clientele.

Baird masterminded a seamless transition from the home’s exterior loggias and commanding clavos-studded front door to an interior that is unexpectedly, elegantly modern. And she made the pivot with aplomb.

Baird, whose firm, Dessins, has offices in New York and Paris, happens to hold a Ph.D. in psychology, which may or may not help explain how she remained unflappable in the face of her clients’ change of heart. Mostly, it was about pragmatism. “I had to make Tuscan and modern get along,” says Baird, whose new book, On Interior Design, will be released by Images Publishing in October. “Since Tuscany stretches all the way to the Mediterranean, I felt I could borrow a bit of that seaside design language—basically, the relaxed, serene, monochromatic parts.”

Those were the things that appealed to her Manhattanbased clients, who work in mental health (the wife) and finance (the husband) and have three young adult children.

At the same time, they wanted to avoid the ineffable chilliness that characterizes some modern interiors. The trick, according to Baird, was to impart as much lightness inside as there was gravitas on the outside, without resorting to Tuscan tropes like endlessly scrolling wrought iron, dark wooden beams, and muscular furnishings. To pull it off, she used materials—stone, oak, walnut—typical of classic Tuscan

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interiors, but she softened, refined, and reimagined them.

“Even though a vernacular home is automatically special, it was essential to make an architectural statement inside.

Plain, boxy rooms would have been jarring,” says Baird.

She turned her attention first to the ceilings, plastering some, whitewashing others, and lining still others with planks of unfinished wood. Whether coved, coffered, or clad, all are imbued with a subtle strength. Interior doors also quietly command attention, with their bronze hardware and the studded kick plates that run along their bases. The drama and scale are there; the familiar Tuscan trappings are not.

Contemporary and comfortable was the clients’ mandate, but they also cared about history and meaning. For Baird, who is allergic to the prosaic, finding furnishings perfectly suited to a space is thrilling. “I’ve lugged armloads of $5 baskets on a flight home from Asia because they were exceptional,” she notes, adding, “and I wouldn’t ever want a client to settle for a regular old Parsons table.” That meant mixing pieces from “a teeny-tiny shop in Florence” or “a quirky vintage store in Paris” with furnishings by favorite French designers like Philippe Hurel and Bruno Moinard. “I filled the house with exquisite pieces, but there’s not that feeling of being overwhelmed by too many special things,” she says.

The owners opted for a similarly spare approach to the art in the house. “We focused on late-20th-century painters and looked for depth of color and vibrancy,” says the husband.

An abstracted beach scene by Bill Parker hangs alone on a crisp wall in the living room, its gilt frame gleaming in the abundant natural light, while a Jonathan Wigmore light-box sculpture stretches up another wall nearby. And in the adjacent dining room, a colorful Pierre Boncompain canvas injects the monochromatic space with a dash of color without disturbing the peace.

Another priority for the couple was maximizing views of the bay. “We built really nice bedrooms overlooking the water for each of the kids to guarantee that they would come stay,” says the wife. The family had spent every summer in a Normandy-style ranch that stood on the same site. In building the new home, they opened up vistas they never realized were possible. “We removed a few trees and instantly got views as soon as you enter the house,” says the husband.

“Arriving is one of my favorite moments—the mystery and formality of the exterior, then walking through the huge front door and being struck with the gorgeous, expansive view. It reminds me of being on Lake Como.”

It all works, and Baird delivered to her clients exactly what they had imagined: a modern Tuscan house that’s sophisticated, unpredictable, and devoid of clichés. “Apart from the main stair banister,” the designer says, “we got away without a lick of wrought iron.”

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The dining room’s custom-made Mark H. Luedeman table is paired with Philippe Hurel chairs, a wall covering by Phillip Jeffries, and a 1930s Italian sideboard; the artwork is by Pierre Boncompain, and the rug is by Stark.

The Lianne Gold light fixture is from Ralph Pucci, as is the Jonathan Wigmore light sculpture seen through the door to the living room. Opposite: The pool overlooks Quantuck Bay.

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HervÊ Van der Straeten sconces from Ralph Pucci flank a mirror by Bruno Moinard in the living room; the lounge chair is by Lorin Marsh. Left, from top: The room’s alabaster ceiling fixtures are from Carlos de la Puente Antiques, the painting is by Bill Parker, and the sculptural cocktail table is a Philippe Hurel design. Christopher Peacock crafted the kitchen cabinetry and island, the Powell & Bonnell stools are from Dennis Miller Assoc., and the 1960s chandelier is from John Salibello.

