Galerie Fall 2018

INSIDE THE MET EXCLUSIVE FIRST LOOK:

FOR A BLOCKBUSTER

JEWELRY EXHIBIT CARMELO ANTHONY’S ALL-STAR ART COLLECTION STRIKING SPACES BY

PETER MARINO, THOMAS PHIFER & MORE

TIMELESS GLAMOUR

FALL 2018 ISSUE NO 10

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Artist Kenny Scharf stands with two of his “Blob” paintings in his new studio in Inglewood, California.

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114 LESS IS MORE In a boldly revamped Brussels townhouse, designer Pierre Yovanovitch suavely integrates old and new with his distinctive luxurious minimalism.

By Stephen Wallis 126 MODEL APARTMENT Returning to the Madrid neighborhood where she grew up, Eugenia Silva commissions a ravishingly restrained home.

By Andrew Ferren 16

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134 THE ART OF JEWELRY From queens to McQueen: The Metropolitan Museum of Art mounts an exhibition of some of history’s most remarkable adornments.

By Vicky Lowry

148 SPACE ODYSSEY With a new studio space to work on his large-scale paintings and sculpture, Kenny Scharf continues to expand his psychedelic universe after 30 years on the scene. By Michael Slenske

140 VIEW FROM THE TOP A picturesque Parisian penthouse undergoes a mesmerizing overhaul with the skillful touch of designer Alvise Orsini.

By Ian Phillips

152 FINDERS KEEPERS Eclectic art and furnishings mix brilliantly in a London residence designed by Markham Roberts for an elegantly idiosyncratic family. By Raul Barreneche

162 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li 170 MOUNTAIN MAJESTY Classic American lodge meets refined modernism in art dealer Stacey Winston Levitan’s retreat in Sun Valley, Idaho.

By Mark Rozzo

ROGER DAVIES

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DEPARTMENTS 22 EDITOR’S LETTER

By Jacqueline Terrebonne 29 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

36 THE ARTFUL LIFE: DESIGN Jewel-toned hues and metallic finishes combine to create a spectacular decor.

40 THE ARTFUL LIFE: JEWELRY Exquisite pieces featuring intricate metalwork and luscious stones.

44 SPOTLIGHT The extensive art collection of Mitchell and Emily Rales is open to the public at Glenstone, their recently expanded, Thomas Phifer–designed foundation in Potomac, Maryland. By Hilarie M. Sheets 48 ARTISAN Anna Hu’s dazzling jewelry is influenced by notable works of art and the symphonies she plays in her studio. By Jody Shields 52 TRENDING TALENT Four artists whose eye-opening work you won’t want to miss.

60 COLLECTOR James de Givenchy has carefully curated a personal assortment of rare gems—very few of which end up in his inventive designs. By Christine Schwartz Hartley 18

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68 GALLERY TOUR Peter Marino reimagines the site of a former Getty gas station for Lehmann Maupin’s new Manhattan gallery space.

By Julie Baumgardner 72 CUISINE Designer François-Joseph Graf gives an 18th-century Parisian mansion a modern refresh for the forward-thinking restaurant Apicius. By Alexander Lobrano 76 BACKSTORY In a colossal retrospective, the Whitney Museum of American Art showcases the vast genius of artist Andy Warhol, while shedding light on his lesser-known works.

By Julie L. Belcove 80 BOOKS The new tome City of Angels chronicles the West Coast’s top talents in art, architecture, and interior design. By Jennifer Ash Rudick

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FROM TOP: DOUGL AS FRIEDMAN; JSP ART PHOTOGRAPHY, COURTESY OF THE ARTIST AND DAVID ZWIRNER; COURTESY OF VRAM INC.

From top: Gallerist Stacey Winston Levitan’s retreat in Sun Valley, Idaho, with an Annie Morris “Stack” sculpture. Untitled by artist Harold Ancart. The Echo ring by Vram.

TIMELESS BEAUTY BEAUTIFULLY TIMED

ULTR A PREMIUM TRADE EXCLUSIVE AVA I L A B L E I M M E D I AT E LY

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Clockwise from far left: François-Joseph Graf’s captivating interior for Paris restaurant Apicius.

Andy Warhol’s Mao silkscreen (1972), part of a new retrospective of his work at the Whitney Museum. James Turrell’s Twilight Epiphany is a must-visit in Houston.

72 DEPARTMENTS 86 BREAKTHROUGH These rising stars are creating masterful bijoux that are as inspired as they are inspirational. By Lucy Rees

100 POINT OF VIEW An intimate look at Bergdorf Goodman doyenne Linda Fargo’s favorite things.

By Caroline Tell

88 CONCIERGE The Cultivist shares the ultimate tour of Houston, America’s art city of the moment.

By Patrick Finn

102 DESTINATIONS With a trove of upcoming art and design fairs, Beirut is once again an enchanting city for the culturally inclined. By Alya Chehab

92 ARCHITECTURE On the eve of what would be his 100th birthday, architect Paul Rudolph still sets the standard for glamour. By Fred A. Bernstein

178 REAL ESTATE High-end residential developers are adding site-specific installations and curated art programs to attract luxury buyers. Plus, three homes with exceptional pedigrees currently up for sale. By Geoffrey Montes

94 BESPOKE Alberto Pinto Interior Design transforms a privately owned Boeing 747-8 into a tranquil mansion in the sky.

By Christine Schwartz Hartley 98 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

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COVER

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A Kehinde Wiley portrait anchors the living area of a Parisian penthouse, where designer Alvise Orsini mixed warm tones with animating bursts of color. Photography by Dylan Thomas; styled by Sara Mathers.

182 SOURCES 184 IN FOCUS NBA All-Star Carmelo Anthony on why he recently added a painting by Nathaniel Mary Quinn to his collection of iconic works, street art, and portraiture.

As told to Jill Sieracki

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FROM FAR LEFT: MARION BERRIN, COURTESY OF APICIUS; FLORIAN HOLZHERR, COURTESY OF RICE UNIVERSIT Y; COURTESY OF THE ART INSTITUTE OF CHICAGO, MR. AND MRS. FRANK G. LOGAN PURCHASE PRIZE AND WILSON L. MEAD FUNDS

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NEIMAN MARCUS PRECIOUS JEWELS SALONS 800-937-9146 ELIZABETH LOCKE JEWELS 968 MADISON AVENUE, NEW YORK CITY 212-744-7878 More info: (540) 837-3088 or www.elizabethlockejewels.com

‘Borghese’ link necklace with smoke Venetian glass intaglio pendant and three ‘Small Amulet’ bangles. All in hand-hammered 19k gold.

Photo: MATTHEW KLEIN

JEWELS

Above: Me wearing gray slice diamond earrings and a cabochon ruby ring designed by Nina Runsdorf of NSR Jewelry. Left: An Egyptian Revival bracelet from the exhibition “Jewelry: The Body Transformed” at The Met. Top right: A Parisian apartment designed by Alvise Orsini.

globe. In “The Art of Jewelry” (page 134), you’ll find some of the interesting backstories she shared. You’ll also see this theme woven throughout the issue, with captivating profiles on jewelers who are pushing the boundaries of the craft.

But this is only one of the myriad art forms you’ll find in the pages of our fall Timeless Glamour issue, which I’m extremely proud to write is my first as editor in chief. As we put the pages together, our founder and editorial director, Lisa Fayne Cohen, constantly reminded us to pay attention to the value of so many artistic pursuits—from food to fashion and beyond. Art isn’t just to be hung on the walls, although I must admit the homes in this issue are a wonderful testament to how that can be brilliantly done, whether it’s by art whisperer Pierre Yovanovitch (“Less Is More,” page 114) or the wildly talented Alvise Orsini (“View from the Top,” page 140).

Of course, with art influencing so many aspects of our lives, we’re flooded with story ideas at Galerie. There are so many possibilities. That’s where our newly expanded and updated website comes in. Under the direction of Rozalia Jovanovic, the site is bursting with up-to-the-minute stories about design, travel, and, of course, art. I invite you to visit galeriemagazine.com and sign up for our newsletter to stay in the know. It’s just one more way to live artfully.

JACQUELINE TERREBONNE, Editor in Chief editor@galeriemagazine.com Instagram: @jpterrebonne 22

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FROM TOP: DYL AN THOMAS; KELLY TAUB; COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK

J

ewelry possesses its own brand of magic. Not only does it have the ability to transform a little black dress, it also serves as a wonderful keeper of memories and milestones. I could never forget the first Tiffany blue box I ever received—an Elsa Peretti bean I was gifted for high school graduation. I also have a mabe pearl cocktail ring that made me feel ever so grown up and that I permanently “borrowed” from my grandmother when I moved to New York. And even more recently, the antique three-stone diamond engagement ring I was given seems like someone crafted it just for me almost 150 years ago.

A few months back, the Galerie team ventured up to The Metropolitan Museum of Art to meet with Melanie Holcomb, lead curator of the exhibition “Jewelry: The Body Transformed.” As a sponsor of the first-of-its-kind show, we were eager to hear her plans for the event, which opens November 12. But Melanie did so much more than that; she dazzled us with the power of jewelry as an art form, which goes back millennia and speaks to the values and beliefs of cultures around the

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Copy Editors JIM CHOLAKIS, LYNN MESSINA Research Editors WILSON BARLOW, COLLEEN CURRY, NINA KORMAN, ATHENA WALIGORE Editorial Assistant ASHLEY PETRAS Color Production Director CHRISTIAN ABLAN Production Director MELISSA MAY KELLY Pagination Manager JODY M. BOYLE Contributing Editors PENNY DRUE BAIRD, JULIE L. BELCOVE, MELISSA COLGAN, ANDREA GLIMCHER, JOEY LICO, VICKY LOWRY, ANTWAUN SARGENT, NATASHA SCHLESINGER, IVY TOURET Editor at Large JENNIFER ASH RUDICK

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CAROLLE THIBAUT-POMERANTZ

/ FAIRS /

G R A N D S A L O N With decorative hand-painted wallpaper enjoying a renaissance, it’s only fitting that Salon Art + Design (November 8–12) would showcase a breathtaking example that dates back to its very origin. The rare, 20-panel set, “Les Voyages du Capitaine Cook,” created with 1,000 woodblocks, was first exhibited in an 1806 exposition organized by Napoleon. It will be on display at the booth of Carolle Thibaut-Pomerantz alongside a collection of

Oceanic tribal art from dealer Charles-Wesley Hourdé, shaping part of the lively cross-collecting narrative the fair is celebrated for. This year’s edition, at New York’s historic Park Avenue Armory, features some 56 galleries from 11 countries and offers a wonderfully diverse mix of antique, vintage, and modern. “Best of all, there’s always an interesting twist,” says designer Amy Lau, who serves on the honorary committee. thesalonny.com JACQUELINE TERREBONNE GALERIEMAGA ZINE.COM

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/ CUISINE /

GOLD STANDARD “I’ve always loved Ferrero Rocher,” says Thomas Raquel, pastry chef at Le Bernardin.“We captured the flavor profile by pairing a gilded hazelnut sphere filled with a Frangelico mousse center with praline ice cream.”

The seasonal dessert is offered for a limited time at the New York restaurant. le-bernardin.com —J.T.

Crystal Palace

bottles on the wine list at the restaurant, Villa René Lalique

Lalique pieces in the hotel and restaurant

Year of oldest vintage in the cellar

rooms designed

by Lady Tina Green and Pietro Mingarelli

/ MUSEUMS /

Damien Hirst crystal artwork in the chapel

H AU T E H I G H L A N D S

On September 15, Scotland welcomes the V&A Dundee, the country’s first design museum and the sole V&A outside London. Crafted by award-winning Japanese architect Kengo Kuma, the massive riverfront building takes its cue from the rugged coastal terrain, with a stepped façade clad in 2,500 precast concrete panels. Inside, some 300 exhibits capture the region’s rich aesthetic history, including a Glasgow tearoom, hidden for nearly 50 years, conjured by Scotland’s brightest design legend, Charles Rennie Mackintosh. This lyrical space, built in 1908 and dubbed the Oak Room, was dismantled in the ’70s and locked away in storage. Says museum director Philip Long, “Restoring it has been one of the most exciting parts of creating V&A Dundee.” vam.ac.uk/dundee —GEOFFREY MONTES 30

COUNTERCLOCKWISE FROM TOP: AGI SIMOES AND RETO GUNTLI (2); ROSS FRASER M C LEAN; COURTESY OF LE BERNARDIN

/ HOTELS /

Lalique recently opened Château Lafaurie-Peyraguey, a hotel and restaurant in the Sauternes region of Bordeaux that is befitting of the crystal house’s history and prestige. Not one to rest on its brand’s laurels, the property raises the stakes by putting up some impressive numbers. lafauriepeyragueylalique.com —J.T.

JOHN KOGA AVAILABLE EXCLUSIVELY THROUGH RALPH PUCCI INTERNATIONAL NEW YORK MIAMI LOS ANGELES WWW.RALPHPUCCI.NET

/ AUCTIONS /

Queen of Diamonds

/ MUSEUMS /

BERLIN BOUND

Berlin is undergoing a thrilling cultural revival: Opening September 27 is the PalaisPopulaire, a stately rococo mansion that has been transformed by Deutsche Bank into a swanky new exhibition space for its 50,000-piece art collection. First up is “The World on Paper,” which features such artists as Joseph Beuys and Wangechi Mutu.

Soon to come are collaborations with private collectors and major institutions such as the Tate and the Guggenheim. db-palaispopulaire.com —LUCY REES A 2005 collage by Ellen Gallagher at the PalaisPopulaire in Berlin.

/ FAIRS /

ARTISTIC LICENSE

Shipping containers may not seem like the most glamorous way to display art, yet the September Art Fair at the Bridge pulls it off with aplomb. The invite-only event, on September 15 at the Bridge golf club in Bridgehampton, New York, will host some 150 automobiles in juxtaposition with work from 12 contemporary galleries, including Vito Schnabel and David Zwirner. The Bridge’s owner, Robert Rubin, tapped Max Levai and Pascal Spengemann of Marlborough Contemporary and Suzanne Butler of Canada Gallery to bring in the art component. Says Levai, “The combination creates an atmosphere of a late-summer festival and produces an eclectic mix of collectors.” And the containers?

They’re the “booths” designed by Brooklyn artist Lars Fisk. bridgeorama.com ROZALIA JOVANOVIC 32

GALERIEMAGA ZINE.COM

/ HOTELS /

S E A M L E S S B E AU T Y What was formerly a French hospital in 19th-century Tel Aviv is now the new, 120-room luxury hotel the Jaffa Tel Aviv. “I wanted the overall impression to be one of seamlessness,” says British architect John Pawson, who blended modern interiors with the original classic elements, such as marble Roman columns with Corinthian cornices and ornate stained-glass windows, “but the layering of tone, pattern, and texture was critical, so there is always a quiet richness in the interaction between old and new.” thejaffatelaviv.com —L.R.

CLOCKWISE FROM TOP: AMIT GERON, COURTESY OF THE JAFFA; MATHIAS SCHORMANN; MICHAEL SCHAFFER/CAPITOL SUNSET PHOTOGRAPHY; ALEX DELFANNE, COURTESY OF THE ARTIST AND HAUSER & WIRTH; COURTESY OF LYNDA AND STEWART RESNICK; COURTESY OF SOTHEBY’S

Perhaps no one is better known for favoring excess than Marie Antoinette, the French queen whose lavish lifestyle led to her inevitable demise during the French Revolution. Her enviable collection of jewels, however, survived and will headline the auction of the Royal Jewels of the Bourbon-Parma family, offered through Sotheby’s Geneva, on November 12. Unseen by the public for 200 years, the trove encompasses 100 exquisite pieces owned by one of Europe’s most important dynasties. The highest estimate, at $1 million to $2 million, belongs to an extraordinary diamond pendant that was once worn by the infamous royal and is accented with a one-inch pearl. Such historical prominence and remarkable craftsmanship are bound to make this sale one of the season’s biggest blockbusters. sothebys.com ASHLEY PETRAS

/ EXHIBITIONS /

Pittsburgh on Display

The Steel City might not immediately spring to mind as a hot spot for art, but this fall proves otherwise. Kicking off in October is the 57th edition of Carnegie International, an exhibition founded in 1896 to discover the “Old Masters of tomorrow,” a requisition set out by Andrew Carnegie himself. This year’s crop includes such visionaries as El Anatsui, Huma Bhabha, Kerry James Marshall, and the Native American art collective Postcommodity, whose site-specific installation will transform the Carnegie Museum of Art’s majestic Hall of Sculpture with industrial materials like glass, coal, and steel, with local musicians interpreting the work through jazz. Nearby, the Andy Warhol Museum is hosting emerging talent Devan Shimoyama’s first U.S. solo show, “Cry Baby,” while the Belgian artist Isabelle de Borchgrave’s fantastical paper costumes go on view at the Frick Pittsburgh. —L.R. Cry No More by Devan Shimoyama.

Clockwise from top: A 1907 work

by Hilma af Klint.

Wes Anderson and Juman Malouf at the Kunsthistorisches Museum. Casa Borletti in Milan, designed by Gio Ponti.

ISABELLA STEWART GARDNER, BOSTON Common Threads, Weaving Stories Across Time October 4–January 13, 2019 This group exhibition reveals the exciting ways in which textiles are being redefined by current artists, from El Anatsui, who weaves discarded cans and bottle tops into magnificent shimmering tapestries, to Lee Mingwei’s participatory artworks of colored thread. gardnermuseum.org BARBICAN CENTRE, LONDON Modern Couples: Art, Intimacy, and the Avant-Garde October 10–January 27, 2019 Some of the most iconic pieces of art and literature were made by partners. This exhibition celebrates the power of romantic and artistic collaboration in the early 20th century with examples by couples such as Sophie Taeuber-Arp and Hans Arp, Lee Miller and Man Ray, and Virginia Woolf and Vita Sackville-West. barbican.org.uk

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SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK Hilma af Klint October 12–February 3, 2019 A pioneer of abstract art, Swedish artist Hilma af Klint—like so many female artists—remained largely unrecognized during her lifetime.

Adding to her contemporary allure, these bold-colored canvases, inspired by Spiritism, remained hidden for 20 years after her death. This show marks the artist’s first U.S. survey. guggenheim.org MUSÉE DES ARTS DÉCORATIFS, PARIS Tutto Ponti, Gio Ponti Archi-Designer October 19–February 10, 2019 A concise retrospective of Gio Ponti is no small feat. One of the most influential Italian

series started by artist Ed Ruscha in 2012. Together with his partner, illustrator Juman Malouf, Anderson has been given full access to the museum’s vast collection for what is sure to be a one-of-a-kind show. khm.at

architects and designers of the 20th century, Ponti was prolific, and his work was unusually diverse. (He was also an academic, made poetry and paintings, and edited some 600 publications.) This show features architectural designs, ceramics, furniture, and magazines, in a brilliant setting designed by French architect Jean-Michel Wilmotte. madparis.fr KUNSTHISTORISCHES MUSEUM, VIENNA The Spitzmaus Mummy in a Coffin and Other Treasures from the Kunsthistorisches Museum November 6–April 28, 2019 Film director Wes Anderson is bringing his unique aesthetic to a historic Austrian museum in an unconventional curatorial

LOS ANGELES COUNTY MUSEUM OF ART Outliers and American Vanguard Art November 18–March 17, 2019 This thoughtful exhibition sheds light on the overlooked intersections between avant-garde talents, folk artists, and others from the early 19th century through today. Find works by beloved self-taught masters Henry Darger and Lonnie Holley alongside those of celebrated artists such as Cindy Sherman and Kara Walker. lacma.org — L . R .