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The master bedroom features artworks by Juan Cruz Reverberi (left) and Dennis Creffield; Penny Drue Baird designed the bed, the shagreen mirror is by R&Y Augousti, the chandelier is from Carlos de la Puente Antiques, and the silk carpet is by Edward Fields. Right, from top: A portrait by Josef Scharl is displayed in the master bath; the alabaster light fixture is

by Charles Edwards, and the tub is by Wetstyle.

In the poolhouse, a sea-grass-wrapped wood armchair and cocktail table by A. Rudin are grouped with club chairs by Janus et Cie.

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SUMMERS AT THE WATERMILL CENTER ARE A SWIRL OF CREATIVITY AND COLLABORATION, WITH LEGENDARY ARTIST AND THEATER DIRECTOR ROBERT WILSON LEADING THE WAY

IN HISELEMENT TEX T BY TIM MCKEOUGH

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I N T E R I O R S P H O T O G R A P H Y B Y J E A N - F R A N ÇO I S JAU S S AU D

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Drawing from his 8,000-piece collection, artist Robert Wilson showcases an array of works from ancient to modern at his apartment atop the Watermill Center, an arts and culture lab in the Hamptons. In the main living space, which doubles as his office, furnishings include a vintage table and chairs by Alvar Aalto. For details see Sources.

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ROBERT WILSON’S SUMMER HOME IN THE HAMPTONS IS NOTABLY DIFFERENT FROM ITS NEIGHBORS. It’s not about sand and surf, swimming pools or tennis courts. Instead, it exists to inspire boundarypushing art and unbridled creativity. Every July and August, the renowned experimental theater director and visual artist lives in a stripped-down apartment atop the Watermill Center, the “laboratory for the arts and humanities” that he founded in 1992 and operates within a sprawling former Western Union research facility.

Throughout the year, dozens of artists come from around the world for residencies at the complex, and each summer the roster swells to nearly a hundred as Wilson invites the creatively ambitious to live and work alongside him, all day, every day.

The Watermill Center’s summer activity reaches a feverish, otherworldly peak for one night each July, during its annual benefit auction and party, when the surrounding

Jokubas Nosovas dances on a canvas, 2015.

woods and gardens are taken over by artist installations and performances ranging from the freakish to the fantastical. Visitors might discover a swimmer seemingly trapped in a tank of water, a body-painting artist stomping across a woodland canvas, a disrobed woman submerged in a trough of molasses passersby are encouraged to taste, and countless other scenes perhaps imagined only in one’s dreams. Wilson has described the event, which changes every year, as a shooting star: “It happens once, and never again.”

That promise of unique, outlandish thrills attracts a returning cast of high-fliers from the worlds of film, fashion, music, art, and design. Robert Downey Jr., Brooke Shields, Winona Ryder, Rick Owens, Vivienne Tam, Lady Gaga, Rufus Wainwright, Marina Abramović, and Cindy Sherman are among the regulars who come to support the center’s mission (last year’s event raised over $2 million) and expand their minds.

Alan Cumming, 2013.

Marina Abramović, Lady Gaga, and Robert Wilson, 2013.

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An installation

by Trina Merry, 2013.

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CLOCKWISE FROM BOTTOM LEFT: LOVIS OSTENRIK; JULIAN MOMMERT; BFA; LOVIS OSTENRIK (2); PATRICK M C MULL AN; LINDSAY MORRIS; LOVIS OSTENRIK; CHLOÉ BELLEMÈRE. ALL IMAGES COURTESY OF THE WATERMILL CENTER

“It’s super-inspiring,” says lighting designer Lindsey Adelman, who attends the benefit every summer and donates works for the auction. “You walk along a path through the woods and come upon these people with body paint, in holes and up in trees. You’ll have people decked out in Van Cleef & Arpels jewelry next to someone in a vat of ooze. It’s very out-there, pushing what art can be.”

Inside Wilson’s apartment, life is a little more Zen. The space features polished-concrete floors, pristine white walls, and rows of rectangular pedestals displaying select items from the center’s stunningly eclectic collection of some 8,000 pieces of art, furniture, and other objects. The trove, personally amassed by Wilson over the past 50 years, spans five millennia and countless cultures. “My apartment, like the Watermill Center, is about living and working in an environment immersed in the history of art,” he says.

In the main living space, a towering totemic wood drum from Vanuatu and sixth-century limestone Buddhas from

China watch over a quartet of rare Alvar Aalto bentwood chairs on tubular copper bases (Wilson has long had a special passion for chairs). A stroll through the home turns up numerous other treasures, like an 18th-century stone figure on horseback from North Sumatra, carved-wood ancestral figures from Africa, photographs by Robert Mapplethorpe, and a wall-mounted work of colored lightbulbs by contemporary artist G. T. Pellizzi.

The pieces on display are in a constant state of flux, and items seen one year might be back in the archive the next.

“They are like cards that can be shuffled and rearranged anytime,” says Wilson. He encourages visiting artists to engage with them in the same way—not just to admire the pieces as if they were in a museum but to work alongside them. “It is important for us to live with a firsthand awareness and knowledge of what man has done in the past as we go forward and create new artistic work,” Wilson says.

“If we lose our culture, we lose our memory.”

The 24th Annual Watermill Center Summer Benefit, 2017.

Brooke Shields, 2015.

Funérailles de Miel,

by Lisa Lozano, 2013.

Isabelle Huppert, 2017.

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A performance

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The sun-splashed bathroom is anchored by a deep soaking tub by Agape. Opposite, clockwise from top: In the master bedroom, an 18th-century Batak stone figure on horseback stands next to the bed.

A wall-mounted light work by G. T. Pellizzi in the entrance glows next to ceramic vessels by Bonnie Lynch and a Congolese harp made of wood, metal, and fur. A display of antique figures, including pieces from China and Afghanistan, line a corridor.

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At the La Jolla, California, home of Liz Anne and Phokion Potamianos, designed by Eddie Lee, a metal sculpture by Jeff Koons frames breathtaking views of the sea. The sofa is by B&B Italia, the pair of Arne Jacobsen chairs are by Fritz Hansen, the three-part cocktail table is by George Nakashima, and the purple armchair is a vintage Nanna Ditzel design; the blue floor cushions are by Ligne Roset, and the wall cabinet is vintage Jean Prouvé. For details see Sources.

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NEW

WEST COAST TRANSPLANTS LIZ ANNE AND PHOKION POTAMIANOS

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M

OS

TE X T BY M I CH A E L S LE N S KE PH OTO G R A PH E D A N D PRO D U CE D

BY D O U G L A S F R I E DM A N

HORIZONS

MAKE A FRESH START IN A BEACHFRONT BUNGALOW ARTFULLY UPDATED BY EDDIE LEE

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F

or the past two decades, Liz Anne and Phokion Potamianos have lived a metropolitan life. They met, dated, and held one of their two wedding celebrations in New York’s SoHo district, before career opportunities for Phokion—a former private-equity partner who now runs a family office—lured them to San Francisco, London, and then back to Manhattan. During that time, they made seasonal escapes to Switzerland and to the Greek island of Spetses (the site of their first wedding ceremony). The idea of putting down roots in Southern California never occurred to them, even though they made regular visits with their daughter to La Jolla, where Liz Anne’s sister used to live.

“SoHo was such a big part of our lives, and we’d returned to the city to live in the former gallery,” says Liz Anne, referring to the third-floor space at 420 West Broadway, where the late pioneering art dealer Ileana Sonnabend once had her gallery. In the 1980s, Sonnabend had adopted Phokion’s father, Antonio Homem, who served as her longtime employee and is now the director of the Sonnabend Collection Foundation. Liz Anne and Phokion—both members of the foundation’s board—inherited that loft space a few years ago and hired designer Eddie Lee to draw up plans for a renovation to make it their new home. But then a job offer for Phokion popped up in the Bay Area and got the couple thinking about a West Coast reset. “We considered moving back to San Francisco,” says Liz Anne, “but we really love the ocean and wanted to be where you can swim and surf all year round.”

As the couple had their sights on Southern California, Phokion came around to the idea of trading an airplane commute for 365-day surfing and paddleboarding. He got all the convincing he needed the moment he saw the views from a midcentury cliffside bungalow in La Jolla. Designed by Frank Lloyd Wright protégé Frederick Liebhardt in 1958, the spectacularly sited house overlooks Windansea Beach, the legendary surf spot made famous by the titular toughs in Tom Wolfe’s 1968 nonfiction collection The Pump House Gang.

“The culture of Wolfe’s day no longer exists,” says Phokion.

“Appreciation for good surfing and beautiful waves are constant, though.”

So eager were Liz Anne and Phokion to move in that they pressed Lee to drop everything and get the property ready—in just four months’ time—for the start of the school year. It was a tall order, given the brief: transforming the 6,300-square-foot two-bedroom into a comfortable, contemporary four-bedroom family home.

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That meant carving out two new en suite bedrooms, one from a solarium and another from a storage area. A bunch of basic updates were also needed, including swapping out the A-frame living room’s moldering wood-laminate ceiling for planks of vertical-grain hemlock and replacing rotted wood on the teak deck. And there were other custom tweaks, like removing kitchen cabinets to accommodate a table and plush modern banquette to make the space more family-friendly.