FROM TOP: COURTESY OF THE ARTIST AND KAVI GUPTA; ALBIN DAHLSTRÖM, COURTESY OF THE MODERNA MUSEET, STOCKHOLM; © KHM-MUSEUMSVERBAND; © GIO PONTI ARCHIVES, MIL AN

FALL EXHIBITIONS WE LOVE

Where Culture Transforms Coastline DISTINCTIVE ARCHITECTURE, RESIDENCES & HOMESITES GOLF CLUB • TENNIS • BEACH CLUB • EQUESTRIAN WINDSORFLORIDA.COM

BY JACQUELINE TERREBONNE

The Taller pendant light by Laura Kirar for BAKER FURNITURE pays homage to ancient Mayan culture with its graphic design in hammered brass and blackened nickel; 41" h. x 29.75" dia.; $11,385. bakerfurniture.com

Handcrafted in Southern California, the Penta chair by the MAGNI HOME COLLECTION

has curved lines that give a modern twist to midcentury style; price upon request. magnihomecollection.com

Add a sculptural touch with the Next reading floor lamp by ARMANI/ CASA, which features a brass structure, black-painted metal base, and fabric shade; 59" h.; $5,250. armani.com

The shimmering textures of the Effervescent Mica mirror by Hervé Van der Straeten for RALPH PUCCI reflect the esteemed designer’s beginnings in jewelry. Made of mica, the piece comes in a limited edition of eight; 47.24" dia.; $28,560. ralphpucci.net

These rich fabrics represent the lustrous appeal of diving into deep colors for fall.

From left: Tiger Mountain by DEDAR; JIM THOMPSON’s Chedi velvet in orchid; Kempshott in antique gold by ZOFFANY; Butterfly Revival by DEDAR; JIM THOMPSON’s Chedi velvet in copper; and Sahara by KUFRI in copper gold. All fabrics available to the trade. dedar.com, jimthompson fabrics.com, stylelibrary .com, altforliving.com 36

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Referencing both Art Deco and Futurism, the Silk Gold cabinet by ACHILLE SALVAGNI, available in a limited edition of three, is made of polished European walnut and finished with 24K gold leaf, an onyx-detailed handle, and a hand-hammered bronze top; $148,000. maisongerard.com

CLOCKWISE FROM TOP LEFT: COURTESY OF ARMANI/CASA; COURTESY OF BAKER FURNITURE; COURTESY OF RALPH PUCCI; COURTESY OF MAISON GERARD; ALEX MUCCILLI; COURTESY OF MAGNI HOME COLLECTION

SHOPPING: GLAMOROUS DESIGN PIECES FOR FALL

M A R T I N K AT Z . C O M B E V E R LY H I L L S BERGDORF GOODMAN N EW YO R K

SHOPPING: GLAMOROUS DESIGN PIECES FOR FALL

Designed to be hung vertically or horizontally, the Jewel Four crystal light fixture by WINDFALL was inspired by Cartier’s 1920s Art Deco jewelry and is made to order in various link sizes and combinations; price upon request. windfall-gmbh.com

Inspired by and named for tangram puzzles, this HERMÈS hand-painted lacquered box, designed by Gianpaolo Pagni, comes in three sizes, the smallest of which is shown here; 5.1" l. x 5.1" d. x 1.6" h.; $820. hermes.com

With their bold colors and painted edges, LA DOUBLEJ HOUSEWIVES’ handmade opaque glasses add a maximalist edge to any table setting; $270 for a set of two. ladoublej.com

The Bulldog table lamp

by LIZ O’BRIEN, made of hand-formed ceramic, comes in various glazes and wood finishes, such as a luminous midnight-blue with a walnut base; 31" h. x 6.5" dia.; $3,825. lizobrien.com

The Aurora console by VISIONNAIRE showcases the inherent beauty of natural agate stone, and the delicate steel legs, in a bronze-lacquer finish, recall the metalwork of a ring setting; 64" l. x 17.7" d. x 38.5" h.; $20,575. visionnaire-home.com

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CLOCKWISE FROM TOP: COURTESY OF WINDFALL; COURTESY OF L A DOUBLEJ HOUSEWIVES (3); COURTESY OF LIZ O’BRIEN; COURTESY OF VISIONNAIRE; COURTESY OF BERGDORF GOODMAN (3); COURTESY OF HERMÈS

New Orleans artist Ashley Longshore, who’s known for irreverent, glitter-bedecked paintings, created these dazzling porcelain Gem dinner plates exclusively for BERGDORF GOODMAN; $180 each. bergdorfgoodman.com

JULIAN CHICHESTER

J ULIANCHICHESTER.COM new york

| london

SHOPPING: SPECTACULAR JEWELRY FOR FALL

BY JACQUELINE TERREBONNE

Taking inspiration from the night sky, the Estelar bracelet from HUEB captures the magnificence of constellations through 18K gold and a mesmerizing sprinkling of 4.1 carats of diamonds; $20,710. hueb.com

For an alternative take on BULGARI’s iconic symbol, the snake coils around the bezel of the Serpenti Incantati watch. The tempting timepiece sparkles with a feminine bracelet and rose gold case set with 335 diamonds and 31 rubellites; $78,000. bulgari.com 40

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Drawing from the swoops and swirls of painter Cy Twombly, this pair of elegant GRAFF earrings is truly a work of art, with invisibly set baguette gems accentuated by radiant pear-shaped stones, for a total of 11.92 carats of rubies and 4.27 carats of diamonds; price upon request. graffdiamonds.com

This dazzling VAN

CLEEF & ARPELS

necklace, part of a set that includes earrings and a ring, was inspired by Serapi carpets.

It features a 13.01-carat, cushion-cut blue sapphire, plus coral, pearls, diamonds, rubies, and more sapphires, all set in 18K yellow gold; price upon request. vancleefarpels.com

Cluster settings have long been part of the pearl lexicon, but ASSAEL gives the tradition a modern twist with the large Multi-Bubble ring, which showcases two South Sea cultured pearls and six Akoya cultured pearls; $10,400. assael.com

CLOCKWISE FROM TOP LEFT: COURTESY OF CADAR; COURTESY OF NINA RUNSDORF JEWELRY; COURTESY OF VAN CLEEF & ARPELS; COURTESY OF ASSAEL; COURTESY OF GRAFF; COURTESY OF BULGARI; COURTESY OF HUEB

Reminiscent of macaw feathers, the lightweight, 18K gold Large Feather Drop earrings from CADAR’s Second Skin series are articulated to closely resemble nature; $6,600. cadar.com

NINA RUNSDORF’s signature flip ring has become so celebrated that Oprah Winfrey even wore one to the wedding of Prince Harry and Meghan Markle. Here, the jeweler reimagines the style with a 2.86-carat, pear-shaped emerald set off by 1.76 carats of tsavorite garnets; $12,600. nsrjewelry.com

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Field of Dreams

AT THE GLENSTONE MUSEUM, NEWLY EXPANDED BY THOMAS PHIFER, THE ART HARMONIZES WITH THE LANDSCAPE AND ARCHITECTURE

The centerpiece of Glenstone’s vastly expanded campus is the Pavilions, a 204,000-squarefoot gallery designed by Thomas Phifer.

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IWAN BAAN, COURTESY OF GLENSTONE MUSEUM

A

monumental pony head, modeled on a child’s toy rocker, rises on a bucolic slope near the entrance to Glenstone, a museum of modern and contemporary art on 230 acres in Potomac, Maryland. Towering 37 feet high and planted with a tapestry of colorful flowers, the surreal and playful sculpture by Jeff Koons, titled Split-Rocker, perfectly embodies the spirit of this sanctuary created by Mitchell and Emily Rales.

“We wanted to build something that was about the seamless integration of art, architecture, and landscape,” says Mitchell. His good fortune in business, including his cofounding of the Danaher Corporation, a life-sciences and diagnostics company, has helped the couple establish and support the Glenstone Foundation, which has a collection of some 1,300 pieces by more than 200 artists, with particular depth in works by Roni Horn, Ellsworth Kelly, and Louise Bourgeois, among others. Now, with the strong architectural interpretation of Thomas Phifer, the museum that the Raleses envisioned has come to fruition.

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In the largest of the pavilions, Emily has organized a show of what she calls the “greatest hits” from Glenstone’s collection. The first galleries begin where the couple started collecting: with Abstract Expressionist canvases by Franz Kline, Jackson Pollock, and Willem de Kooning. These are juxtaposed with more recently acquired looped-wire hanging sculptures by Ruth Asawa. “It’s important that in the retelling of this period of time, we include works by women,” says Emily, who is also intermixing in this exhibition concentrations of Japanese and Brazilian artists with a more established Western canon of works dating up to 1989.

“There’s an emphasis on radical form and pushing boundaries,” says Emily. “The whole premise of the collection is based on challenging the notion of what constitutes a work of art.” glenstone.org HILARIE M. SHEETS

FROM TOP: TIM NIGHSWANDER/IMAGING4ART, IWAN BAAN (2), ALL COURTESY OF GLENSTONE MUSEUM

From top: Willem de Kooning’s January 1st (1956), featured in the Pavilions’ first exhibition.

The water court of the Pavilions.

Jeff Koons’s Split-Rocker.

In 2006, the couple first opened the art collection to the public, for free and by appointment, in a museum designed by the late Charles Gwathmey, who also built their home on the property. Starting October 4, visitors will be welcomed to a campus vastly expanded by Phifer. The centerpiece is a new, 204,000-square-foot gallery building called the Pavilions, which, from a distance, resembles a village of 11 discrete structures but actually forms an interconnected whole. Phifer has also designed new amenities, including an arrival hall and one of two freestanding cafés. Glenstone will now be able to handle 100,000 visitors annually, up from 25,000 in years past.

The sections of the Pavilions are rectilinear volumes with their own proportions, rising as high as 60 feet and built from six-foot-long concrete blocks. “They stack up kind of Egyptian style,” says Phifer. He has organized this “house of rooms,” as he calls it, around a central water garden with lilies and irises encircled by a glass-walled passageway that connects the pavilions. “You have this calming experience with the landscape as you move from room to room,” Phifer says.

A number of rooms, each filtering natural light through oculi or clerestory windows, are dedicated to installations of single artists, including Cy Twombly, Charles Ray, Lygia Pape, and Brice Marden. Sometimes the design of the room came first, and then Emily, as curator, determined the right works for the setting. “We wanted one really tall room with abundant light that floats down,” says Emily, who selected for this towering space three large paintings by On Kawara that commemorate the significant dates of the first moon landing.

In the gallery for Michael Heizer, the only pavilion without a ceiling, the open-air room was built in response to an immense sculpture called Collapse. Fifteen beams of weathered steel, some as long as 42 feet, appear to have crashed into the earth and landed in a jumble inside a 16-foot-deep, metal-lined crater. “It’s about chaos and what happens if you were to possibly drop these from a very tall height,” says Emily. Conceived in the late 1960s, the piece has never before been executed at this scale. Another monumental earthwork by Heizer has been completed outside the Pavilions, joining sculptures sited in the fields and forest at Glenstone by Richard Serra, Tony Smith, Andy Goldsworthy, and Janet Cardiff and George Bures Miller.

Perfect Score

HIGH JEWELER ANNA HU’S DAZZLING PIECES ARE INSPIRED BY CLASSICAL MUSIC AND FINE ART

I

t’s speculation, but Anna Hu may be the only fine jeweler who channels synesthesia during the creative process: She perceives each precious stone as a musical note. “I cannot design without music,” she says, and the soundtrack playing in her studio is synced to the style of each piece, from a quiet

Anna Hu perceives each precious stone as a musical note Bach cello concerto to Stravinsky’s bravura Firebird. She calls her major pieces symphonies and likewise the limitededition art books on her work, Symphony of Jewels: Opus 1 (2012) and Opus 2 (forthcoming in October), both published

by Vendome Press.

These musical associations are no surprise, since Hu trained as a cellist until she was sidelined by injury. The Taiwanese-born daughter of a precious-stone dealer and a pearl and jade expert, she worked for Harry Winston, Van Cleef & Arpels, and Christie’s before founding her namesake company in New York in 2007. Just a few years later, her Côte d’Azur brooch—an extravagant foliate

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COURTESY OF ANNA HU

From top: Anna Hu in her Manhattan office. Featuring a 58.29-carat Burmese sapphire, Hu’s Côte d’Azur brooch set the auction record for a contemporary jewelry artist in 2013.

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Clockwise from top: Katsushika Hokusai’s The Great Wave off Kanagawa inspired Hu’s Siren’s Aria ring, which features a 22.82-carat emerald surrounded by a swirl of Paraíba tourmalines.

Monet’s Water Lilies necklace comprises some 2,000 hand-set gemstones, which weigh 630.17 carats.

Gwyneth Paltrow wearing the Fire Phoenix earrings to the 2015 Oscars.

pavé-set piece centered by a massive Burmese sapphire—sold for $4.57 million at Christie’s Geneva, an auction record at the time for a contemporary jewelry designer.

Her designs fuse Eastern motifs (cranes, peonies, bamboo) and Western art inspirations (Gustav Klimt and Claude Monet), ingeniously wrought in 18K gold or titanium and featuring baroque stones set against a pattern of color that’s as subtle as light on water. (Hu describes the effect as pointillistic.) Case in point: her jaw-dropping Water Lilies piece, which was inspired by Monet’s garden in Giverny. As supple as silk, it contains some 2,000 stones—a gradation of white, pink, and gray diamonds, as well as pastel sapphires— 50

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anchored by vivid green tsavorites and lavender-blue tanzanites.

Hu lives at a whirlwind pace, traveling the world to meet with celebrities and private clients like Macau billionaire Pansy Ho; Natalie Portman, Emily Blunt, and Gwyneth Paltrow regularly wear Hu’s jewelry on the red carpet. “Each month I circle the globe two and a half times,” she says.

After her grand debut at the 2017 Paris Biennale, Hu is pursuing a more public role. This year alone she has had solo shows at the State Historical Museum in Moscow and Paris’s Place Vendôme.

Though she now has flagship stores in Paris, Shanghai, and Taiwan, along with new venues in Monte Carlo and Hong Kong, Hu isn’t forgetting her hometown admirers: A New York boutique, fittingly located at the Museum of Modern Art, is on the way. anna-hu.com JODY SHIELDS

FROM TOP: CREATIVE COMMONS; COURTESY OF ANNA HU (3)

Hu’s designs fuse Eastern motifs and Western art inspirations

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From top: Sara Cwynar’s 2017 photograph Tracy (Possible to See, Possible to Sell) incorporates multiple layers of found objects. A recent self-portrait taken in her New York studio.

Hot Pursuits

THESE FOUR RISING-STAR BUZZ WITH COLLECTORS

PHOTOGRAPHER

Sara Cwynar

Cosmetics, nylon stockings, text clippings, faded snapshots—the type of discarded junk one would find in a bedroom drawer or on the dusty shelves of a vintage store—make up Sara Cwynar’s beguiling photographs. “I’m interested in objects of desire that have faded out of view—how we love and discard those things and what that says about capitalism,” says the Vancouverborn, New York–based artist.

Now with a solo show on view at the Minneapolis Institute of Art (through January 20, 2019), her first at a U.S. museum, Cwynar uses her background in graphic design and commercial art to get us to think about the impact images have on our collective psyche.

Citing Cindy Sherman and the Pictures Generation as inspiration, Cwynar is a standout in a new wave of

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conceptual photographers who are blurring the line between image and object. “I want to push photography for what it can do more of,” she says, “instead of just using the camera as a documenting tool.”

Cwynar has been featured in a number of noteworthy exhibitions, including shows curated by the artist Thomas Demand at Milan’s Fondazione Prada in 2016 and Vik Muniz at Brazil’s Galeria Nara Roesler earlier this year. She is also working on a new video for the prestigious 33rd Bienal de São Paulo.

“I was struck by how she constructs her photographs,” says Gabriel Ritter, the head of contemporary art at MIA, who organized Cwynar’s show. “Her use of lush, saturated colors and her interest in texture and materiality combine to create such a unique photographic experience.” saracwynar.com LUCY REES

COURTESY OF THE ARTIST, COOPER COLE, AND FOXY PRODUCTION, NEW YORK

ARTISTS ARE CREATING A

PRINCESS FLOWER COLLECTION | robertocoin.com

From top: Hannah Levy’s striking untitled sculpture is crafted from steel and silicone. A new painting

by Belgian artist Harold Ancart, whose seductive works hover between abstraction and figuration.

PA I N T E R

Harold Ancart

ROZALIA JOVANOVIC

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“It’s a play on the skin-and-bone furniture of the modernists but taken to a funny or surreal place”

SCULPTOR

Hannah Levy

Our bodies can be both beautiful and, let’s face it, kind of gross. Working with silicone, the same material used for prosthetics, artist Hannah Levy creates anthropomorphic sculptures that often resemble design objects but capture the dimpled, flaccid, and sometimes comical traits of flesh. An eight-foot-long asparagus supported by polished-steel claws has just the right droop to appear overcooked yet strikingly human.

A nude-color hoodie recalls a bubble-wrapped straitjacket.

Other sculptures feature colorful seats that hang like clothing from elegant steel frames whose proportions are too off to be real chairs.

Industrial design, in fact, was what Levy thought she would pursue before she came under the spell of making art (first at Cornell University, then at Frankfurt’s Städelschule). “I think a lot about furniture and the history of design and our relationship to it,” she says from her South Bronx studio. “It’s a play on the skin-and-bone furniture of the modernists but taken to a funny or surreal place.”

The art world certainly isn’t laughing—at least not at this young talent. The Louisiana Museum of Modern Art and the Rubell Family Collection have bought her sculptures, which have recently been showcased at Art Basel, in David Zwirner’s summer show in New York, and at Savannah’s SCAD Museum of Art, in an exhibition that runs through December.

“Revulsion and attraction exist side by side,” says Levy, adding with a laugh, “I guess there’s some body anxiety in my work. It’s mildly grotesque in the way having a body is mildly grotesque.” hannahslevy.com VICKY LOWRY

FROM TOP: COURTESY OF THE ARTIST AND MOTHER’S TANKSTATION, DUBLIN AND LONDON; JSP ART PHOTOGRAPHY, COURTESY OF THE ARTIST AND DAVID ZWIRNER

The paintings of Harold Ancart can be alluring at first.