“They didn’t want a shabby-chic beach house. They wanted a sophisticated home with a beachy vibe,” says Lee. Though they stripped away most of the touches of Park Avenue exuberance introduced during an early-’90s makeover by legendary decorator Mark Hampton, they kept his white oak floors with travertine inlay and the sunken leather-wrapped bar.

Rooms throughout are painted in shades of white, providing a neutral backdrop for the impressive art, which draws from the Sonnabend Collection. Among the marquee works are a Jeff Koons aluminum sculpture of pool inflatables, an Andy Warhol Flowers tapestry, and a Jim Dine abstract landscape. “We opted for works that were personal, that had been in Ileana’s apartment,” says Liz Anne.

For the furnishings, Lee paired standout vintage pieces with new seating that emphasizes comfort. In the living room he balanced the rigor of a 1950s wall-mounted Jean Prouvé cabinet and the monumentality of a three-part George Nakashima table with royal-blue Ligne Roset back cushions placed directly on the pewter shag rug. The vibe gets truly relaxed in the family room, where Lee configured a Patricia Urquiola sectional sofa around a Willy Rizzo cocktail table, while a wall of family photos underscores the casual mood.

Another imperative for Lee was injecting color— specifically purple, Liz Anne’s favorite. “We wanted to use it as an accent throughout,” says the designer. The chromatic pièce de résistance is the lounge’s 11-panel fireplace surround, coated in high-gloss violet lacquer—the Finish Fetish quality a nod to California surf and car culture.

“The setting, architecture, and lifestyle are all conducive to entertaining in a way that wasn’t possible in New York— easy, relaxed, spontaneous,” says Liz Anne, noting that she and Phokion regularly open up the house to guests. Over the past couple of years, they’ve hosted 16 events, including fundraisers for a school in Haiti, a cocktail reception for the Museum of Contemporary Art San Diego, and even a yoga party on the deck.

“We want people to wander through wearing flip-flops and shorts and appreciate the beauty of the house but not feel overwhelmed by it,” she says. “People just want to hang around.”

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The living room’s monumental travertine fireplace showcases a Greek bronze helmet from the fifth century B.C.; a Hans Wegner chair and ottoman, an Eames stool by Herman Miller, and a Phoenix Day floor lamp are grouped on a rug by Patterson Flynn Martin.

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A photograph by Lawrence Beck overlooks a vintage Milo Baughman burl-wood table and Jorge Zalszupin chairs in the dining room; the oak floors inlaid with travertine were installed by Mark Hampton during a previous renovation.

Opposite: A wall lacquered in a high-gloss violet by Benjamin Moore dazzles in the lounge; the chair and ottoman are upholstered in a Holly Hunt fabric, and the rug is by Patterson Flynn Martin.

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A porcelain enamel-on-steel work by Roy Lichtenstein adds punch to the kitchen, which features colorful stools and chairs designed by Ettore Sottsass for Emeco; the cabinets are finished in a Benjamin Moore paint, the countertop is by Silestone, and the sink fittings are by Dornbracht. Left, from top: An array of family photos has pride of place in the family room, which features a sectional sofa by B&B Italia, a revolving Willy Rizzo cocktail table from the ’60s, and Ligne Roset armchairs. A Candida HÜfer photograph is displayed in the sunken bar, which is topped with travertine and leather; the stools are by Alvar Aalto.

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On the deck, dining chairs by Brown Jordan are grouped around a weatheredteak table by RH, Restoration Hardware.

Below: The pool area’s table and chairs are

by Gloster. Right: Phokion’s bath is clad in Emperador marble; the sconces are a vintage Mark Hampton design.

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NACASCOLO, COSTA RICA | $5.4 MILLION

On the Market

Perched above the dense jungle of northwest Costa Rica, this striking 2014 dwelling was conceived by local architect Victor Cañas, who integrated eco-friendly elements into cutting-edge design.

The floors and walkways, for example, feature an intriguing interplay of porcelain tile, almond wood, and river stones. Oriented to capture glorious views of the Pacific Ocean as well as its cooling breezes, this 5,700-square-foot four-bedroom sanctuary is anchored by a double-height living room, which opens onto an extraordinary terrace.

Equipped with a pool and hot tub, the outdoor space includes a dramatic cantilevered catwalk, where residents can savor spectacular sunsets.

Contact: sothebysrealty.com. ID: 5HW2RZ

FROM THE HAMPTONS TO HAWAII, SENSATIONAL HOUSES TO BUY

MONTAUK, NEW YORK | $62 MILLION KILAUEA, HAWAII | $35 MILLION

Much taken with Kauai’s postcard-perfect North Shore, venture capitalist Walter Kortschak began assembling this beachfront compound in 2001, ultimately snapping up a trio of residences on 18 acres, with a total of a dozen bedrooms. He then enlisted Walker Warner Architects of San Francisco and Philpotts Interiors to craft a stunning 3,600-square-foot entertaining pavilion (shown), where sturdy limestone walls complement floor-to-ceiling windows framed in a variety of wood, including teak, afromosia, and sapele. Landscaped by London’s Dan Pearson, the verdant grounds feature a pool, rambling streams, and hillside gardens planted with native flora. Contact: christiesrealestate.com. MLS: 615151.