Bright canvases with images of plants and tropical vistas.

But the paradise he depicts, on closer inspection, turns out to be imbued with darkness, the surfaces flecked with small, clean marks of paint that appear like chips, disrupting the viewer’s immersion in the escape that is seemingly on offer.

A picture-perfect pool might be fringed by a black flame. Or the walls of an actual room itself turned into a drawing, marked by a horizon line composed of black pigment pressed into the walls.

For a new body of work, on view in the exhibition “Freeze,” at David Zwirner in London, Ancart’s subject matter is icebergs. Lumpy white and blue masses float lugubriously against mysterious smudgy backgrounds or are cut off by a black ground, as if the painting were an image not yet done loading on your mobile device, creating a sense of anxiety and interrupted beauty.

“Do you remember the last time you saw an iceberg?” says Ancart. “I have personally never seen one, yet I know how to paint them.”

Ancart, who is represented by Xavier Hufkens in Brussels and Clearing in New York (Zwirner does not represent him), paints with a jagged line reminiscent of the Abstract Expressionist painter Clyfford Still. But unlike Ab Ex gesturalism and the self-expression it embodied, Ancart’s paintings seem like a modest attempt to communicate something both specific and universal. c-l-e-a-r-i-n-g.com

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Reginald Sylvester II in his Brooklyn studio.

Top right: His energetic painting Self Portrait 2 (Mad Men).

“A lot of the work is starting out with me bringing in these figures and just trying to abstract them in my own way”

Standing in his new Brooklyn studio, Reginald Sylvester II recalls when he first started painting, in 2014. “I was always trying to make these perfect pictures,” he explains, adding that the more he thought about them, the more he wanted them to “directly reflect” him. Today, the artist feels his paintings have progressively become more personal and spiritual, as is obvious in the colorful, textured works in progress neatly taped to the white walls. Among them is Thanksgiving Day Parade, a masterful demonstration of the artist’s signature combination of abstraction and figuration exploring his religious beliefs, sense of history, and identity.

Sylvester is currently in a group show at Jeffrey Deitch’s New York space, the culmination of a two-year sprint in which his paintings have garnered both critical and commercial attention.

Represented by the London gallery Maximillian William, the artist has been busily crisscrossing the globe, starting with a successful European debut titled “Reginald Sylvester II: The Rise and Fall of a People,” at Fondazione Stelline in Milan in spring 2017, and followed by a long-running solo exhibition at New York’s Lever House, organized by in-demand curator Roya Sachs.

“A lot of the work is starting out with me bringing in these figures and just trying to abstract them in my own way,” Sylvester notes, looking at a near-complete piece titled Tormented. “I thought about wiping out the area where you can tell he has eyes and just letting it breathe,” he adds. “Then it isn’t just a figure anymore. It’s something more.” maximillianwilliam.com ANTWAUN SARGENT

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FROM FAR LEFT: AIJANI PAYNE; COURTESY OF THE ARTIST AND MAXIMILLIAN WILLIAM

Reginald Sylvester II

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James de Givenchy in his New York atelier.

Below fom left: His sapphire, diamond, ceramic, and white gold ring for Taffin. A 221.58-carat amethyst and a 119.75-carat peridot from his personal collection.

Romancing the Stones JEWELRY DESIGNER JAMES DE GIVENCHY REVEALS THAT HIS PASSION FOR GEMS GOES BEYOND THE FINISHED PRODUCT

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In his work, Givenchy’s imagination expresses itself in high-color, high-contrast designs. He says he feels challenged “to come up with something completely new” for each and every piece, and more often than not, he does. “I like to set precious stones in a more casual way,” he says.

Among his latest creations, which were shown at TEFAF New York in May, no piece embodies this better than a necklace of rose gold segments partially applied with humble pastel-colored ceramic, from which a very large natural yellow sapphire and Burmese peridot are suspended. A tour de force of craftsmanship, the necklace is resolutely bold and contemporary, yet its inner meander and the color of the ceramic appliqués harken back to ancient Egypt. The sapphire had resided in the jeweler’s private collection for the past 20 years—which only means that, once in a while, this collector is able to let go. taffin.com CHRISTINE SCHWARTZ HARTLEY

FROM TOP: AARON RICHTER/CONTOUR BY GETT Y IMAGES; COURTESY OF TAFFIN (3)

J

ames de Givenchy is the president of the jewelry company Taffin. He’s also a collector of gems, a passion that poses a dilemma for the designer and jeweler. “I’ve often been told: ‘It’s a business. You can’t collect the stuff. You must move it,’ ” he says. Yet ever since his first purchase—a green tourmaline from a Diamond District dealer for $3,500, a hefty sum for him in 1996—he has been hooked.

Givenchy founded the namesake Taffin (his full name is James Claude Taffin de Givenchy) in his apartment that same year and developed the company over the course of his career, which has taken him from Christie’s jewelry department to Verdura to Sotheby’s Diamonds. Collecting precious and semiprecious stones is precisely what the highly inventive French-born jeweler—the nephew of the late couturier Hubert de Givenchy—loves to do.

Sitting in his chic, intimate midtown salon, opening boxes of carefully labeled cases containing a wide variety of gems, Givenchy becomes increasingly loquacious and spirited. Here are the very private treasures he never shows clients who come to acquire his designs or commission a jewel for a special occasion. Displaying a wondrous range of color, clarity, and sheen, his collection includes zircons (“You’re touching something that was here when the Earth was just being formed”); a 30-carat emerald-cut natural red Burmese spinel worth $1 million (“One of the rarest spinels I’ve seen for this size”); teardrop-shaped freshwater Chinese pearls (“Really cheap, but they have an amazing luster”); an extremely rare Burmese ruby; and diamonds in every shade imaginable.

Whatever its origin or market value, each gem elicits Givenchy’s praise and the narrative of his falling in love with it.

The stories also extend to his stones. For instance, he has a resplendent 120-carat peridot, which he found in a Victorian mounting. Because of its uncommonly large size, he wonders whether it could have come from an ancient Egyptian piece as opposed to a Burmese mine, as is usually the case.

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Blue (Alfred Painting 22), (detail) 2013. Stoneware and glass marbles on glazed stoneware. 45.5 × 33.5 cm / 18 × 13 1/4 in. © CRETEN / ARS, New York 2018 Courtesy the artist & Perrotin

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Light Fantastic

Liza Lou inaugurates the new gallery with an exhibition that investigates sculptural forms.

LEHMANN MAUPIN’S NEW,

PETER MARINO–DESIGNED CHELSEA

F

or two decades, Lehmann Maupin has championed some of contemporary art’s most beloved luminaries, such as Do Ho Suh, Juergen Teller, and Mickalene Thomas.

Founded by Rachel Lehmann and David Maupin in 1996, the gallery has had multiple homes around New York, as well as one in Hong Kong and another in Seoul to match its growing profile. Now it occupies the former site of the Getty—gas station, that is—which was an indelible landmark in New York’s Chelsea neighborhood. As of early September, Lehmann Maupin’s space is in real estate impresario Michael Shvo’s mixed-use residential building, fittingly dubbed the Getty. Designed by Peter Marino, the gallery isn’t just another streamlined, black-metal-clad, marble-and-glass emporium, the signatures of Marino’s glam vernacular. For starters, it’s white and columnless, with an echo of industrial rawness. “The walls being painted white doesn’t make it a boring box,” says Marino, who recently announced plans for his own art foundation in Southampton, New York. “For all my projects, lighting and natural lighting are an essential consideration. But for a gallery, it’s paramount.”

For the dealers, it’s a hoped-for project realized. “For most of our locations we have moved into existing gallery spaces, which

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we customized to the best of our ability,” says Maupin, “but it had always been a dream of mine and Rachel’s to build a space from the ground up.”

This new, trilevel gallery is 8,900 square feet with 22-foot ceilings and its own designated entrance (which is also shared by the soon-to-be-opened Hill Art Foundation). It was designed, according to Marino, with a range of lighting “opportunities,” such as solar shading to adjust the daylight and several options to “precisely light the artwork itself, creating no shadows whatsoever.”

Peter Marino Architect devised the space to contain four distinct sections: one with an east-facing floating wall, another flooded with natural light, a third as a black box, and the last with unobstructed views of the High Line park. “We always want to allow our artists to expand their practice,” says Maupin. “And having space designated for different types of media only enhances this.”

Having a first go at the gallery is Los Angeles painter Liza Lou, who for her exhibition has returned to investigating sculptural forms.

“This is a space for our artists to accomplish ambitious exhibitions,” says Maupin, “and for our visitors to experience that in the fullest capacity.” lehmannmaupin.com JULIE BAUMGARDNER

JASON SCHMIDT, COURTESY OF LEHMANN MAUPIN, NEW YORK, HONG KONG, AND SEOUL

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P R O M OT I O N

ENCHANTED

FOREST L

“THE WOODLAND-INSPIRED DISH REPRESENTS THE HERITAGE OF GAGGENAU IN THE BLACK FOREST, WHICH IS CLOSE TO WHERE I GREW UP IN SWITZERLAND.” clockwise from top: Daniel Humm entertains A-list guests, including Tyra Banks. Gaggenau’s 400 series fully automatic espresso machine with warming drawer. Chefs prepare the meal with an architectural backdrop inspired by traditional Black Forest buildings. A diner tries Eleven Madison Park’s take on eggs Benedict.

JERRITT CL ARK/GETT Y IMAGES

os Angeles is the land of make-believe where absolutely anything is possible, so it should come as no surprise when the moonlit, snowy Black Forest becomes a stylized reality on the 11th floor of a downtown building there. What is truly astonishing, however, is when that magical setting serves as the backdrop for an exquisite pop-up restaurant helmed by Daniel Humm, one of the best chefs in the world.

Restaurant 1683, whose name references the year Gaggenau was founded, was a three-night experience conjured by the brand for an invitation-only crowd of just 48 guests per evening. Divided into eight intimate chef’s tables, the room served as a front-row seat to watch Humm, of Eleven Madison Park and NoMad restaurants in New York and Los Angeles, and his team of chefs. From a vantage of exquisite, leather-covered counters with design inspired by traditional Black Forest buildings, diners could marvel not just at the flavors and aromas of the dishes but at their precise execution as well. The six-course meal included Eleven Madison Park’s much-praised roasted chicken and its signature take on eggs Benedict, served in a tin and topped with caviar.

But not everything was straight off the Michelin three-star restaurant’s menu. “In one of the courses, we evoke the idea of the forest with foraged delicacies— snails, morels, and herbs,” says Humm. “It represents the heritage of Gaggenau in the Black Forest, which is close to where I grew up in Switzerland.”

Humm traveled from table to table, interacting with guests and making the creation of such complicated dishes look incredibly easy—at least for him and his team.

The level of thoughtfulness was apparent in every touch, from the overscale cuckoo clock complete with models in traditional German costumes to the tiny black-and-whitecookie amuse-bouche, made of an unexpected combination of apples and cheddar. Certainly, just a taste of what happens when extraordinary imagination is married with perfect execution.

P R O M OT I O N

clockwise from top left: Tweezers are used to finish a dish with edible flowers.

Designer Monique Lhuillier and actor Darren Criss.

The snowy, moonlit setting inside Restaurant 1683.

Models in front of an overscale cuckoo clock.

Humm, chef of NoMad and Eleven Madison Park, which was named World’s Best Restaurant in 2017.

One of the evening’s signature cocktails.

In Good Taste

AT THE PARIS RESTAURANT APICIUS, THE DISHES ARE JUST AS CHIC AS

I Clockwise from top left: Mirrors and opulent gilded crystal chandeliers are a nod to 18th-century decorative motifs.

The façade of Hôtel de TalhouëtRoy. A dish of fresh pasta and lobster ragout. Pastry chef Jérôme Chaucesse (left) with Mathieu Pacaud.

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n the heart of Paris, there’s a secret garden with a neatly trimmed emerald lawn and gravel terrace that’s shaded by centuries-old chestnut trees. This tranquil bower is just a few minutes from the traffic of the Champs-Élysées, and it surrounds the magnificent Hôtel de Talhouët-Roy, a Louis XV–style limestone mansion built in 1860 for the Marquis Auguste de Talhouët-Roy on the site of the former stables of the Comte d’Artois, the brother of Louis XVI. The elegant salons on the ground floor have just been given a sumptuous but witty makeover by French interior architect François-Joseph Graf, who’s well-known for the grand siècle–inspired interiors of the legendary Hotel La Mirande, in Avignon, and the elegant Michelin-star restaurant L’Ambroisie, on the Place des Vosges. Happily, these beautiful rooms are open to the public as the location of the restaurant Apicius, which was recently taken over by a young chef, Mathieu Pacaud, the son of L’Ambroisie chef Bernard Pacaud, and his business partner, Laurent de Gourcuff, one of

FROM TOP LEFT: COURTESY OF APICIUS; MARION BERRIN (2); PHILIPPE VAURÈS

ITS DECOR

Clockwise from top: The interiors were designed by French interior architect François-Joseph Graf. A dish of asparagus encrusted with morels. The decor reflects the freshness of the modernized menu.

the most dynamic restaurateurs in Paris, who runs such modish addresses as Castel, Monsieur Bleu, and Loulou.

“François-Joseph Graf has flawless taste,” says Pacaud, explaining why he commissioned the designer to redo the restaurant, a favorite power table of the Paris political and business worlds that also attracts many celebrities and guests with particled names. (The “de” or “du” in a French person’s name is the telltale sign of aristocracy.) “Of course, Monsieur Graf also designed L’Ambroisie, and the elegance of the decor he created there is parfaitement intemporel [perfectly timeless].”

To signal the new, more relaxed atmosphere at Apicius, Graf respected the 18th-century decorative motifs but made them subtly playful through the use of trompe l’oeil, including fitted carpets that reprise the octagonal-and-diamond stone tile 74

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pattern common to the period, opulent gilded crystal chandeliers with amber bulbs hung from the high ceilings, leopard- and tiger-print chairs, and lots of mirrors.

But table settings of minimalist lead-gray glazed Jaune de Chrome porcelain are decidedly modern and nod to the menu updates made at Apicius, away from polite classical French cooking toward a cuisine that is light, fresh, and ingredientdriven. “My cooking is all about my produce,” Pacaud says. “It’s about tradition gently modernized with a little bit of creativity.”

Though Pacaud regularly revises the menu, delectable examples of his worldly but profoundly Gallic highbrow comfort food include a suave salad of grilled and raw summer squash; John Dory with caponata; and a puff pastry filled with black truffles and foie gras, entitled “homage à Bernard Pacaud,” his father.

Young pastry chef Jérôme Chaucesse (formerly of Le Crillon) does stunningly delicate desserts, including a deconstructed clafouti of black cherries. Marcus Gavius Apicius, a Roman gourmet who is assumed to have penned one of the ancient world’s first cookbooks and for whom the restaurant is named, would surely love this place. restaurant-apicius.com ALEXANDER LOBRANO

CLOCKWISE FROM TOP: COURTESY OF APICIUS; PHILIPPE VAURÈS; MARION BERRIN

“It’s about tradition gently modernized with a little bit of creativity,” says Mathieu Pacaud

Photo by James F. Wilson, courtesy BUILDER magazine Architecture by Phil Kean, LLC AA26002050 , Phil Kean Designs, Inc. CRC1327855, PKD Studio, LLC ID6290

O F F E R I N G AWA R D -W I N N I N G A R C H I T E C T U R E A N D I N T E R I O R D E S I G N S E R V I C E S W O R L D W I D E N E W Y O R K 2 1 2 . 2 0 6. 2 5 5 5 | F L O R I D A 407.599. 392 2 |

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From top: Andy Warhol’s portrait of Aretha Franklin (circa 1986) will be among the many images of Pop icons represented at his Whitney Museum exhibition. Warhol photographed by Stephen Shore outside the Factory in 1965.

Factory Original

THE WHITNEY MUSEUM’S WARHOL SHOW ATTEMPTS THE IMPOSSIBLE: TELLING US SOMETHING NEW

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FROM TOP: COURTESY OF THE MUGRABI COLLECTION; STEPHEN SHORE, COURTESY OF PHAIDON

W

hen the Whitney Museum of American Art in New York opens “Andy Warhol—From A to B and Back Again,” on November 12, expect the Avengers: Infinity War of the art world: Lines will be long, reviews will be ubiquitous, and social media will be clogged with the hashtag #WarholxWhitney.

As blockbusters go, the show will give the people what they want: Pop icons Marilyn and Liz, “Disaster” paintings, and films with the Factory’s “superstars.” But the woman behind it, Donna De Salvo, the museum’s deputy director for international initiatives and senior curator, is also determined to break new ground. To that end, the retrospective, the first on the artist organized by a U.S. museum since 1989, will include some of his less frequently exhibited works. De Salvo, a noted Warhol authority, begins with the premise that he might never have become an artist if his choice of career—fashion illustrator—had not been disrupted.

Photography, he once told her, had made his skill obsolete. “The jobs,” she says, “dried up for him.” So began his decades-long determination to stay ahead of technology. His reliance on silk-screening to replicate photographic images may be his most famous and lasting innovation, but he was a restless experimenter. A Playboy magazine commission, for example, led him to make images of Playmates with fluorescent paint, rendering the nudes visible, ironically, only under black light.

The show will also pay homage to Warhol’s trailblazing exhibition design, which De Salvo calls “extraordinary for its time” and which, like his artworks, has had a major impact on generations of artists. Warhol gleaned from the fashion world that making a product wasn’t enough: Its “retail” presentation had to catch the “consumer’s” eye. “Part of Warhol’s genius,” says De Salvo, “was having one

“Part of Warhol’s genius was having one foot in the commercial world and one in the history of art,” says Donna De Salvo

From top: Warhol’s 1969 “Raid the Icebox” show at the RISD Museum. A goldleaf shoe collage, “Christine Jorgenson,” from 1956. Dia New York restages the monumental “Shadows” series through December 15.

videos are intimate. One poignant clip depicts a “tender exchange between him and his mother. She’s lying in bed, and they’re speaking in Czech. It’s a very private moment.”

The devoted son is a side of the artist that doesn’t fit neatly into his (self-generated) larger-than-life persona.

The same for his Catholicism. Many friends were not aware that the openly gay Warhol attended mass. “In a funny way, it would have been bad for his image,” says De Salvo. “There was something there that was extremely complicated.”

Warhol, after all, was a master of contradictions.

While much has been made about some of the gay imagery in the show, De Salvo argues that it is far more subtle and conservative than, say, his contemporary Robert Mapplethorpe’s photography. “There’s a good boy in there,” says De Salvo. “There’s a lot of guilt.”

Warhol was 58 when he died unexpectedly in 1987, leaving one question maddeningly unanswerable: What would he have achieved had he lived? JULIE L. BELCOVE

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FROM TOP: COURTESY OF THE RISD MUSEUM; COURTESY OF SAMMLUNG FROEHLICH, LEINFELDEN-ECHTERDINGEN; BILL JACOBSON, COURTESY OF DIA ART FOUNDATION, NEW YORK

foot in the commercial world and one in the history of art.”