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After a 1997 fire leveled Tick Hall, television host Dick Cavett’s legendary Gilded Age estate, he turned to architect James W. Hadley to re-create Stanford White’s original Shingle Style building. Using surviving fragments, photos, and the Cavetts’ memories, the architect meticulously reconstructed the seven-bedroom bluff-top residence, including hallmarks such as beadboard wall treatments, stained-glass windows, and aged-pine flooring. Thanks to this painstaking effort and the addition of a heated pool, the 20-acre oceanfront parcel is once again one of the Hamptons’ most desirable properties. Contact: corcoran.com. MLS: 54557 →

FROM TOP: COURTESY OF COSTA RICA SOTHEBY’S INTERNATIONAL REALT Y; COURTESY OF THE CORCORAN GROUP; MATTHEW MILLMAN

BY GEOFFREY MONTES

GALERIEMAGA ZINE.COM

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The Plaza Private Residence – 301 | Price: $22,500,000 3 Bedrooms 4.5 Bathrooms | Approx. 3,500 SF | Condo

The Plaza Private Residence – 1603 | Price: $10,950,000 2 Bedrooms 2.5 Bathrooms | Approx. 2,000SF | Condo

132 E 70th St – Townhouse | Price: $18,700,000 Approx. SF: 7,103 | 5 floors | 6 Bedrooms 5 Bathrooms | Building

The Plaza Private Residence – 601 | Price: $10,500,000 Approx. SF: 2,656 | 3 Bedrooms 3.5 Bathrooms | Condo

40 Mercer St. Apartment – 37 | Price: $8,900,000 2 Bedrooms 2.5 bathrooms | Approx. SF: 2,206 | Condo

50 E 72nd St. Apartment – 5B | Price: $3,199,000 3 Bedrooms 3 Bathrooms | Condo

The Plaza Private Residence – 602 | Price: $4,500,000 Approx. SF: 1,155 | 1 Bedroom 1.5 Bathrooms | Condo

Manhattan Residences Exclusively Represented by The Charlie Attias Team Charlie Attias Licensed A s sociate RE Broker o 2 12 . 6 0 5 .9 3 81 | m 9 17. 2 73 . 8 613 c h a r l i e. a t t i a s @ c o r c o r a n .c o m

Charlie Attias’s recent accomplishments include being recognized by The Real Deal as a Top 20 Resale Team in Manhattan for 2016/17, one of The Top 50 Teams in the Country by the WSJ, and won the prestigious REBNY Manhattan Deal of the Year 2017!

For any of your Manhattan Real Estate needs reach out to Charlie Attias.

Real estate agents affiliated with The Corcoran Group are independent contractors and are not employees of The Corcoran Group. Equal Housing Opportunity. The Corcoran Group is a licensed real estate broker located at 660 Madison Ave, NY, NY 10065. All information furnished regarding property for sale or rent or regarding financing is from sources deemed reliable, but Corcoran makes no warranty or representation as to the accuracy thereof. All property information is presented subject to errors, omissions, price changes, changed property conditions, and withdrawal of the property from the market, without notice. All dimensions provided are approximate. To obtain exact dimensions, Corcoran advises you to hire a qualified architect or engineer.

BROOKVILLE, NEW YORK | $15 MILLION

WAINSCOTT, NEW YORK | $45 MILLION

With 330 feet of ocean frontage, this storied 1877 home— dubbed Kilkare after a fictional Irish town—is located on a prime three-acre parcel within the Hamptons’ prestigious Georgica Association. The seller, Eleanora Kennedy, and her late husband purchased the 5,000-square-foot seven-bedroom Shingle Style manor in 1975 from descendants of the original owners. In a complete overhaul, she made the ground-floor butler’s quarters into a kitchen and added six bathrooms, but retained such period elements as brick fireplaces and Victorian ceiling tracery. An enchanting retreat thanks to its walled pool court and Zen garden, this residence has appeared in the films The Nanny Diaries and Eternal Sunshine of the Spotless Mind. Contact: sothebysrealty.com. MLS: 0047714.