Tongue firmly planted in cheek, Warhol mounted the 1969 exhibition “Raid the Icebox,” for which he mined the Rhode Island School of Design’s collection of American paintings and decorative objects but upended the typical artwork-as-revered-object approach: He re-created the arrangement of the works as they had been found in storage, leaving items in crates, racks, and bundles.

“Now you wouldn’t think twice if an artist did that,” says De Salvo.

“But it was pretty radical.”

In another show, Warhol stood his Campbell’s Soup Cans on a ledge around the gallery’s perimeter, mimicking grocery shelves.

“Instead of it looking like a singular masterpiece,” De Salvo says, “he turned it on its head.”

Warhol’s interest in the full surround sometimes played into the creation of the artwork itself. For his epic 1978 series of “Shadow” paintings, a commission for the Dia Art Foundation, Warhol created 102 canvases to encircle the room. Based on one photographic image, setting vibrant colors dramatically against black, the enigmatic series is also his most abstract.

The retrospective will also attempt some myth-busting, aided by Warhol’s ample documentary videos. Some record his work process at the Factory, including a 30-minute session of putting a brush to a Mao canvas. “It punctures the belief that Warhol did not know how to draw or paint,” says De Salvo. “It’s a very insider look.” Other

Photograph by ISABELLE GIROLLET

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From top: A 1938 Richard Neutra house, along with the addition designed by Steven Ehrlich, highlighted in the new book City of Angels, which features photographs

by Firooz Zahedi. For the same home, a living wall created by landscape designer Mia Lehrer was inspired by a Sonia Delaunay painting. The new book on California design.

California Dreaming

OUR EDITOR AT LARGE, JENNIFER ASH RUDICK, SHARES THE CREATIVE PROCESS BEHIND HER NEW DESIGN BOOK ON LOS ANGELES

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L.A. and hit the ground running, touring houses in neighborhoods threaded together by ribbons of highway, an urban sprawl not unfamiliar to this Florida native. We saw midcentury glass cubes perched dramatically on hillsides, Mediterranean-style mansions shielded behind curtains of palms, charming bungalows, and smart, stylish Regencies.

In our days of endless scouting, we dropped in on house after house, gaining more than a few stories. At the home of Steve Tisch, a film producer and the chairman and executive vice president of the New York Giants, he showed us his Lombardi Trophy—awarded each year to the Super Bowl’s winning team—while his designer, the über-talented Peter Dunham, redirected our attention to the art in the living room.

Another time, as we spent a quiet afternoon at the seaside cottage of American portrait artist Don Bachardy, he recounted the tale of how, in the 1960s, he and his boyfriend, the late writer

FIROOZ ZAHEDI, COURTESY OF VENDOME PRESS

I

n the past decade Los Angeles’s interior design and art scenes have taken center stage, thrusting the city’s local artists, architects, and interior decorators into the global spotlight.

Thus, L.A. became the obvious choice for my next book, City of Angels: Houses and Gardens of Los Angeles (Vendome Press, $75), the latest installment in my series on design, which includes Out East and Palm Beach Chic. Yet despite the inordinate amount of coverage the city was logging in design magazines, there remained an untapped well of seemingly unobtainable, art-filled homes to be explored and documented. Enter photographer Firooz Zahedi, who would serve as my guide.

Zahedi, an Iranian-born, L.A.-based photographer, launched his career shooting celebrities for Vanity Fair and Andy Warhol’s Interview. The clarity and precision of his work earned him countless admirers on the West Coast, granting us a virtual key to the city.

In the spring of last year, we met up in

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FALL BOOKS WE LOVE Dior and His Decorators The first account of how Victor Grandpierre and Georges Geffroy, the duo behind Christian Dior’s modern yet traditional interiors, helped the designer create a globally recognized brand.

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On Interior Design

The eclectic living room of Los Angeles furniture and decorative arts dealer Joel Chen features a cocktail table

by George Nakashima and a painting by Charles Safford.

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Christopher Isherwood, were banned from living together as a gay couple in Beverly Hills and so moved to Santa Monica.

“From then on,” Bachardy said, “everyone came to see us.”

In between appointments, Zahedi and I retreated to the Westwood apartment he shares with his wife, curator and art patron Beth Rudin DeWoody. Zahedi and DeWoody, whose combined curiosity about all things creative is insatiable, have found themselves at the epicenter of the city’s growing wave of enterprising and communityminded artists, patrons, and art dealers. We had the privilege of visiting and photographing the homes of some of these prime L.A. movers, including gallerists Margo Leavin and Sarah Gavlak, as well as collectors Jane and Marc Nathanson and Mandy and Cliff Einstein.

That said, L.A.’s identity will forever be inextricably linked to the movie business, and local designers—like Michael Smith, Kelly Wearstler, Madeline Stuart, and Suzanne Rheinstein—have always understood the importance of a solid narrative with international appeal.

Their unique brand of California casual sophistication has been translated around the world.

A year spent immersed in L.A.’s design scene has thoroughly seduced this East Coast loyalist.

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Tony Duquette’s Dawnridge

After iconic set designer Tony Duquette died in 1999, his apprentice Hutton Wilkinson purchased his legendary Beverly Hills estate. Here, Wilkinson documents its exquisite revival.

Abrams, $75

David Gill: Designing Art

The powerhouse London art dealer traces the rise of his gallery, starting with its founding in 1987 and including interiors that showcase the work of talents he’s championed throughout his career, from artist Donald Judd to architect Zaha Hadid.

Vendome Press, $60

FROM TOP: FIROOZ ZAHEDI, COURTESY OF VENDOME PRESS; COURTESY OF VENDOME PRESS; COURTESY OF IMAGES PUBLISHING; COURTESY OF ABRAMS; RICARDO L ABOUGLE, COURTESY OF VENDOME PRESS

From Paris to Palm Beach, interior designer Penny Drue Baird gives you an intimate, curated look at her most beautiful projects.

Images Publishing, $50

Rock Stars

THE HIGH-JEWELRY DESIGNERS SHAKING UP THE CRAFT WITH THEIR SINGULAR, ART-INSPIRED CREATIONS

After three decades working behind the scenes for major jewelry brands, the Los Angeles– based Vram Minassian is now causing a stir with his wildly expressive sculptural pieces.

Inspiration: Constantin Brancusi, Henry Moore, and midcentury-modern Californian design. “It’s all about the form. I am working in gold and silver, but sometimes I think, This could be amazing in five-foot-tall wood!”

Big break: The Echo ring, crafted in recycled 18K yellow gold and sterling silver with green demantoid garnets and diamonds, won Best in Debuting at this year’s Las Vegas Couture Show.

Fans: Halle Berry, Hilary Swank. vramjewelry.com FERNANDO JORGE

L AURE N ADRIANA

The graduate of Central Saint Martins in London produces no more than 30 one-of-a-kind pieces per year.

Signature style: A luscious use of color and rare precious stones—think Ethiopian opals, tanzanite, and sapphires—in a futuristic style.

Inspiration: “I’ve been looking at the American Color Field movement of the 1950s, but I also enjoy playing with nostalgia—it could be Slinkys to the memory of the lights on a Ferris wheel at night.”

Big break: Earlier this year, Phillips hosted Adriana’s first major solo exhibition, “Jewels Now,” with 50 pieces showcased at its London and New York locations.

Process: For every piece she works on, Adriana paints a complete to-scale illustration in watercolor.

“It is a very time-consuming process, but it helps to strengthen the ideas behind the jewel.” laurenadriana.com

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Known for his effortless, sensual style, the London-based talent uses brilliant gemstones and minerals from his native Brazil and imbues them with bold energy and movement.

Signature style: “My designs have a continuity like the body itself—they ebb and flow in size or movement, which is what makes them recognizable.”

Inspiration: Brazil’s unique history of design.

“I’m inspired by the curvy and sensual lines by architect Oscar Niemeyer and the playful volumes of the works of artists Tunga and Ernesto Neto, as well as the furniture designer Sergio Rodrigues.”

Latest collection: Surround, an unexpected combination of materials such as diamonds with tagua nut or mother-of-pearl.

Fans: Saoirse Ronan, Reese Witherspoon, Tracee Ellis Ross. fernandojorge.co.uk LUCY REES

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From top: A striking James Turrell “Skyspace” at Rice University. The Cullen Sculpture Garden at the Museum of Fine Arts, Houston, features a bronze by Émile-Antoine Bourdelle.

Under Texas Skies

GLOBAL ARTS CLUB THE CULTIVIST HIGHLIGHTS THE SITES FUELING A

T

exas is the unsung gem of the American art world, from scenic Marfa to alternative Austin. There is one city, however, that simply cannot be missed: Houston.

The museum capital of Texas, Houston is home to the legendary Menil Collection as well as the prodigious Museum of Fine Arts, Houston, the largest art museum in the Southwest. Making the fall a great time to visit, in November the Menil Collection will unveil its Menil Drawing Institute, a new building devoted to the acquisition, exhibition, study, and conservation of modern and contemporary drawings. But what really sets Houston apart are the handful of treasures that are found only here. These are our picks of the city’s must-visit destinations.

T W I L I G H T E P I P H A N Y , A JAMES TURRELL “S KYSPACE” Steps away from Houston’s Museum District, the Rice University campus boasts one of James Turrell’s signature “Skyspaces,” which are special open-air observatories that allow viewers to contemplate the sky under controlled conditions. Titled Twilight 88

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Epiphany, this installation comes equipped with an LED light sequence that responds to the sunrise and sunset, complementing the natural light for an unforgettable visual experience. The best part is that it’s free and open to the public, although reservations must be made in advance.

THE MENIL COLLECTION Located in a serene Renzo Piano–designed building on a sprawling lawn, the Menil Collection offers one of the best museum experiences to be found anywhere. The 10,000-piece collection of John and Dominique de Menil includes works from prehistory through the 20th century, with special holdings in areas the couple were passionate about, including European Surrealism. The newest attraction at the museum, the Menil Drawing Institute, will open on November 3 with “The Condition of Being Here: Drawings

FROM TOP: MICHAEL STRAVATO; CAROL M. HIGHSMITH/BUYENL ARGE/GETT Y IMAGES

CULTURAL BOOM IN HOUSTON

by Jasper Johns,” an exhibition that will trace the chronology of the artist’s career. The new space, according to the museum’s director, Rebecca Rabinow, offers “a deeply thoughtful, highly personal window into the practice of drawing.”

The Museum of Fine Arts, Houston, is the crown jewel of the Museum District. With a permanent collection of over 65,000 works spread across several buildings, it is one of the largest and most impressive museums in the U.S. One of our favorite parts is the tunnel that connects the two main buildings: Light artist James Turrell transformed it into a hypnotic, glowing passageway of changing colors titled The Light Inside. Also, don’t skip the tranquil Cullen Sculpture Garden, which was designed by the architect and sculptor Isamu Noguchi.

This autumn, the exhibition “Always Greener” will feature selections from the museum’s vast collection that relate to the American suburbs. The show includes a number of major midcentury artists, such as Robert Rauschenberg and Philip Guston.

I S A B E L L A COURT Isabella Court is often described as a new or up-and-coming arts complex, but its history stretches back to the 1920s. As soon as it opened, the Spanish Colonial Revival apartment and retail building attracted

From top: A work on paper by Jasper Johns, on display at the Menil Drawing Institute’s inaugural show. The Isabella Court galleries. The Menil Collection. The Cy Twombly Gallery, a nearby branch of the Menil, which houses works by the artist from 1953 to 2004.

artists, musicians, and other creative types. Today its peeling stucco walls and wrought-iron detailing provide a magical backdrop to some of Houston’s top galleries, including Inman Gallery and Art Palace. No trip to Houston is complete without a visit to this architectural treasure.

R O T H K O CHA P EL Perhaps the most iconic of the sites associated with the Menil Collection, the Rothko Chapel was commissioned by the Menils and completed in 1971. It functions today as a nondenominational chapel, drawing visitors from all faiths and walks of life who come to stand in meditative silence in front of Mark Rothko’s monumental canvases.

While Rothko experimented with hundreds of color combinations during his career, the paintings at the chapel are all monochrome fields of black or purplish hues. PATRICK FINN 90

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FROM TOP: © JASPER JOHNS/LICENSED BY VAGA, NEW YORK, COURTESY OF THE MENIL COLLECTION, HOUSTON; JEFF WILSON; DON GLENTZER, COURTESY OF THE MENIL COLLECTION, HOUSTON (2)

MUSEUM OF F I N E A R T S , H OUSTON

Performance Space ARCHITECT

PAUL RUDOLPH’S MULTILAYERED STRUCTURES WERE DESIGNED FOR MAKING AN ENTRANCE From top: The Halston House on East 63rd Street, currently on the market for $24 million.

A Paul Rudolph–designed townhouse in lower Manhattan revamped by architect Steven Harris. Rudolph in his penthouse apartment.

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FROM TOP: NIKOL AS KOENIG/OTTO; SCOTT FRANCES/OTTO; COURTESY OF THE LIBRARY OF CONGRESS, PRINTS AND PHOTOGRAPHS DIVISION

P

aul Rudolph would be 100 this year. It’s tantalizing to imagine what his architecture would have been like had he lived into the digital age. With a pencil and a T-square, Rudolph, who died in 1997, was able to design buildings of stunning complexity. His Yale School of Art and Architecture, for example, conceals some 37 levels behind a seven-story façade. Its exterior is made of corduroy concrete, a hallmark of the style known as Brutalism, of which Rudolph was perhaps the greatest practitioner. But without sacrificing his predilection for architectural rigor, he was also able to create houses that embodied the optimism, and even the glamour, of the postwar era.

Rudolph’s Halston House, named for its most famous owner, glares at Manhattan’s East 63rd Street through an exterior of black steel and glass; inside, a floor-through living room is surmounted by a featherweight platform, ostensibly a link to the upstairs bedrooms but really a stage for its denizens to strut across. Steven Harris, who renovated another Rudolph house in New York, observes that the level changes served a social purpose: “In most cases, you entered rooms slightly above where you ended up. It let you make an entrance—his architecture is all about performance.”

Another domestic triumph is a sprawling house in Fort Worth, Texas, commissioned by Anne and Sid Bass. A kind of high-tech aerie of white steel and glass, it cantilevers over the soft green carpet of manicured lawns in thrilling juxtaposition.

Born in Kentucky, Rudolph began his career on the west coast of Florida, where he championed a style of architecture that blended interiors and exteriors with the help of unprecedentedly light structures and became known as the Sarasota School.

While one Florida creation, the Cocoon House, is being restored by the Sarasota Architecture Foundation, not all of his buildings have been so lucky. A government office complex in Goshen, New York, a kind of sandcastle of poured concrete and one of his most delicate creations, was renovated into oblivion last year. Other Rudolph buildings are likewise endangered. Two that seem secure for now, both in Manhattan, are the house he designed for himself on Beekman Place and a small multiuse building that incorporates a showroom for Modulightor, a lighting company that markets Rudolph’s innovative fixtures. That building, a compelling presence at 246 East 58th Street, is host to private tours. Rudolph isn’t around to play guide, but with his ideas bursting out in every direction, he almost doesn’t have to. FRED A. BERNSTEIN

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Flight of Fancy

A LEGACY INTERIOR DESIGN FIRM BRAVES NEW GROUND BY CUSTOMIZING A JUMBO JET WITH A POSH, REFINED INTERIOR

The plane is a veritable airborne mansion whose design is a balanced aesthetic of restrained elegance and deep luxe 94

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Clockwise from top: In the aircraft’s main lounge, custom pieces include a rug by Tai Ping and a wacapou wood table with a goatskin top; the etching is by Shirley Jaffe. On the upper deck, a salon for children features an embroidered suede ceiling and etchings by Bertrand Dorny.

The Paris designer Linda Pinto. For details see Sources.

COURTESY OF CABINET ALBERTO PINTO

“I

t’s not every day we’re asked to do a real Boeing,” says Linda Pinto, the dynamic leader of Alberto Pinto Interior Design, Paris’s eminent source of disciplined, opulent interiors. While her company has outfitted many a stylish jet, including a Bombardier Global 6000, a Gulfstream G550, and a couple of Boeing 737-700s, the company has just completed its first-ever private Boeing 747-8.

Her brother Alberto’s closest collaborator for 30 years, Pinto has masterfully carried on his legacy since his passing in 2012, working in a symbiotic relationship with the firm’s 80 employees in the Hôtel de la Victoire, a five-story, 17th-century townhouse in the 2nd arrondissement.

The plane, owned by a Middle Eastern businessman, is a veritable airborne mansion whose design and decoration fully reflect Alberto Pinto Interior Design’s minutely balanced aesthetic of restrained elegance and deep luxe, true comfort and exquisite detail.

Despite the joint burdens of meeting myriad technical requirements—all fittings and materials had to satisfy Federal Aviation Administration and European Aviation Safety Agency flame-treatment standards, for instance— and working with the bulky, immovable seating and other furnishings necessary for air travel, the firm achieved an overall tone that is serene, luminous, and refined, strongly unified by fabrics in soothing creamy whites, leather accents,

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metal inlays, and marquetry in sycamore and African wacapou.

“The client was very clear, and he sort of gave us carte blanche,” explains Pinto, a vibrant and energetic woman.

Noting that the businessman and the firm knew each other well—her team previously designed for him “a very beautiful hôtel particulier in Paris, one in Morocco, and one in his own country”—she says, “He wanted something that was luxurious without being ostentatious. Luxurious things in a context of comfort, of simplicity. Which, for him and for us, is true luxury.”

As conceived by Yves Pickardt, the head of Pinto’s private-jet department, and seven additional employees, this Boeing’s interior was created over a period of four years: two years to design it, and another two to execute that design.

Every sample created by the firm’s network of top craftsmen in French marquetry, leatherwork, metalsmithing, and upholstery had to be reproduced by the artisans employed by AMAC Aerospace in Basel, Switzerland, an approved completion center for VIP/VVIP aircraft; AMAC guarantees that all work meets air-travel regulations. “Everything is 96

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made by the completion center,” Pinto says. “You have to go through them.” Given her exacting standards, it would often take several exchanges between Basel and Paris before the Swiss team got every finish right. Pinto characterizes the resulting interior as “a contemporary classic, with a nod to Art Deco,” which is evident in the color palette of whites and browns, the many rounded corners, and the panels with inlaid wood and metal.

Consisting of a master bedroom with a master bath, a guest bedroom with en suite bath, an office and conference room to conduct business, a private salon, multiple discreet lounging areas, and an upper deck divided between a vast children’s area and quarters for crew and staff, this is a plane where the owner can truly feel “as he does in his house,” Pinto explains. “This is a man who travels both for business and for pleasure, with his family—he has a large family. He uses it an enormous amount, around the world. Since it’s a 747, there are no limitations of time, distance, or schedules.”