LOS ANGELES, CALIFORNIA | $10.5 MILLION

The year was 1954, and two young newlyweds had asked California-modernism pioneer Richard Neutra to design this Bel Air stunner as their dream home. Some half a century later, philanthropist Adele Binder acquired it from the couple, along with the original drawings for an unrealized second story. Enlisting preservationminded architect John Bertram, Binder used the plans to orchestrate a $2.5 million expansion, and now the resulting 4,300-square-foot four-bedroom structure—which sits on half an acre and includes a pool—is crowned by a glasswalled master suite with sweeping views from city to sea. Contact: pacificunion.com. MLS: 18314934 172

FROM TOP: COURTESY OF DANIEL GALE SOTHEBY’S INTERNATIONAL REALT Y (2); COURTESY OF SOTHEBY’S INTERNATIONAL REALT Y (CENTER LEFT); TRIA GIOVAN, COURTESY OF VENDOME (CENTER RIGHT); JIM BARTSCH

In 1916, legendary Beaux Arts–style architect Ogden Codman Jr. built this classic French château on Long Island’s scenic North Shore, modeling it after the Louis XIII hunting lodge that Louis XIV gradually expanded into the Palace of Versailles. After acquiring the seven-bedroom residence in 2000, the current owners replaced the roof, windows, and mechanical systems, among many other refurbishments. The foyer was even redesigned to match writer and interior designer Edith Wharton’s longtime Berkshires estate, the Mount, another Codman project. With formal French gardens (including a fountain and the original arbor), a Palladian-style poolhouse, and a tennis court, the eight-acre property is a perfect haven on a hot summer’s day. Contact: sothebysrealty.com. MLS: 3009749

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Twentieth and Twenty-First Century Collectible Design June 12–17, 2018/ Hall 1 Sßd, Messe Basel, Switzerland/ @designmiami #designmiami designmiami.com

Intarsio/ Ercole Barovier, 1961/ Courtesy of Marc Heiremans

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).

Page 24: 2018 ARS, New York/VG Bild-Kunst, Bonn. Page 28: Yves Klein c/o ARS, New York/ADAGP, Paris 2018. Page 64: 2018 Alberto Giacometti Estate/licensed

by VAGA and ARS, New York, NY. Page 74: 2018 ARS, New York/VG Bild-Kunst, Bonn.

Page 94: 2018 ARS, New York/ADAGP, Paris. Page 108: 2018 Brice Marden/ARS, New York. Page 110: 2018 Frank Stella/ARS, New York. Page 110: 2018 George Condo/ ARS, New York. Page 112: 2018 ARS, New York/VG Bild-Kunst, Bonn. Pages 124, 134–35: 2018 Sam Francis Foundation, California/ARS, NY. Page 139: DB-ADAGP, Paris/ARS, New York 2018. Page 149: 2018 ARS, New York/ADAGP, Paris. Page 150: 2018 ARS, New York/ADAGP, Paris. Pages 154–55: 2018 ARS, New York/KUVASTO, Helsinki. Page 166: 2018 ARS, New York/VG Bild-Kunst, Bonn. Page 166: 2018 ARS, New York/KUVASTO, Helsinki. Pages 166–67: 2018 ARS, New York/ADAGP, Paris.

CLASSIC COOL Pages 104–13: Interiors by Aman & Meeks; aman-meeks.squarespace.com. Architecture

by Michael Perry of MP Design & Architecture Inc.; mpdainc.com. Landscape design by Keith Williams of Nievera Williams; nieverawilliams.com. Pages 104–5: In living room, custom-made chandelier by Alexander von Eikh; geraldblandinc.com.

White chenille sofa upholstery and custom-made rug by Holland & Sherry; interiors.hollandandsherry.com. Walls in Venetian plaster, in Decorator’s White, by Benjamin Moore; benjaminmoore.com. Page 107: In pool area, duVal Sun chaise longues, Beaufort dining chairs, and Camelback love seat by McKinnon & Harris (T); mckinnonharris.com. 65103 footed table by John Dickinson from Sutherland (T); sutherlandfurniture.com. Page 108: In dining room, Silver Tea Leaf ceiling paper

by Gracie (T); graciestudio.com. Page 109: In library, Mies van der Rohe stools by Knoll; knoll.com. Ceiling is covered in Cortica wallpaper, in brushed gold, by Stark (T); starkcarpet.com. Page 110: In foyer, custom-made chandelier by Alexander von Eikh. Antique Swedish bench from H. M. Luther; hmluther.com. Page 111: In kitchen, custom cabinetry by St. Charles of New York; stcharlesofnewyork.com. Château kitchen island by La Cornue; lacornueusa.com. Sorenson 18 pendant by Remains

Lighting (T); remains.com. Refrigerator by Sub-Zero; subzero-wolf.com. Cracked Ice chairs by McGuire; mcguirefurniture.com.