No doubt life is sweet in this Pinto-designed home in the air. albertopinto.com/en CHRISTINE SCHWARTZ HARTLEY

COURTESY OF CABINET ALBERTO PINTO

Clockwise from top: The exterior of the private Boeing 747-8. In the master bedroom, an etching

by Alexander Calder hangs above a Pinto-designed embossed leather bed with a saddlestitch detail. Two etchings by Joan Miró complement a suite of furniture by the firm.

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On the Block

FASCINATING SALES FROM

 CONSTANTIN BRANCUSI | LA JEUNE FILLE SOPHISTIQUÉE (1932)

Sold at Christie’s New York (May 15)

This sculptural portrait of Nancy Cunard exemplifies the Romanian sculptor’s revolutionary modernism. Although the American heiress never sat for him, Brancusi brilliantly captured her essence, evoking a stylish posture and sleek hairdo in meticulously polished brass. The work, including an original hand-carved marble base, brought $71 million, a record for the artist, who’s the subject of a show at the Museum of Modern Art through February 18, 2019.  THE FARNESE BLUE DIAMOND | (CIRCA 1715)

 QING DYNASTY | YANGCAI VASE (CIRCA 1735–96)

Gifted by the Philippines to Elisabeth Farnese upon her marriage to King Philip V of Spain, this 6.16-carat, pear-shaped gem, from India’s Golconda mines, was salvaged when a fleet carrying the queen’s dowry from the then Spanish colony was struck by a hurricane.

Inherited by royalty in France, Italy, and Austria, and at one point adorning a headpiece made with diamonds that once belonged to Marie Antoinette, it was acquired for 6,719,750 Swiss francs ($6.7 million).

Discovered in an attic and brought to the auction house for appraisal in a shoe box, this petite treasure turned out to be a rare imperial commission for the Qianlong emperor. Intricately decorated with a magnificent landscape featuring deer, cranes, and pine trees, it sparked a 20-minute bidding battle, ultimately fetching €16,182,800 ($19 million), more than 20 times the estimate.

Sold at Sotheby’s Geneva (May 15)

Sold at Sotheby’s Paris (June 12)

 PIERO FORNASETTI | LA STANZA METAFISICA (1958)

Sold at Phillips New York (June 6)

The whimsical Italian designer conceived of this “metaphysical room,” comprising 32 panels bearing images of Surrealist stairways, ladders, and passages, as a customizable space for contemplation. This set, installed in the Manhattan apartment of Sting and Trudie Styler by the architectural firm SheltonMindel, had stretched along a wall connecting windows with views of Central Park. It sold for $507,000, a record for the artist. JEANNIE ROSENFELD 98

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AROUND THE WORLD

Shop Talk

BERGDORF GOODMAN MASTERMIND LINDA FARGO SHARES WHAT SHE’S LOVING NOW

I

f Linda Fargo’s title at Bergdorf Goodman were to reflect her actual responsibilities, it wouldn’t fit on a business card. As senior vice president of the fashion office and store presentation, she oversees the interior design, window displays, specialty collaborations, and, last but not least, uniquely luxurious collections found on every floor of the historic emporium. On any given day, the lithe Milwaukee transplant with the signature white bob can be found sketching on her drawing board, reviewing retail orders, or meeting with purveyors to discuss possible partnerships. Most recently, she’s been developing a new eighth floor and launching Noir, a niche shopping concept that challenges the status quo through exciting design and product experiences. It’s all in a day’s work for Fargo, who’s been with the luxury retailer since 1996. Fargo

jokes that she’s lent more of her design expertise to the 300,000-square-foot space than to her own Sutton Place apartment. Nevertheless, her penchant for creating chic interiors echoes her personal aesthetic: She favors classic elements fused with whimsical, nature-inspired accents. She shares her current obsessions here.

My personal style runs the gamut. I love quiet basics. I have 100 pairs of black pants, yet I also love high-wattage sparklers. I like pieces that are vivid. I like to scare myself sometimes with my choices, to not be too comfortable in them. I’m definitely modest. You will rarely see much skin.

My favorite store outside Bergdorf Goodman is Chez Dédé in Rome. There’s nothing like the artwork there. I also love A’maree’s in Newport Beach, California. They do a beautiful job.

To find a store with a really clever curation is so special. It can even be a gourmet store—it doesn’t have to be just fashion.

I love to mix items that have patina and age with those that are brand-new. Natural materials have a way of working into all of my interior design choices. My apartment favors black and white as a framework, and it has a good showing of animal prints. Anyone who knows me knows I love leopard and zebra and strong punches of red. I think I dress like that also.

My favorite object in my home is a set of wild black antique coral that I got years ago from dealer Karl Kemp. It’s almost like it’s in suspended motion. I keep a piece in my office

FROM FAR LEFT: COURTESY OF BERGDORF GOODMAN; COURTESY OF HOTEL ESENCIA; CATHERINE PANCHOUT/GETT Y IMAGES; COURTESY OF BERGDORF GOODMAN (2); DARIA REINA; COURTESY OF BERGDORF GOODMAN

From left: A portrait of Linda Fargo on a sofa decked in one of her beloved animal prints.

Fargo’s favorite destination, Hotel Esencia, in Mexico. The Greek island of Hydra.

From bottom left: Wild black coral anchors a tableau of personal objects in Fargo’s home. A jaguar-print velvet Tom Ford suit with bugle-bead embroidery. Chez Dédé in Rome. Mizuki baroque pearl earrings.

and the rest at home. Occasionally I have parted with one or two, for people very dear to me.

My beauty signature is red lipstick and my white hair.

With the red lip, I do mix it up. My current favorite is Pirate

by Chanel. It’s the perfect shade of red, and I consider myself an expert.

I just came back from the Greek island of Hydra. A proper vacation is a great time to reflect and to dream a little bit. It reminded me that I have a lot of living to do. In New York, it’s easy to get caught up in work, but I’m beginning to think work is probably overrated.

My “can’t live without” items are my baroque pearl earrings. I don’t take them off. Whether in interiors or fashion or window design, I always gravitate toward pieces based in nature. I love the wildness. Baroque pearls bring out your eyes and your teeth. They go with everything you might put on, and they weigh nothing.

My favorite destination is Hotel Esencia in Mexico. It’s easy to get to from New York and is very discreet and designed so perfectly. The style features a lot of 1930s and 1940s pieces, which

seem counterintuitive, as the property is poised between the jungle and the sea. A gentleman named Kevin Wendle designed it. It’s an old estate, and he bought it and has been adding to it. It’s the perfect getaway.

I have naturally obsessive interests. I haunt vintage stores, furniture stores, and flea markets. I tend to buy very odd drawings and paintings.

If I must choose between a piece of furniture from the 1930s versus one that was made yesterday, I will always opt for the former. These objects breathe craftsmanship, materials, grace, and innovation.

I sometimes think I was born at the wrong time. My hair started turning white when I was ten years old. There’s been an old soul in my body from day one, so that’s why I feel comfortable in worlds that straddle the historical and the contemporary. Bergdorf ’s is like that, too. I love that the maison is 118 years old and yet we have the best and most interesting fashion in the world within its storied walls. I love to roam the corridors after the store closes. It’s just me and all those beautiful clothes. INTERVIEW BY CAROLINE TELL GALERIEMAGA ZINE.COM

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Beirut Rising

A THRILLING CULTURAL REVIVAL IS PUTTING THE STORIED LEBANESE

A

From top: A sweeping view of Beirut from the historic village of Harissa. The showroom and studio of local interior designer Nada Debs.

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popular local legend says that Beirut was destroyed seven times. And seven times it was rebuilt. In the 1960s, the city was known for its vibrant social scene, attracting artists and glamorous jet-setters. Located on the Mediterranean Sea and fringed by dramatic mountains, the city, with its cosmopolitan-leaning and intellectual lifestyle, had earned itself the nickname Paris of the Middle East. Lebanon’s civil war of 1975–90 wiped out all of it. All except that unique spirit of creativity that seems to blossom as an antidote to destruction.

Rising out of the tumultuous years of war, Beirut is once again alive with cultural activity. Kicking off on September 19, the Beirut Art Fair returns for its ninth edition, gathering roughly 50 contemporary art galleries, some from the Middle East and North Africa. A major satellite exhibition, “Cycles of Collapsing Progress,” will breathe life into the International Fairground at Tripoli, the series of half-finished sculptural buildings designed by Pritzker Prize–winning architect Oscar Niemeyer in the 1960s.

Taking place the same week is the eagerly anticipated second Beirut Design Fair, which aims to promote the burgeoning Lebanese design scene.

FROM TOP: WALID RASHID; MARCO PIRANELLI, COURTESY OF STUDIO NADA DEBS

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Clockwise from left: The charming Hotel Albergo. A modern take on local cuisine at the chic Liza Beirut restaurant.

Sfeir-Semler Gallery is one of the city’s dynamic contemporary art spaces.

CLOCKWISE FROM TOP LEFT: COURTESY OF HOTEL ALBERGO; MARCO PINARELLI, COURTESY OF LIZA BEIRUT (2); WALID RASHID

“There’s something magical about the mix of heritage and modernity, and the upcoming fairs make this even more palpable,” says Beirut-born, Paris-based architect Aline Asmar d’Amman.

Across the city, a slew of new private art foundations and galleries have recently cropped up. One symbol of the city’s renaissance is the Aïshti Foundation, a striking 375,000-squarefoot waterfront art space and retail complex that opened in 2015. Designed by architect Sir David Adjaye, it was conceived by retail magnate Tony Salamé to showcase his private contemporary art collection.

For a dose of the city’s ancient history, the Beirut National Museum contains an extraordinary collection of archaeological artifacts, including relics from the Phoenician civilization.

Nearby, the impressive Mim Museum, which houses a mineral collection, is a treasure.

Other institutions strive to reconnect Beirut to its legendary past. The Sursock Museum, for example, is a Venetian- and Ottoman-style mansion that was built in 1912 and recently reopened after a $10 million renovation by the French architect Jean-Michel Wilmotte. This fall, don’t miss the 33rd edition of the “Salon d’Automne,” a yearly showcase of established and emerging talents.

Another restored architectural beauty is the haunting Beit Beirut, an imposing neo-Ottoman building that was used as a

sniper bunker during the civil war. Once dubbed the Yellow House due to its distinctive colored stone, the structure, with its hollow, bullet-riddled façade, which has been intentionally preserved, now serves as an urban cultural center dedicated to the memory of the war.

In the historic center of Beirut, the elegant Hotel Albergo offers visitors the chance to spend the night in a stately Lebanese building, with each room uniquely inspired by the old city. Other charming stays include the Villa Clara boutique hotel, with its seven rooms decorated with antique furniture and paintings by local artists, and the cozy guesthouse Beit El Tawlet.

To experience Beirut’s rich culinary traditions, Liza Beirut offers the best modern Lebanese cuisine. Nestled in a 19th-century townhouse, the restaurant showcases stylish interiors by Maria Ousseimi and is filled with distinctive pieces by local design stars such as Karim Chaya, Bokja, and Nada Debs, who all have showrooms nearby. For a unique dining experience, head to Centrale Restaurant-Bar, an

“There’s something magical about the mix of heritage and modernity,” says Aline Asmar d’Amman

architectural feat by Bernard Khoury that features a dilapidated 1920s residential house wrapped in steel mesh.

Heading down to the bustling Port District, one is struck by the beauty and rawness of architect Lina Ghotmeh’s soon-to-open Stone Gardens, an incredible landmark building that will house a foundation. Steps away, Lux is a hot spot for organic Mediterranean specialties, while fashion insiders know to check out Maison Rabih Kayrouz.

Around this area are some of Beirut’s edgiest art and design galleries.

Marfa’ Projects and Sfeir-Semler Gallery, for example, both showcase work by local and international artists, while the influential Carwan Gallery provides an exquisite selection of design objects that fuse a European aesthetic with Eastern craftsmanship.

In the fashionable Mar Mikhaïel neighborhood, you’ll find the dynamic Galerie Tanit, along with some of the top bespoke boutiques such as the avant-garde Rosa Maria Jewellery and the Papercup bookstore. The best spots to unwind with a cocktail are Anise and Central Station, while Baron offers a twist on classic Mediterranean cuisine.

On rue Clémenceau, make sure to stop by Orient 499 and Artisan du Liban for beautiful handcrafted local goods before soaking up some jazz at the Salon Beyrouth, which was inspired by the Roaring ’20s salons.

“Constantly under construction, unfinished, Beirut unleashes the creator’s imagination and invites artists to draw from its textures and colors,” Ghotmeh says. While there may still be regional tensions and a lack of institutional support, art and culture have long played a key role in unifying Lebanese civil society, healing war wounds and drawing people of all walks to the vibrant, creative hub that Beirut has always been. ALYA CHEHAB

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FROM TOP: WALID RASHID; COURTESY OF THE CHAIN EFFECT; COURTESY OF ANTOINE MAALOUF ARCHITECTS

From top: The magnificently restored Sursock Museum. Vibrant murals by local collective the Chain Effect reinvigorate the city streets. The Salon Beyrouth jazz and whiskey bar features glamorous Art Deco touches.

Den Mobler, Los Angeles

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A fiery Bosco Sodi artwork provides intense color against a neutral palette that includes black-and-white stools and flooring by Alvaro Catalรกn de Ocรณn in a Madrid apartment.

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IN A BOLDLY REVAMPED BRUSSELS TOWNHOUSE, DESIGNER PIERRE YOVANOVITCH SUAVELY INTEGRATES OLD AND NEW WITH HIS DISTINCTIVE LUXURIOUS MINIMALISM

By Stephen Wallis Photography by Jean-Franรงois Jaussaud

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For a dramatic update of their circa-1910 Brussels townhouse, businessman Philippe Austruy and gallerist ValĂŠrie Bach enlisted architect Guy Melviez to oversee the major structural work. To mastermind the interiors, they brought in designer Pierre Yovanovitch, who gave an exuberant Gilbert & George painting center stage in the main living area, which he furnished with a mix of vintage pieces and his own designs. For details see Sources.

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Yovanovitch created the solid-chestnut, horseshoe-shaped sofa to anchor the space, grouping it with a two-piece ceramic table specially created

by Armelle Benoit, 1960s chairs by Preben Fabricius and Jørgen Kastholm, and a circa-1950 floor lamp

by Bent Karlby. The scrap-metal floor sculpture is by Robert Rauschenberg, and the carpet is a custom design by Yovanovitch.

charmingly enough, with a roller-skating rink. Several years ago, Philippe Austruy and his wife, Valérie Bach, were searching for the right designer to complete their conversion of Brussels’s historic Patinoire Royale, built in 1877 as one of Europe’s first skating halls, into an art gallery. Based on a recommendation from no less than the former French culture minister Jean-Jacques Aillagon, the couple hired Pierre Yovanovitch, the Paris design star celebrated for his sensuous, artisanal, luxuriously minimal interiors.

Unveiled in 2015, the Patinoire Royale–Galerie Valérie Bach is a spectacular, 30,000-square-foot showcase for international modern and contemporary art.

So when Austruy, a health-care entrepreneur, vineyard owner, and real estate investor, found himself looking

for a designer to take over the renovation of the couple’s early-20th-century Brussels home partway through the project, he knew where to turn. “Pierre won me over with his aesthetic intelligence, clarity of vision, intuition for volumes and materials, and his attention to detail,” Austruy explains.

Brussels architect Guy Melviez had already completed the major structural work on the five-story townhouse, retaining the circa-1910 façade and basic layout of the front rooms while demolishing the entire back. He reimagined the rear of the home as a series of glazed cubic volumes and cantilevered terraces arranged around a small interior garden and a concrete elevator shaft encircled by a blackened-steel staircase.

“Many of the Brussels mansions from that period aren’t very convenient for modern living,” says Yovanovitch. “We basically restructured the interior according to the clients’ lifestyle.” That meant flexible spaces in which the couple could host large parties, as well as multiple rooms for quiet relaxation with their daughter.

The primary entertaining spaces are the light-filled L-shaped living room and the adjacent gallery-like bar and dining area, all part of the new construction. As you move around the living room, ceiling heights shift, rising to a dramatic 60 feet. To offset the room’s rigorous expanses of glass, steel, and concrete, Yovanovitch designed a massive solid-chestnut circular sofa that gives a warm, organic hug to the inviting seating area, which includes a pair of 1960s Danish chairs and a sculptural ceramic cocktail table commissioned from Armelle Benoit. Everything rests on a plush carpet with a graphic, asymmetrical patchwork pattern.

For Yovanovitch, the mix is key. “I don’t like a total look—I always want some eclecticism,” he says. “I look to combine things in a way that is unexpected.” → GALERIEMAGA ZINE.COM

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Left: The kitchen features a backsplash of variegated ceramic slabs by Armelle Benoit. Below: A Poul Henningsen pendant light descends above the family room’s custom-made sofa, oak marquetry– top table, and Poul Kjærholm chairs; the stained-glass window is original.

“I DON’T LIKE A TOTAL LOOK,” SAYS PIERRE YOVANOVITCH. “I ALWAYS WANT SOME ECLECTICISM” Right: A 1954 Jean Prouvé daybed offers repose beneath a Jean Dubuffet painting in the main living area. Below: The basementlevel spa, which features a pool that extends outdoors, is clad entirely in Vals stone; Yovanovitch designed the brass sconces, the chaise longues are by Sutherland, and the ceramic side tables are by Gervasoni.

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Artwork plays a central role throughout the house, with a monumental Gilbert & George painting dominating the living room’s largest wall and a Robert Rauschenberg junk-metal assemblage sprawling across the floor below.

Given the couple’s sizable collection—part of which is displayed at Austruy’s Provençal winery, Commanderie de Peyrassol—there was plenty to work with. “The hanging process is something I do by trial and error until I’ve got something I like,” says Yovanovitch, who turned a small mezzanine above the living room into a mini–exhibition space by pairing a jazzy Simon Hantaï abstraction with a paint-encrusted piano by Bertrand Lavier.

In the bar area, another Lavier work, a neon wall piece, casts a glow of purple, pink, and green on the bronze-top bar, which Yovanovitch clad with panels of rippling silver-hued cast glass. It’s one of numerous custom-made pieces that reflect the designer’s commitment to the handcrafted and artisanal. “Craftsmanship in my work is important,” he says, “because it gives a warmth and a human touch.”

That aspect of Yovanovitch’s work is evident in the family room, an original space at the front of the house that serves as a cozy retreat for “a quiet dinner when it’s just the family or maybe a glass of wine with a friend,” says the designer, who used rich, dark wood for the floor and the curved bookshelves flanking the stained-glass window. For his part, Austruy sees this room as the heart of the home. “It is a total reflection of Pierre’s work in that it is simple and beautiful, yet feels completely unique,” says Austruy, who subsequently hired Yovanovitch for the recent revamp of a 19th-century guesthouse at his Quinta da Côrte winery in Portugal. The master suite also features an array of rarefied touches, like the ultimate luxuriously minimal vanity for her and the striking cylindrical terrazzo dressing room for him, plus the bathroom floor’s irregular pattern of creamy-white and richly veined gray varieties of marble. “I like to create a contrast between materials that have different textures,” explains Yovanovitch.

Nowhere does the designer’s use of distinctive materials make a bigger impact than in the basement-level spa, which features an indoor-outdoor swimming pool, whirlpool bath, and hammam, all clad entirely in Vals stone. Inspired by Peter Zumthor’s famous thermal-baths complex in the Swiss Alps, it’s a gesture that manages to be simultaneously restrained, refined, and utterly arresting. In other words, signature Yovanovitch.

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“CRAFTSMANSHIP IN MY WORK IS IMPORTANT BECAUSE IT GIVES A WARMTH AND A HUMAN TOUCH”

A Bertrand Lavier installation of neon tubes casts a glow in the bar area, which overlooks the back garden, where a sheep sculpture by FrançoisXavier Lalanne stands among the trees.

Mathieu Lehanneur’s light fixture resembling illuminated rope dangles above the Yovanovitch-designed bar, which features a bronze top and cast-glass sides.

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“I LIKE TO CREATE A CONTRAST BETWEEN MATERIALS THAT HAVE DIFFERENT TEXTURES”

Above: In the master bedroom, vintage Franco Albini lights extend from the recessed oak wall behind the bed, while a painting by Pierre Alechinsky lends a fantastical note next to one of Yovanovitch’s zaftig armchairs; the ceramic nightstand is by Armelle Benoit, and the bench is by Akiko Kuwahata.

Right: A spiky Ilkka Suppanen pendant light and a Marlène Mocquet painting overlook the master bath’s bespoke oak bench and floor of white and gray marble.

1 Finnish designer Paavo Tynell crafted the cloakroom’s circa-1950 brass chandelier, one of Pierre Yovanovitch’s favorite pieces, which he purchased from Galerie Eric Philippe in Paris. ericphilippe.com

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grayscale ceramic backsplash, a counterpoint to the architecture’s clean lines. armellebenoit.fr

(1,2,3,4,5,8) JEAN-FRANÇOIS JAUSSAUD/LUXPRODUCTIONS; (6) TIMOTHY SCHENCK; (7) COURTESY OF COMMANDERIE DE PEYRASSOL

5 A striking neon-onplywood wall installation by avant-garde French artist Bertrand Lavier makes a glowing statement in the home’s bar area. xavierhufkens.com

2 A row of blown-glass lighting pendants by Michael Anastassiades hangs in Valérie Bach’s dressing room, which is anchored by a pink terrazzo island topped with cordovan. “I designed the piece with drawers and panels that open, including semicircles that reveal a mirror,” says Yovanovitch.

“That was fun to make.” michaelanastassiades.com 3 In 2013, Philippe Austruy purchased the historic Quinta da Côrte vineyard in Portugal’s verdant Douro Valley and enlisted Yovanovitch to renovate the winery and its guest rooms. quintadacorte.com 4 “Texture is essential in my work,” says Yovanovitch, who tapped French artisan Armelle Benoit to create several custom works for the residential project. Among them is the kitchen’s

6 “I think the Gilbert & George work is particularly beautiful,” says Yovanovitch, “so we put it on one of the best walls in the house.”

Here, the British duo’s 2013 Waking is installed next to New York’s High Line. gilbertandgeorge.co.uk 7 Set in the heart of Provence, Austruy’s La Commanderie de Peyrassol vineyard has been producing wine since 1256.

The 2,100-acre grounds are also dotted with pieces from the couple’s art collection, such as Floating Red Form

by Japanese artist Keiji Uematsu. peyrassol.com

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8 Before working on Austruy and Bach’s residence, Yovanovitch transformed a Brussels skating rink into their art gallery, La Patinoire Royale—Galerie Valérie Bach, in 2015. Says Austruy, “I trusted him fully to take on the design of my home.” prvbgallery.com GALERIEMAGA ZINE.COM

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In the library, a Michael Anastassiades light fixture is suspended above a daybed and cocktail table designed

by Casa MuĂąoz. A painting by Antonio Saura is mounted over the fireplace, which is flanked by an Anacleto Spazzapan wood chair and a Miguel MilĂĄ lamp on a pedestal.

Returning to the Madrid neighborhood where she grew up, Eugenia Silva commissions a ravishingly restrained home

By Andrew Ferren Photography by Ricardo Labougle Produced by Anita Sarsidi

For the renovation of her family’s Madrid residence, model Eugenia Silva enlisted the architecture studio Plantea and the interiors firm Casa Muñoz. In the living room, Silva wears a jacket and pants by Loewe and a necklace by Bosco Sodi. She’s flanked by a George Nakashima cabinet and a stool by Fredrikson Stallard. For details see Sources.

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Artworks by Manolo Millares (above the fireplace) and Joan MirĂł overlook the living room sitting area, which is furnished with sofas and a rug by Casa MuĂąoz and a Von Pelt Atelier cocktail table.

hat’s a globe-trotting Spanish supermodel to do when she’s about to have her first baby and settle down? For Eugenia Silva, the answer was to return to her roots in Madrid. Around four years ago, with family life imminent, she and boyfriend Alfonso de Borbón y Yoldi, a businessman and relative of Spain’s King Felipe VI, hit the streets of the Spanish capital in search of the perfect home.

“I think we looked at every residence available at the time,” says Silva, who spent the past 20 years gracing countless runways as well as the pages of Vogue, Elle, and Hola. Along the way, she also launched the online shopping site Eustyle, amassed a blue-chip collection of contemporary art and midcentury furniture, and had two sons, Alfonso and Jerónimo, now ages four and one, respectively.

Fashionable friends tried to lure the couple to El Viso, a leafy enclave of villas and townhouses. “But after 15 years in New York, I was off townhouse living, with everything on different floors,” Silva recalls. She found herself gravitating toward the area where she’d grown up, along the Paseo del Pintor Rosales, an elegant cafélined boulevard bordering the vast and verdant Parque del Oeste. Cross the street and Madrid’s urban bustle fades into playgrounds and tree-shaded tranquillity.

So it was that Silva found a 3,800-square-foot apartment with three exposures and a large terrace overlooking the park, and only a few doors down from her grandparents’ former home. The architectural studio Plantea helped convert the warren of tiny rooms into the open plan she desired. The interior design firm Casa Muñoz, led by Gonzalo Machado and Mafalda Muñoz, oversaw the finishes and furnishings as well as the installation of artworks by the likes of Miquel Barceló, Louise Bourgeois, Andreas Gursky, and Manolo Valdés.

“The idea,” Machado explains, “was to respect the building’s rather posh 1960s architectural soul while inserting Eugenia’s sensibility and the realities of 21st-century family living into the way the space functions.” In addition to the stylish kitchen designed by Plantea, that meant generously scaled, free-flowing living and dining spaces that work for hosting guests as well as quiet evenings with just the family. “We can close off the kids’ rooms when we are entertaining, but the rest of the house is completely open,” Silva notes. “You see the park from the kitchen, which was never the case with these apartments originally.”

Creating relaxed, flexible living spaces did not mean going bohemian. “That kind of vibe works great for my beach house on Formentera,” says Silva, referring to the family’s island retreat. “But for the home where my children will grow up, I didn’t want hippy chic. It needed to be a proper house.” → GALERIEMAGA ZINE.COM

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A large-scale Andreas Gursky photograph adds visual punch to the dining room, where a Michael Anastassiades pendant fixture is installed over the vintage table and Michel Cadestin chairs designed with Georges Laurent.

Abstract works by Carlos Bustamante (left) and Manolo Millares enliven a living room shelving unit by Casa MuĂąoz.

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The TV room’s salon-style arrangement of art includes works by Alfred Eisenstadt, Donald Baechler, Cecily Brown, and Antoni Tàpies; Casa Muñoz designed the sofa and cocktail table, while the carpet is by the Rug Company.

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From top: A Steven Klein photograph sets a cinematic mood in the master bedroom, which features an Estaños de Pedraza pewter lamp and a Claude Lalanne–inspired chair. A Jaime San Roman photograph overlooks the stone tub in the children’s bath.

There’s an unmistakable refinement that runs throughout the apartment, not least in the sumptuous materials: Calacatta marble, cerused oak, rosewood, honed plaster. The aesthetic, as Silva sees it, is decidedly more masculine than feminine. “There are no floral prints, no fringe, and frankly not much color,” she notes. “It’s almost all black and white.” Indeed, aside from some of the art, the residence is mostly a symphony of neutrals: blacks and grays with an array of pale earth tones and a blush of pink found on the stool of her custom-designed Casa Muñoz oak dressing table. “We looked at countless vintage vanities,” Muñoz says, “but ultimately decided we could make a better one.”

An array of bespoke Casa Muñoz furnishings—sculptural oak sofas, a lacquered cocktail table that could have been Halston’s— integrates seamlessly with standout vintage pieces Silva has collected, such as George Nakashima cabinets and a suite of Michel Cadestin chairs designed with Georges Laurent. “Eugenia was the best client in decorator history,” says Muñoz. “We delivered the home we would have done for ourselves, if only we had her amazing collections.”

The designer confesses to experiencing a moment of separation anxiety when the project was finished. “Honestly,” Muñoz says, “it was a little hard to hand over the keys.”

THE

ART OF JEWELRY A BLOCKBUSTER EXHIBITION AT THE MET CAPTURES THE BEAUTY AND THE BACKSTORY OF JEWELRY ACROSS TIME AND CULTURES

By Vicky Lowry

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ALL IMAGES COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK

Men and women have been captivated by the transformative power of jewelry for millennia, ever since the most primitive hammer was used to shape a hunk of dull metal into a gleaming object of desire. “Jewelry: The Body Transformed,” an exhibition opening November 12 at New York’s Metropolitan Museum of Art, features 230 bedazzling objects, including jewels, paintings, and photographs from the institution’s vast holdings.

Here, we highlight the show’s most memorable pieces— including an ancient Colombian leader’s solid-gold headdress, a 19th-century French queen’s amethyst tiara, and a contemporary aluminum bodysuit studded with Swarovski crystals—which tell the story of our enduring lust for wearable art.

Every Woman a Queen When Meghan Markle donned Queen Mary’s ravishing diamond bandeau tiara, designed in 1932 by London jeweler Garrard, for her May wedding to Prince Harry, she upheld a ritual that has always marked royal occasions: wearing over-the-top jewelry. The British monarchy’s vault overflows with centuries’ worth of priceless baubles, many of them in matching sets called parures, which usually consist of a bejeweled tiara, necklace, brooch, bracelet, and pair of earrings.

Throughout history, royals have displayed the wealth of their nations, and their own status, on their bodies. Elaborate bijoux appeared everywhere, from the kingdoms of ancient Egypt, Mesopotamia, and Hellenic Greece to 18th-century France, where Napoleon showered his wives—first Joséphine, then Marie-Louise—with gem suites. In 19th-century Italy, the nobility were mad for elaborately carved cameo sets that draped the ears, nape, wrists, and head. “This idea that jewelry is linked to class is embedded into everything we do,” says Melanie Holcomb, lead curator of The Met’s jewelry exhibition. By sporting matching sets, the aristocracy hoped to emulate “the last gasps of splendid royalty in Europe.”

The trend for wearing matching pieces may have waned in the 21st century, but adorning oneself with a special jewel still imparts a sense of regal elegance. “Marriages, deaths, grand balls, ordinations, military promotions, romantic dates, even the daily preparation for a job all look to the magic that jewelry works,” Holcomb writes in the exhibition catalogue. “Donning a piece of jewelry is a bid to be a better self; wearing it affirms you have become one.”

Clockwise from top: An Egyptian Revival necklace and pair of earrings crafted with gold, turquoise, rubies, rose-cut diamonds, enamel, and seed pearls, circa 1865. A lithograph commemorating the 1863 marriage of H.R.H. Albert Edward, Prince of Wales, to H.R.H. Alexandra, Princess of Denmark. A 1762 portrait of Charlotte, Queen of Great Britain, by Thomas Frye.

A circa-1830 comb made with gold, silver, and amethysts, part of a set that includes earrings, a necklace (opposite), and other pieces.

Golden Man of Calima One of the most precious metals, gold has long been coveted for its rich, gleaming attributes. The ancient Egyptians draped their hair and necks with gold jewelry. In the first century, the Calima people of Colombia considered the metal a divine substance, sheathing themselves in life—and death—in ornate golden headdresses, armbands, nose ornaments, and breastplates.

The Calima headdress, in particular, was designed to astonish, with feather-shaped rays that channeled the sun’s divinity and dangling pendants that chimed in movement.

“One of the most ancient ideas about jewelry is its link to immortality,” says Holcomb. “Decking yourself in gold offered suitable ornamentation and protection for making your way into the next life or world.”

Even today, gold’s ability to enthrall remains potent. “It’s the most beautiful and workable metal and the most wearable,” says Mark Emanuel, co-owner of luxury jewelry maker David Webb, which is celebrating its 70th anniversary. “Gold not only has an alluring sheen and historic value, it also complements the skin. It can be worn by day and by night—it really is the most adaptable of metals for the human form.”

From top: A gold headdress features an H-shaped nose pendant, a hallmark of Yotoco-period Calima art. A gold arm ornament.

Calima ear spools dating to the first through the seventh century.

PAINTERS AND PHOTOGRAPHERS HAVE LONG USED PEARLS TO CAPTURE WOMEN’S ALLURE

PEARL NECKL ACE: DONALD E. HURLBERT

The Seductive Pearl The pearl has been revered since antiquity, long before Botticelli painted The Birth of Venus, in which a goddess emerges naked from an oyster shell. For centuries, painters and photographers have used pearls to capture women’s allure, from placing a single gem on the earlobe to draping models in torso-length strands. The art world’s original pinup girl, the 19th-century stereograph featured tantalizing three-dimensional views of women clad in nothing but these iridescent gems.

Coco Chanel later made pearls both chic and an emblem of independent, self-possessed women. In modern times, a single strand on a new bride’s neck has a more chaste symbolism.

“Pearls are the most prized gift we have from the ocean—a rare and beautiful treasure,” says Christina Lang Assael, who presides over the legendary house of Assael, which has been designing exquisite pearl jewelry for almost a century. “Their luster reflects pure radiance upon a woman’s skin. We have been adorning ourselves with pearls since ancient times, and today, pearls are more popular than ever, thanks to fashion leaders like Chanel, Oscar de la Renta, Michael Kors, Valentino, and more.”

From top left: A circa-1900 photograph by Frank Eugene. An Art Deco–era necklace from Cartier includes 339 natural pearls.

Arts and Crafts jeweler Florence Koehler designed this brooch using gold, sapphires, pearls, emeralds, and enamel for the daughter of a Chicago industrialist.

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Jewelry on the Edge

Clockwise from above: A yashmak made in the 1990s from aluminum and Swarovski crystals by British jewelry designer Shaun Leane for fashion designer Alexander McQueen. A circa-1940 Alexander Calder brass-wire necklace entitled The Jealous Husband. Elsa Peretti designed this sculptural metal bracelet and this sterling-silver articulated snake necklace.

A different form of seduction arrived with modernism, which introduced an avant-garde look to jewelry that pushed the envelope of what was considered pretty and alluring.

Designers explored radical ways to shape metal and introduced unusual materials into their arresting jewelry. Elsa Schiaparelli brought a sharp edge to a gold neck cuff and a surreal touch to a pair of silk evening gloves that glistened with dark gelatin disks that evoked the scales of a reptile, while Elsa Peretti explored the boundaries of inspiration from nature. Alexander Calder twisted brass wire into a sculptural necklace and called it The Jealous Husband.

Contemporary British jewelry designer Shaun Leane creates striking works that push body adornment squarely into scandalous territory. Dartlike earrings fashioned from colored feathers are meant to look like they hurt, as does a hooded bodysuit crafted from aluminum and Swarovski crystals for an Alexander McQueen collection. “Western European and American jewelers have been playing around with notions of desire, such as: Do we equate eroticism with pain?” says Holcomb. “It’s pretty dramatic and a little scary, and also quite glamorous.”

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Redefining Resplendence What makes a fabulous piece of jewelry? It used to be the most precious materials, such as gold and platinum, combined with peerless gems like quarter-size diamonds and pear-shaped rubies and emeralds. But in the past century, head-turning boldness has expanded to encompass everyday objects, from cheap glass beads and paper flowers to plastic detritus and No. 2 pencils.

Bijou splendor comes in surprising forms, many with a strong cultural message and named like the works of art they are. Eugene and Hiroko Pijanowski’s gleaming neckpiece, a 1986 design, was fashioned not in gold but from paper cord and canvas and whimsically titled Oh I am Precious #7. Kiff Slemmons strung pencils, Indian- and buffalo-head coins, and horsehair onto a silver frame and called it Sticks and Stones and Words. Joyce J. Scott tackled issues of race, sexism, and violence through jewelry created from wildly colorful beads that make reference to craftwork done by women in indigenous cultures. Daniel Brush combined the humble with the haute to dazzling effect in a neck collar fashioned from aluminum that was embedded with small, glittering Moghal diamonds.

“This is the jewelry that demands, ‘Look at me’—that insistence that its wearer be noticed,” Holcomb says.

“It shows how true craftsmanship contributes to that bling factor.”

Clockwise from top left: Mary Lee Hu made Choker #70 for soprano Elizabeth Rethberg’s role in Aida. Kiff Slemmons’s Sticks and Stones and Words breastplate combines silver with pencils, coins, and horsehair.

Designers Eugene and Hiroko Pijanowski’s mizuhiki necklace Oh I am Precious #7. In his first collection for Chanel, Karl Lagerfeld paid homage to Coco’s love of costume jewelry with this embroidered dress.

BIJOU SPLENDOR COMES IN SURPRISING FORMS, MANY WITH A STRONG CULTURAL MESSAGE

Retired American businessman Chad Leat’s Paris penthouse is distinguished by its massive arched window overlooking the Seine. Opposite: In the living area, a Kehinde Wiley painting pops between Eric Schmitt circular floor lamps; designer Alvise Orsini furnished the seating area with 1950s sea-foamgreen chairs, a resin-top table by Hélène de Saint Lager, and a velvet-clad Flexform sofa, all atop a silver-fox rug. For details see Sources.

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veryone I meet in Paris has a story about this apartment,” rejoices its American owner, Chad Leat, a retired Wall Street executive. Some claim the French writer Françoise Sagan used it as the setting for a chapter in one of her novels. Others refer to a movie in which actress Catherine Deneuve’s character looks up at the top-floor residence and asks her lover, “Mais qui habite là?” (“But who lives there?”) The apartment may even have been the scene of a murder, at least according to rumor. Yet what really makes it iconic are its huge arched window and its location on the Left Bank of the Seine directly opposite the Tuileries Gardens, offering a picture-postcard view that stretches all the way to Sacré-Cœur. “You could spend most of your day just taking it in,” says Alvise Orsini, the decorator Leat hired to revamp the residence.