Oyster Bay vinyl carpet, in Sand, by Stark (T). Pages 112–13: In master bedroom, custom-made bed by John Meeks of Aman & Meeks. Custom-made bed linens by Pratesi; pratesi.com. Sheets embroidered by Holland & Sherry (T). Walls in Venetian plaster, in Patriotic White, by Benjamin Moore.

SETTING THE SCENE Pages 114–23: Interiors and select furnishings by Waldo Fernandez of Waldo’s Designs; waldosdesigns.com. Landscape design by Alec Gunn; alecgunn.com. Page 114: In living room, custom Moroccanstyle rug by Feizy; feizy.com. Page 117: In living room, custom-made cocktail table

by Waldo’s Designs. Page 118: On terrace, Belvedere sofas, love seat, and lounge chairs by RH, Restoration Hardware; restorationhardware.com. All furnishings upholstered in fabric by Sunbrella; sunbrella.com. Page 120: In kitchen, custom-made pendants by Waldo’s Designs.

Range by Subzero-Wolf; subzero-wolf.com.

In stair hall, custom-made light fixture by Waldo’s Designs. Page 121: In den, Lapa ceiling fan by Lumens; lumens.com.

Custom-made cocktail table by Waldo’s Designs. Page 122: In master bedroom, Hans Wegner ottoman by Modernica; modernica.net. Page 123: In master bedroom, custom-made bed and nightstands by Waldo’s Designs.

DESERT BLOOM Pages 124–37: Architecture by Marmol Radziner; marmol-radziner.com. Interiors

by Sophie Harvey; sophieharveydesign.com. Landscape design by Madderlake; madderlake.com. Pages 124–25: Iroko sofas and armchairs by Minotti; minotti.com. Peninsula chaise longues by Terry Hunziker for Sutherland (T); sutherlandfurniture.com. All outdoor furnishings upholstered in Rough ’n Rowdy fabric, in Blanca, by Perennials (T); perennialsfabrics.com. Page 127: In hallway, Infinity bench by Azadeh Shladovsky from Jean de Merry; jeandemerry.com. Pages 128–29: In living room, custom cocktail table by Hudson Furniture; hudsonfurnitureinc.com.

Hamilton sofa by Minotti. Alpaca throw pillows by Rosemary Hallgarten; rosemaryhallgarten.com. MacLaren stools by Richard Wrightman Design; richardwrightman.com. Stools upholstered in Notting Hill leather, in Vellum, by

GALERIE (ISSN 2470-9964), Volume 3, Issue 2, 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.

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Moore & Giles; mooreandgiles.com.

Page 130: In pool area, Opio side tables

by Philip Nimmo from Jean de Merry.

Peninsula chaise longues by Sutherland, and Iroko sofas and daybed by Minotti, all with cushions in fabric by Perennials (T).

Page 131: In living room, Armstrong armchairs by KGBL; kgblnyc.com.

Hamilton sofa and Andersen chaise longues by Minotti. Custom hand-tufted silk rug, in Wheat, by ALT for Living (T); altforliving.com. Page 132: In dining area, Sarus chandelier by David Weeks Studio; davidweeksstudio.com. Custom credenza

by Hudson Furniture. Vintage 1950s Italian mirror from Wyeth; wyeth.nyc.

Page 133: In kitchen, Tara classic faucets

by Dornbracht; dornbracht.com. Bag Light stools by Minotti. Page 134: In master bath, I Fiumi bathtub by Claudio Silvestrin for Boffi; boffi.com. Tara.Logic tub fittings

by Dornbracht. Page 135: In master bedroom, Metropolitan swivel chairs by B&B Italia; bebitalia.com. Hand-tufted silk rug, in Oyster, by ALT for Living (T).

MIX MASTER Pages 146–53: Interiors by Penny Drue Baird of Dessins LLC; dessinsllc.com.

Architecture by Bruce D. Nagel; brucenagel.com. Pages 146–47: In library, Troscan armchair by the Bright Group (T); thebrightgroup.com. No. 491 club chairs

by A. Rudin (T); arudin.com. Sofa by Promemoria; promemoria.com. Helix cocktail table by Linley; davidlinley.com. Soho chandelier by Fuse Lighting from Dennis Miller Assoc. (T); dennismiller.com. Custom-made rug by Stark (T); starkcarpet.com. Page 149: In dining room, custom-made table by Mark Luedeman; markluedeman.com. Niels chairs by Philippe Hurel (T); philippe-hurel.com.