Leat acquired the two-bedroom flat from a friend who had renovated it twice with esteemed architect and designer Joseph Dirand, who employed an aesthetic that was too austere for the new American owner’s taste. “I didn’t want to mess with the layout or architecture, because it’s perfection in my view,” says Leat. “But I found the stark decor a little dated.” So he enlisted Orsini—whom he’d met through the designer’s husband, the Belgian-born fashion executive Geoffroy van Raemdonck—to make the apartment “warmer and with more Parisian flair,” as Leat puts it.

But turning to Orsini for a quintessential French look might, at first glance, seem paradoxical. After all, he’s about as Italian as they come. His family’s history in Italy can be traced back to the 11th century and includes three popes. Orsini himself was brought up in a lavish family palazzo near St. Mark’s Square in Venice and initially trained in architecture before turning his hand to interiors and launching his own firm in 2008.

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“ALVISEDEREM QUAM VOLUPTATURIA IPIENDI TATISITATIA SEQUODI BLAEVEROVITAT VOLESEQ is seated in UAMUSAM QUATIOREMPOS Orsini the living area, where he added a faux-parchment MAGNIAT DIPSAMUS.” finish to the walls to warm up the space. The small table next to him is

by Jacques Adnet.

For the past five years, Orsini has also served as head of design for Jacques Garcia, the celebrated French architect and decorator he calls a friend and a mentor. Among the projects they’ve worked on together are the Louis XV Château de Villette outside Paris and a seven-story Swiss chalet with such luxurious touches as living room walls wrapped in mink.

“Jacques is one of the geniuses of our time,” says Orsini. “I’m fascinated by his level of culture and knowledge.”

With Van Raemdonck having been recently appointed CEO of the Dallas-based Neiman Marcus Group, Orsini plans to spend most of his time in the U.S., focusing on expanding his own practice. It will also be an opportunity to stretch more creatively for the designer, who says his forte is really period interiors. His most significant solo

project to date is his former London apartment in a Robert Adam house in Marylebone. “It was the one that really defined me and my taste,” he says. His exquisite renovation included a bath clad in antique mirror from Baccarat’s former Paris headquarters and a guest bedroom decorated with a fanciful 18th-century Chinese wallpaper.

Leat’s flat, which Orsini completed last year, gave the designer a chance to show his hand in a more contemporary style. He provided warmth and depth by giving the walls a faux-parchment finish and introducing animating bursts of color, notably the scarlet-red dining table, the living room’s sea-foam-green slipper chairs, and the master bedroom’s teal platform bed. He also brought in a host of blue-chip contemporary furnishings by designers like Hervé Van der

Left: Art in the living area includes a Lawrence Weiner chair at far left, a Markus Lüpertz sculpture next to the window, and a Robert Barry painting above the Jean Prouvé table, which serves as a desk; the table lamp is by Hervé Van der Straeten, and the sofa’s accent pillows were made with Pierre Frey fabrics. Below: A splashy Jean-Michel Othoniel chandelier hangs above the dining area’s red-lacquer table and Poul Kjærholm chairs; the photograph at left is by Philip-Lorca diCorcia.

Straeten and Eric Schmitt. “I wanted to show what can be done today in Paris at the top level,” Orsini asserts.

Leat, for his part, is particularly taken with the pair of Pierre Gonalons pink marble consoles installed in the dining area. “I love that they are made from the same stone as the Petit Trianon at Versailles,” he says. Most of the contemporary artworks on display were drawn from Leat’s extensive collection, though a few pieces were acquired specifically for the apartment, including the elaborately framed painting by Kehinde Wiley that takes pride of place above the mantelpiece. “He depicts African-American street kids but frames them as if they were European royalty,” Leat says of Wiley, who attained a new level of celebrity earlier this year for painting Barack Obama’s presidential portrait.

Since Leat’s apartment was finished, Orsini has been focusing his attention on a pair of new homes for himself, Van Raemdonck, and their two-year-old twins, Charles and Hadrian. One is a 1930s Italianate villa in Dallas and the other an apartment in a townhouse on East 73rd Street in Manhattan. The latter will serve not only as a home but also as a showcase for his personal style and the fine French craftsmanship he deeply admires.

“It’s going to be a place where I’ll invite my clients so they can experience my life and taste,” says Orsini, clearly excited about developing his business in New York. “I love the city’s energy and endless opportunities. It’s very much me right now—it’s where I feel at home.”

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Views from the apartment’s terrace take in the Louvre and Tuileries Gardens, which are directly across the Seine. Opposite: In the master bedroom, a portrait of the owner by William Wegman overlooks the teal-lacquer bed

by Ateliers Gohard; the table lamp is by Occhio, and the area rug is by Tai Ping.

PHOTO CREDIT TK

At his new Los Angeles studio, Kenny Scharf stands in front of a group of his signature “Blob” paintings in progress.

PHOTO CREDIT TK

Kenny Scharf’s candy-colored, Pop-surrealist cartoon universe is still expanding after more than three decades

BY MICHAEL SLENSKE PHOTOGRAPHY BY ROGER DAVIES

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hough he’s exchanged the all-night parties for all-day painting sessions and opted for commissioned murals instead of furtive graffiti runs, Kenny Scharf is in the midst of a major career moment. In terms of the demand for his work and the fervor of his political activism, this newfound spotlight rivals the go-go 1980s, when he first came on the New York scene, which included Keith Haring and Jean-Michel Basquiat. In the past year alone, Scharf has created public artworks in Copenhagen and Cannes, sprayed his graffiti “Karbombz!” on countless Angeleno hybrids and Danish Christiania bikes, headlined the Museum of Modern Art’s exhibition “Club 57: Film, Performance, and Art in the East Village, 1978–1983,” and staged solo gallery shows at Jeffrey Deitch in New York and Leila Heller’s Dubai outpost. All while relocating his longtime L.A. studio from Culver City to an airy new perch in nearby Inglewood that’s perfect for rendering his often-large-scale, vividly hued, cartoonish tableaux, which reference everything from Color Field painting and space-age fantasy to climate change.

“I don’t stop—seven days a week, ten hours a day, for the past two months,” says Scharf, who maintains his athletic endurance thanks to a devoted Ashtanga yoga practice. “I’ll be 60 this year.

Sometimes I show work at these street-art shows, and all these young kids have ten assistants and take a week. I don’t have that kind of time. I go in by myself and bang it out in two days.”

Dressed in his customary tie-dyed T-shirt, shorts, and sandals, Scharf is finishing one of a dozen new versions of his iconic “Blobs in Space” paintings as part of a major commission for a private collector, while also preparing for solo shows this fall at the David Klein Gallery in Detroit, Galerie Enrico Navarra in Paris, and the Lotte Museum of Art in Seoul. He’s even working on a new series of golden charm fetishes—based on his “Tikitotmoniki Totems”— and playing the role of devoted grandfather to a four- and a six-year-old. “I don’t complain,” he says of the breakneck pace.

“But it’s not going to continue like this forever. I’ll collapse.”

Scharf ’s Inglewood building—previously a Mode O’Day boutique and later an illegal marijuana-growing facility—is just a 15-minute commute from his home. The double-height, street-level space serves as his painting studio, while the mezzanine is used for his sculptural works. This upper level—under bow-truss

wooden ceilings, whose planks were hewn from early-20th-century billboards—is where the artist creates pieces for his “Space Trash” series.

“It’s fantastic, I love it,” says Scharf, pointing to a white wall with wipe marks from a mural-size “Sloppy Style” painting he showed at Deitch. “I couldn’t have done that giant painting in my old studio—before, I had to rent a space to do something like that.” Drippy iterations of his famous blobs, these newer works blend influences from Abstract Expressionism, stain painting, and Pop Art with some of Scharf ’s early obsessions, including NASA, Barbarella, and 2001: A Space Odyssey.

“The feeling of creating these works is very gratifying and what I need at this moment,” says the artist, who plans to exhibit them in his Detroit and Paris gallery shows alongside some of his ongoing series of “TV Bax” sculptures, which he makes by painting the plastic backings of old tube televisions. “I’ve been working with found objects—often household electronics and appliances— for fortysomething years, and it occurred to me a couple years ago that I should turn the TV backs into refined oil paintings and make them precious. They end up becoming very masklike, almost a combination of tribal and robotic.”

If his recent inclusion in multiple American museum shows and the upcoming Korean exhibition are any indication, it appears that the art world is embracing the seriousness of Scharf ’s artistic cosmology, even if it has been a little slow for his taste. “On a personal level, life is great. I’m healthy, I have grandkids, a home, a garden, a career,” says the artist. “But I don’t sleep at night because I’m worried about the world.” He notes that there has always been a dark undercurrent in his work, including dire predictions of impending environmental disasters. “Maybe it didn’t seem that way to a lot of people, because they focused on the fun, and that’s fine,” says Scharf. “But all the environmental effects from the plastic and oil that they warned us about in the ’70s are coming true—and still nothing is being done.”

Clockwise from top left: The main level of the 7,500-square-foot space serves as Scharf’s painting studio, while the mezzanine is dedicated to his sculptural creations. Bearungle, a recent work in oil, acrylic, and spray paint on linen, measures six feet high. A selection of the artist’s brushes. Dishes of the vivid paint colors he is famous for.

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FINDERS

KEEPERS Designer Markham Roberts brilliantly reimagines a London townhouse for an international couple with eclectic collections

By Raul Barreneche Photography by Miguel Flores-Vianna

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or designer Markham Roberts, decorating the new London home of an American expat, her Italian-born husband, and their three children was an opportunity to spend time working with an old friend. It was also a chance to reconnect with some outstanding antiques and museum-quality artworks he has known and loved since college. “I remember them from visiting her old apartment in New York and her first apartment in London,” recalls the Manhattan-based Roberts, who has known the wife since their student days at Brown University. “I was so happy to reconnect with all of these things.”

When the family decided to trade their traditionally decorated townhouse on one of London’s posh garden squares for an early-19th-century house in Notting Hill, they entrusted Roberts, who had decorated their summer home on Long Island, with the renovations. They had fallen in love with the four-story, Regency-era residence and its expansive garden and distinctive quirks, including a pared-down industrial metal staircase and a skylighted octagonal living room. Previous owners had stripped out much of the original ornament and detailing, giving the spaces a more modern feel and letting their graceful proportions 154

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THE HARMONIOUS LAYERING OF DIVERSE FURNISHINGS, ART, AND OBJECTS CONVEYS THE STORY OF CONNOISSEUR COLLECTORS and airiness shine through. “It was completely different than their last home,” says Roberts. “The openness and lightness here were incredibly appealing to them.”

So, while the family spent the summer abroad, Roberts set about refreshing and fine-tuning the elegantly restrained rooms, creating a neutral but richly textured backdrop for the owners’ collections. “Our approach was always with the mind-set of using all of their things but making them look different in this space,” he says. Among the refinements he introduced were luxurious finishes—luminous polished plaster and smoked-mirror panels in the living room, sensuous snakeskin in a powder room—updating several baths, refinishing pale bleached-oak floors, and crafting suede-backed bookcases with painted faux-horn trim in the entry parlor.

That space, where a roaring fire welcomes family and guests on chilly London days, perfectly captures the home’s harmonious layering of diverse furnishings, art, and objects, conveying the story of connoisseurs who both grew up →

Previous spread: In the entry parlor, a Guido Mocafico photograph is mounted above the circa-1780 English mantelpiece and a 1950s Piero Fornasetti chair. The Empire armchairs and Arteriors Timber stool (right) stand atop a vintage North African Tuareg mat. Opposite: The parlor also features a Louis XVI–style mirror, a midcentury bronze-andsteel desk by John Vesey, and a pair of George II stools covered in a Brunschwig & Fils fabric.

The lamps are made from circa-1800 Chinese-export famille rose vases. For details see Sources.

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“THE OPENNESS AND LIGHTNESS HERE WERE INCREDIBLY APPEALING TO THE OWNERS,” SAYS DESIGNER MARKHAM ROBERTS

A Markham Roberts– designed slipper chair, upholstered in a Clarence House velvet, perches on the living room’s playfully patterned bespoke carpet by Allegra Hicks.

Opposite: Arrayed around the room’s Paula Swinnen cocktail table are sofas and an armchair designed by Roberts, an African stool, and a Penny Morrison lamp that stands on a Jansen side table; in the left corner, a Jean Henri Alexandre Pernet painting of an architectural capriccio is mounted atop mirrored paneling.

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“ THE ART REFLECTS

THEIR SOPHISTICATION BUT ALSO A SENSE OF HUMOR. THEY’RE WORLDLY CLIENTS WHO DON’T TAKE THEMSELVES TOO SERIOUSLY ”

Above: Jacques-Émile Blanche’s portrait of Nijinsky hangs above a midcentury Jansen stool. Right: An ebonized Aesthetic Movement table serves as a hallway bar. Opposite: In the study, presided over by an Henri de Toulouse-Lautrec lithograph, a brass lantern by Soane overlooks Milo Baughman swivel club chairs, an English Regency cabinet, and a circa-1970 Jansen cocktail table.

in collecting families and continue to acquire things together. Here, a contemporary photograph of snakes by Guido Mocafico hangs prominently above an 18th-century carved marble mantel, a wedding gift from the wife’s father that had been installed in the dining room of the couple’s previous home. Beneath a Louis XVI–style mirror, a pair of George II stools are tucked under a 1960s bronze-and-steel desk by American designer John Vesey, an heirloom from the wife’s family. A pair of Empire armchairs, a Fornasetti Musicale chair, and a vintage North African Tuareg mat—“to loosen things up,” explains Roberts—round out the room’s stylishly eclectic vibe.

In the more understated octagonal living room, sofas and armchairs designed

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custom carpet designed by Allegra Hicks, a close friend of the wife’s. Hanging on one of the mirrored walls, which reflect light from a trio of windows above the garden, is an exquisite watercolor of an architectural capriccio, or folly, by the 18th-century artist Jean Henri Alexandre Pernet.

The couple’s art collection, which is particularly rich in drawings, watercolors, and other works on paper, speaks strongly to the interests of the wife, a longtime benefactor of the Morgan Library & Museum in New York. Other important artworks throughout the home, spanning centuries and styles, include an Henri de Toulouse-Lautrec lithograph in the study and a large, circa-1910 painting of Nijinsky 160

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in an Orientalist costume by Jacques-Émile Blanche that presides over a hallway. “The art reflects their sophistication, multicultural backgrounds, and broad interests,” remarks Roberts. “It also conveys a sense of humor.

They’re worldly clients who don’t take themselves too seriously.”

The success of Roberts’s seemingly effortless blending of elements—classical and modern, family treasures and new acquisitions—is in how compellingly it all captures the owners’ personalities. “I’m not the kind of decorator who says it has to be my way,” he adds, noting that he and his longtime friend and client have a mutual appreciation for each other’s sensibilities. “Ultimately, this home is a reflection of the family.”

Above: Roberts designed the master bedroom’s canopy bed and curtains, which are made using the same Fabricut linen accented with a Peter Dunham fabric; the bedding is

by Pratesi. Opposite: In the dressing room, Brunschwig & Fils fabrics cover the walls and the Robertsdesigned chair; a lamp from John Rosselli Antiques stands on the George III writing table, the Louis XVI stool is upholstered in a Schumacher fabric, and the carpeting is by Tibetano.

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B Y S T E FA N I E L I

Conjuring the unbridled playfulness and imagination of childhood, Atelier Swarovski’s Nostalgia bracelet by Greek fashion designer Mary Katrantzou dazzles with a parade of colorful crystals inside yellow-gold-plated hexagons, cubes, and spheres; atelierswarovski.com.

Opposite: Known for experimenting with mesmerizing geometries, Danish-born artist Olafur Eliasson blurs the line between the organic and the technological. His 2008 work Fat Super Star, featured in his new book, Olafur Eliasson: Experience (Phaidon, $85), creates otherworldly light patterns with a glass polyhedron illuminated by halogen bulbs; olafureliasson.net.

COURTESY OF ATELIER SWAROVSKI. OPPOSITE: JENS WIEHE/STUDIO OL AFUR ELIASSON

Life Imitates Art

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COURTESY OF PRADA. OPPOSITE: COURTESY OF MARILYN MINTER STUDIO

Challenging contemporary notions of beauty by fusing the glamorous with the grotesque, American artist Marilyn Minter created the 2012 photo-realistic painting Big Bang as part of a series that captures models traipsing around in designer heels as seen through a filter of broken glass and dripping water; salon94.com. Opposite: Dissonant layers of delicate fabrics and moody patterns electrify Prada’s science-fiction-driven fall/winter 2018 collection, originally presented on the runway in the Rem Koolhaas–designed extension of the Prada Foundation in Milan; prada.com.

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COURTESY OF CASA TRIÂNGULO, SÃO PAULO. OPPOSITE: COURTESY OF DIOR

In this 2016 untitled diptych, which draws inspiration from traditional Flemish flower paintings, São Paulo artist Mariana Palma combines images of richly colored textiles and lush greenery native to Brazil; casatriangulo.com.

Opposite: A curious mix of materials, including scarab beetles, butterfly wings, rubies, diamonds, and garnets, bursts from the gold hands of Dior’s one-of-a-kind Grand Bal Pièce Unique Jardins Imaginaires No. 5—part of a ten-piece watch collection inspired by Christian Dior’s passion for untamable nature; dior.com.

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COURTESY OF LOUIS VUITTON MALLETIER. OPPOSITE: © MARK SHAW/MPTVIMAGES

Seasoned contributors to Louis Vuitton’s Objets Nomades collection, designers Yael Mer and Shay Alkalay, the duo behind Londonbased Raw Edges, infuse the collapsible Concertina Light with their signature whimsy and wonder; louisvuitton.com.

Opposite: Deemed the unofficial photographer for Jacqueline and John F. Kennedy, Mark Shaw started his career in advertising.

His most famous fashion images are the hauntingly beautiful black-and-white photographs he shot as part of a decade-long campaign for the lingerie company Vanity Fair; markshawphoto.com.

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RESPLENDENT NATURAL SURROUNDINGS INFORM AND ENHANCE ART DEALER STACEY WINSTON LEVITAN’S SUN VALLEY RETREAT

By Mark Rozzo Photography by Douglas Friedman

Art gallerist Stacey Winston Levitan collaborated with Scape Design Studio to create her family’s Sun Valley, Idaho, weekend home, composed of concrete, Utah buff stone, blackened steel, and abundant glass. Perched near the entrance are boulderlike stainlesssteel sculptures by Julie Speidel. For details see Sources.

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Presiding over the living area is a painting by Tony Scherman, an artist represented by Winston Wächter Fine Art, the gallery cofounded by Stacey Winston Levitan (right).

The linen-clad custommade sofas are joined by a Holly Hunt cocktail table and a Wisteria bench. The tabletop flower sculpture is by Donald Sultan, and the patchwork cowhide rug is by Driscoll Robbins.