Calla Seeds wall covering by Phillip Jeffries (T); phillipjeffries.com. Custom-made banana-silk rug by Stark (T). Grande Cielo light fixture by Lianne Gold and Empire light sculpture by Jonathan Wigmore, both from Ralph Pucci (T); ralphpucci.net. Page 150: In living room, alabaster light fixtures from Carlos de la Puente Antiques; delapuenteantiques.com. Webwood cocktail table by Philippe Hurel. In kitchen, cabinetry and island by Christopher Peacock; peacockhome.com. Gramercy barstools by Powell & Bonnell from Dennis Miller Assoc. (T). 1960s chandelier from John Salibello (T); johnsalibello.com. Page 151: In living room, Applique Anneau 295 sconces by Hervé Van der Straeten from Ralph Pucci (T). Cynopolis mirror by Bruno Moinard; brunomoinardeditions.com.

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Gina Swivel armchair by Lorin Marsh (T); lorinmarsh.com. Page 152: In master bedroom, upholstered bed custom-made

by Penny Drue Baird. Lilly Shagreen mirror by R&Y Augousti; augousti.com.

1960s Italian blown-glass chandelier from Carlos de la Puente Antiques. Silk carpet by Edward Fields (T); edwardfields.com. Page 153: In master bath, alabaster light fixture

by Charles Edwards; charlesedwards.com.

Tulip Collection bathtub by Wetstyle; wetstyle.ca. Tub fittings by Graff; graff-faucets.com. In poolhouse, #809 armchair and #8100 cocktail table by A. Rudin. Tosca lounge chairs by Janus et Cie; janusetcie.com.

IN HIS ELEMENT Pages 154–59: The Watermill Center; watermillcenter.org. Robert Wilson; robertwilson.com. Page 159: Woodline bathtub, in dark oak finish, by Agape; agapedesign.it.

NEW HORIZONS Pages 160–69: Interiors by Eddie Lee; eddieleeinc.com. Pages 160–61: In living room, Lucrezia sofa by B&B Italia; bebitalia.com. Prado back cushions by Ligne Roset; ligne-roset.com. Arne Jacobsen chairs by Fritz Hansen; fritzhansen.com. Page 163: In living room, Eames stool by Herman Miller; hermanmiller.com. 5220 series floor lamp, in polished nickel, by Phoenix Day; phoenixday.com. Rug by Patterson Flynn Martin (T); pattersonflynnmartin.com.

Page 164: In lounge, high-gloss wall lacquer, in Gentle Violet, by Benjamin Moore; benjaminmoore.com. Chair and ottoman are upholstered in Pillow Talk fabric, in Nightfall, by Holly Hunt (T); hollyhunt.com. Basham wool rug, in beige,

by Patterson Flynn Martin (T). Page 166: In family room, Tufty-Time sofa by Patricia Urquiola for B&B Italia. Basham wool rug, in beige, by Patterson Flynn Martin (T).

Ottoman armchairs by Ligne Roset. In bar area, Alvar Aalto stools by Artek; artek.fi.

Page 167: In kitchen, Nine-O chairs and barstools by Ettore Sottsass for Emeco; emeco.net. Automotive-finish cabinet paint by Benjamin Moore. White Zeus Extreme countertop by Silestone; silestoneusa.com. Tara Ultra faucet by Dornbracht; dornbracht.com. Page 168: On deck, Aegean dining table, in weathered teak, by RH, Restoration Hardware; restorationhardware.com. Swim armchairs by Brown Jordan; brownjordan.com. In pool area, Dansk chairs and oval cocktail table

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I knew from books of this 1936 Cecil Beaton gouache of Wallis Simpson wearing a Schiaparelli, or perhaps Mainbocher, dress and her Cartier brooch, and it was a nice discovery to see the work popping up at Sotheby’s in New York in 2013. There were two portraits of her by Beaton in the sale, and my partner and I didn’t know which one we liked most. We tried to buy both but in the end just bought this one, with the other going for much higher. It’s displayed in a simple gold frame without passe-partout and hangs in our dining room because she’s serving cocktails, something so elegant from the past.

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Wallis Simpson Serving Cocktails, London, 20 November 1936, a Cecil Beaton gouache owned by Dries Van Noten.

For me as a fashion designer, Cecil Beaton drawing Wallis Simpson is fascinating. He was one of the great aesthetes of the 20th century—exceptionally versatile as an artist, going from painting to photography, set design to clothing. And Wallis Simpson is intriguing as a beautiful, well-dressed woman with the slightly bad connotations of never really being accepted. She, along with the Duke of Windsor, are always in my work. As style icons, they were really daring in combining patterns, and in that way they are included in all my collections. —DRIES VAN NOTEN

COURTESY OF SOTHEBY’S

FASHION DESIGNER DRIES VAN NOTEN’S FASCINATION

WITH TWO STYLE ICONS

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