PORTRAIT BY EL ANA MAE

bout 13 years ago, Stacey Winston Levitan and her husband, Dan Levitan, made their first ascent up the long driveway at the dead end of a road in Sun Valley, Idaho. Stacey, head of the gallery Winston Wächter Fine Art in Seattle, and Dan, a venture capitalist and adviser who had helped Howard Schultz take Starbucks public, were making the rounds with a real estate agent and were determined to buy.

They had fallen in love with this dominion of softly undulating ridges that erupt into snow-dusted peaks as jagged as broken teeth, where moon-booted jet-setters touch down to hit the slopes and unwind in saloons with the no-nonsense, denim-clad locals. In the 1930s, the lure of skiing, hunting, and fishing amid such natural splendor (and the absence of social pretense) proved irresistible to Ernest Hemingway, who settled in Sun Valley’s sibling town of Ketchum, helping to imbue the area with an adventurer-artist legacy that survives to this day.

The Levitans—their lives guided by art and innovation, urbane living and a passion for nature—were inevitably drawn to it, too. Stacey loved family ski trips to Aspen when she was growing up on Long Island, and this place, she felt, was a more laid-back version of that storied Colorado resort. It also has its share of cultural outlets, including the Sun Valley Center for the Arts, the Sun Valley Summer Symphony, a high-profile annual writers’ conference, and Allen & Company’s powwow for moguls in tech, media, and finance. Best of all, Sun Valley is a mere hour-and-a-quarter hop from the Seattle-Tacoma airport.

As the Levitans approached the end of the driveway on that first visit, a nondescript 1980s dwelling came into view. Stacey: “I want to buy this house!” Dan: “But you haven’t even been inside it!” It didn’t matter. Suburban plantings of pines and aspens had given way to ruggedly austere, wide-open terrain and astonishing vistas. “I just fell in love with the view,” Winston Levitan recalls. “We bought the house that day.” →

“I WANTED IT TO BE VERY SIMPLE, VERY ELEGANT—ALL ABOUT THE MATERIALS AND THE VIEWS,” SAYS STACEY WINSTON LEVITAN GALERIEMAGA ZINE.COM

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In the kitchen, Thomas Hayes barstools nestle under the marble-top island, which has oak cabinetry by Taylor Woodworks. Resting beneath the refined blackened-steel upper cabinets is a photo by Jules Frazier.

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Providing a chromatic splash among the white walls and pale oak ceilings and floors is an Annie Morris “Stack” sculpture.

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But the home itself was far from ideal for the couple and their two young daughters, and in 2015, they decided it was time to build anew on this beloved spot. Winston Levitan worked closely with the local firm Scape Design Studio to conceive a 6,000-square-foot, four-bedroom residence crafted with rugged yet refined blackened steel, glass, concrete, and Utah buff stone. “I wanted it to be very simple, very elegant— all about the materials and the views,” she says.

Winston Levitan found a kindred spirit in Scape Design Studio’s Gretchen Wagner, an expert on creating indoor-outdoor living spaces in this setting. “I have 360-degree views around the whole house,” says Winston Levitan, thanks to floor-to-ceiling windows that take in the surrounding thousands of acres of protected land. She lists the frequent visitors to the property: “There are owls and elks and coyotes. I have to watch out for my dogs because there are wolves.” Some mornings, she says, she’ll pour a cup 176

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of coffee, look outside, and see as many as 30 “really big” elk moseying across the lawn.

As the cofounder of Winston Wächter Fine Art—her business partner, Christine Wächter-Campbell, oversees the gallery’s New York branch—Winston Levitan has made art a focus of the interiors without having it take over. Many of the works on display are by the gallery’s artists, including Annie Morris, whose stack of multicolored bronze orbs towers over the kitchen. And hanging in a stairwell landing is a specially commissioned 13-foot-tall wall drawing by Amanda Manitach with the words “YOU HAD ME AT SNOW MOUNTAINS SLEET SUN.” Winston Levitan, who began her career at New York’s legendary Mary Boone Gallery in the early ’80s (“I was the person at the front desk when Basquiat had his exhibitions,” she says), loves the idea of placing fine art in proximity to wild nature. Throughout the house, artwork provides moments of surprise and pop, set amid the spare

Clockwise from right: An Amanda Manitach work in colored pencil on paper overlooks a staircase. In the master bedroom, a Roll & Hill light fixture is installed above the custom-made bed; the Lepere chair and ottoman are covered in a Rubelli fabric, the side table is by Poliform, and the painting is by Tracy Rocca.

Walls finished in Venetian plaster serve as a backdrop for a blownglass hanging sculpture by Ann Gardner. Opposite: A steel canopy covers a terrace furnished with a sofa, ottoman, and cocktail table by RH, along with a pair of B&B Italia armchairs and a vintage basket.

environment of pale oak ceilings and floors and accent walls of wood, stone, and earthy plaster. The furnishings tend to emphasize wood—not least the 14-foot-long walnut slab dining table by local artisan Scott Taylor—and other natural textures: cashmere, leather, animal hide. The feeling is classic American lodge meets refined modernism.

The house has been up and running since last fall, and the couple plans to use it for occasional parties and fundraisers for causes such as the Seattle Children’s Hospital. But mostly it’s for mellow weekends watching basketball (Dan is a Duke alum, and the sofa in his office/TV room is Blue Devils blue), enjoying quiet cocktails and cookouts on the two terraces, and roasting s’mores with the children around the pool as the stars come out over the Pioneer Mountains. For Winston Levitan, the house is a refuge from the hectic art world. “It’s all about the serenity and the raw surroundings,” she says. “It’s the place I go to quiet my mind.”

Haute Property

SITE-SPECIFIC INSTALLATIONS HAVE BECOME THE LATEST MUST-HAVE

G

Clockwise from top: A luminous work by Alyson Shotz in the lobby of 70 Vestry and a rendering of the Anish Kapoor sculpture at 56 Leonard, both in New York. Jeff Koons’s Seated Ballerina graces the grounds of Oceana Bal Harbour in Florida.

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one are the days when developers paid scant attention to the art that graced their residential projects. Today, the ultimate status symbols in real estate are custom-made artworks and professionally curated programs available only to residents.

Leading the charge is Related Companies, which is investing $150 million at its Hudson Yards mega-project on Manhattan’s West Side to construct a 15-story, copper-tinted sculpture by Thomas Heatherwick that is set to open in 2019.

“It will be to New York what the Eiffel Tower is to Paris,” said Related’s CEO, Stephen Ross, at last year’s groundbreaking.

The organization has also enlisted Manhattan art adviser Debra Bosniak to consult on various residential developments, among them 70 Vestry, the new limestone stunner designed by Robert A.M. Stern, with interiors

by Daniel Romualdez. One of the challenges Romualdez faced was finding just the right commission for the 46-unit building, which boasts a double-height entrance. “Many lobbies have an unusual scale, so finding a piece for them is difficult,” he explains.

“We knew one work had to be site-specific.”

Bosniak and Romualdez headed to Art Basel in Miami Beach, interviewing artists before selecting Brooklyn-based Alyson Shotz, whose hanging creation, dubbed Aileron, mimics a butterfly’s wing and reflects the changing light over the Hudson River.

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A few blocks east is 56 Leonard, which developer Izak Senbahar, of Alexico Group, hails as an “unprecedented collaboration between artist and architect.” Come fall, a shiny, bulging sculpture by Anish Kapoor will nestle under a cantilever at the entrance to the tower, which was designed

by Herzog & de Meuron. “The building and sculpture appear to form a unified object,” says Senbahar. “It’s true synergy.”

In Miami, Argentine developer Eduardo Costantini, who also founded MALBA (the Museum of Latin American Art of Buenos Aires), recently opened Oceana Bal Harbour, a 28-story glass jewel box by Arquitectonica, with interiors by Piero Lissoni. Costantini spent $14 million on a pair of giant works by Jeff Koons, Seated Ballerina and Pluto and Proserpina, which now enjoy pride of place on the Enzo Enea–designed grounds among pieces by Callum Innes, An Te Liu, and Jorge Mendez Blake. Residents can also purchase a stake in them as part of an exclusive program.

The record-setting sales at these properties prove this approach does indeed appeal to luxury buyers, but Romualdez notes there’s an added benefit: “It’s a great opportunity for developers to be part of the art world and start a dialogue with artists.”

Given the success, expect that dialogue to continue. GEOFFREY MONTES

FROM TOP: EVAN JOSEPH; BARRY GROSSMAN; RENDERING BY ALEXANDER SEVERIN

FOR LUXURY BUYERS

The Butterfly Bowl, 1959

Oil on Canvas

69 x 56 Inches

FG©207482

john ferren A m e r i c a n

A b s t r a c t

E x p r e s s i o n i s t

F I N D L AY G A L L E R I E S ƆƁƃ )ƢƟƭơ $ƯƞƧƮƞ Ɔ ƭơ )ƥƨƨƫ 1ƞư <ƨƫ Ƥ 1< ƀſſƀƈ Ř ƁƀƁ ƃƁƀ Ƅ Ƃ ƈ ſ ƀƅƄ :ƨƫƭơ $Ư ƞƧƮƞ 3ƚƥƦ %ƞƚƜơ )ƥƨƫƢƝƚ ƂƂƃƇſ Ř Ƅƅƀ ƅƄƄ Ɓſƈſ ưưư ƟƢƧƝƥƚƲ ƠƚƥƥƞƫƢƞƬ ƜƨƦ k :ƚƥƥƲ )ƢƧƝƥƚƲ *ƚƥƥƞƫƢƞƬ ,ƧƭƞƫƧƚƭƢƨƧƚƥ ,ƧƜ ƣƮƥƲ ƁſƀƇ

EST. 1870

ART F I N D L AY

On the Market

THREE PROPERTIES WITH STAR-POWER PEDIGREES

 L O S A N G E L E S | $ 23 M I L L I O N For this majestic 1924 estate on a bluff, legendary architect Frank Lloyd Wright was inspired by the Mayan temples of Uxmal, Mexico.

Constructed of 27,000 patterned concrete blocks, the four-bedroom home has sweeping views of downtown Los Angeles. After sustaining major damage from a 1994 earthquake and 2005 flood, it was in the midst of a seismic stabilization when the current owner, billionaire Ron Burkle, purchased it in 2011. He spent north of $10 million to revive the 6,200-square-foot structure, including rewiring original light fixtures, preserving mosaics and leaded-glass windows, and commissioning Wright-designed furnishings—all of which come with the sale.

Contact: coldwellbanker.com, hiltonhyland.com. MLS: 18-358362  RICEBORO, GEORGIA | $ 8 .9 M I L L I O N Oscar winner Ben Affleck purchased this sprawling riverfront hideaway, in a private enclave outside Savannah, in 2003. Anchoring the 87-acre compound is a 6,300-square-foot Greek Revival manor designed

by Historical Concepts. Oyster-shell pathways lead to a host of other structures, among them a rustic sporting lodge (which sleeps 20), a summer cottage, and staff quarters. The property also comes with a 38-foot mahogany sport-fishing boat (moored permanently on a private jetty), where adventurous visitors can also spend the night. Contact: evusa.com. MLS: 192620 180

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 SEVILLE, SPAIN | $4 MILLION Dating to the mid-1800s, this 12,900-square-foot hacienda was originally the summer residence of a Madrid-area nobleman. Over the past half-century, however, the seven-bedroom estate fell into disrepair.

The current owners undertook a meticulous renovation, employing craftsmen from Spain, Morocco, and France to re-create plaster cornices, antique Arab roof tiles, and handmade terra-cotta flooring, all while installing modern comforts like luxe Sbordoni baths and a bespoke English country kitchen. A pair of swimming pools also graces the nine-acre property, which is planted with olive groves and fields of sunflowers. Contact: aylesford.com.

ID: INT170041

FROM TOP: MARY E. NICHOLS (3); MARK FLORKO; RICHARD LEO JOHNSON

BY GEOFFREY MONTES

Twentieth and Twenty-First Century Collectible Design

Direction Armchair/ Jean Prouvé, ca. 1950/ Courtesy of LAFFANOUR - Galerie Downtown

December 5–9, 2018/ Miami Beach, USA/ @designmiami #designmiami designmiami.com

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 16: 2018 Kenny Scharf/ARS, New York. Page 20: 2018 the Andy Warhol Foundation for the Visual Arts Inc./ licensed by ARS, New York. Page 22: 2018 Lawrence Weiner/ARS, New York. Page 46: 2018 the Willem de Kooning Foundation/ ARS, New York. Pages 76 and 78: 2018 the Andy Warhol Foundation for the Visual Arts Inc./licensed by ARS, New York. Page 94: 2018 ARS, New York/ADAGP, Paris.

Page 96: 2018 Calder Foundation, New York/ARS, New York. Page 98: Succession Brancusi—all rights reserved (ARS) 2018.

Page 98: Man Ray Trust/ARS, NY/ADAGP, Paris 2018. Page 119: 2018 ARS, New York/ ADAGP, Paris. Pages 121, 124–25: 2018 ARS, New York/ADAGP, Paris. Page 121: 2018 ARS, New York/ADAGP, Paris. Page 122: 2018 ARS, New York/ADAGP, Paris.

Pages 128 and 131: Manolo Millares; VEGAP, ARS, NY 2018. Page 128: Successió Miró/ARS, New York/ADAGP, Paris 2018. Page 130: Andreas Gursky/ ARS, New York, 2018/courtesy Sprüth Magers Berlin London. Page 132: 2018 Donald Baechler/ARS, New York. Page 138: 2018 Calder Foundation, New York/ ARS, New York. Page 144: 2018 Lawrence Weiner/ARS, New York. Page 144: 2018 ARS, New York/VG Bild-Kunst, Bonn.

Page 145: 2018 ARS, New York/ADAGP, Paris. Pages 148–51: 2018 Kenny Scharf/ ARS, New York. Page 159: 2018 ARS, New York. Page 178: Anish Kapoor; all rights reserved, DACS, London/ARS, NY 2018.

Page 180: 2018 Frank Lloyd Wright Foundation; all rights reserved. Licensed

by ARS. FLIGHT OF FANCY Pages 94–96: Interiors by Alberto Pinto Interior Design; albertopinto.com. Page 94: In main lounge, rug by Tai Ping Carpets (T); houseoftaiping.com. Pillows covered in fabric by Holland & Sherry; hollandandsherry.com.

LESS IS MORE Pages 114–25: Architecture by Guy Melviez; archimel.be. Interiors and select furnishings by Pierre Yovanovitch;

pierreyovanovitch.com. Pages 114–15: In living room, ceramic tables by Armelle Benoit; armellebenoit.fr. Armchairs by Preben Fabricius and Jørgen Kastholm; walterknoll.de. Page 118: In family room, Artichoke lamp by Poul Henningsen; dwr.com. Tulip chairs by Paul Kjærholm; fritzhansen.com. Page 119: In spa, Capri chaise longues by Sutherland (T); suther landfurniture.com. Ceramic tables by Gervasoni; gervasoni1882.it. Franck lounge chairs by Vincent Van Duysen for Sutherland (T). Page 121: In bar area, Les Cordes fixture by Mathieu Lehanneur from Carpenters Workshop Gallery; carpenters workshopgallery.com. Page 122: In master bedroom, brass sconces by Franco Albini from LeStudio Gallery; lestudio-gallery.com.

Ceramic nightstand by Armelle Benoit.

Koko bench, in Oregon pine, by Akiko Kuwahata from Galerie Maria Wettergren; mariawettergren.com. Page 123: In master bath, porcelain sconce by Fabien Petiot; fabienpetiot.com.

MODEL APARTMENT Pages 126–33: Architecture by Plantea Estudio; planteaestudio.com. Interiors and select furnishings by Casa Muñoz; casa-munoz.com. Page 126: In library, Angle light fixture by Michael Anastassiades; michaelanastassiades.com.

Cestita lamp by Miguel Milá; santacole .com. Studio chair by Anacleto Spazzapan; anacletospazzapan.com. Page 127: In living room, Silva wears jacket and pants by Loewe; loewe.com. Necklace

by Bosco Sodi; boscosodi.com. Fashion styling by Tamara Vekic; thecrew.es.

Pages 128–29: In living room, cocktail table by Von Pelt Atelier, vonpelt.com; from Machado-Muñoz Gallery, machadomunoz.com. Custom-made rug

by La Alpujarreña; alpujarrena.com. Page 130: In dining room, Tube chandelier by Michael Anastassiades. Rug by BSB; alfombrasbsb.com. Page 132: In TV room, Moses Brown rug by The Rug Company; therugcompany.com. Page 133: In bedroom, sconce by Holtkoetter; holtkoetter.com.

VIEW FROM THE TOP Pages 140–47: Interiors by Alvise Orsini; orsinidesign.com. Page 140: In living room, Lampadaire Sugegasa floor lamps

by Eric Schmitt; ericschmitt.com. Cocktail

GALERIE (ISSN 2470-9964), Volume 3, Issue 3, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman; Adam I. Sandow, Chairman, SANDOW. Principal office: Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178. Editorial and advertising offices: GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178.

Subscriptions: Visit galeriemagazine@pubservice.com, or call 818-487-2019 (in the U.S.) or 855-664-4228 (toll free, outside the U.S.).

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table by Hélène de Saint Lager; helenedesaintlager.com. Chairs by Knoll; knoll.com. Throw by Hermès; hermes .com. Wood basket by Eldvarm; eldvarm .com. Page 144: In living room, Pastilles 373 lamp by Hervé Van der Straeten for Ralph Pucci (T); ralphpucci.net. Desk by Jean Prouvé; vitra.com. Groundpiece sofa

by Antonio Citterio for Flexform; flexform .it. Pillows upholstered in Origines fabric

by Pierre Frey (T); pierrefrey.com. Page 145: In dining room, chandelier by Jean-Michel Othoniel; perrotin.com. PK-9 chairs by Poul Kjærholm; fritzhansen .com. Page 146: In master bedroom, Sento Tavolo table lamp by Occhio; occhio.de.

Custom-made bed by Ateliers Gohard; ateliers-gohard.com. Rug by Tai Ping Carpets (T); houseoftaiping.com.

FINDERS KEEPERS Pages 152–61: Interiors and select furnishings by Markham Roberts; markhamroberts.com. Pages 152–53: In entrance parlor, curtains of Antique Paisley fabric, in brown, by Jane Shelton (T), janeshelton.com, and Kimono fabric, in Chili Mocha, by Carleton V (T), carletonvltd.com. Tuareg mat from James Sansum; jamessansum.com. 2121 Timber stool by Arteriors; arteriorshome.com.

Sofa upholstered in Lubeck cotton velvet, in Tobacco, by Brunschwig & Fils (T); kravet.com. Armchairs upholstered in Tulkan Mustard fabric by Penny Morrison, pennymorrison.com, and Mohair Boucle, in Ivory, by Robert Allen (T), robertallendesign.com. Page 155: In entrance parlor, lamp shades by Penny Morrison. Stools covered in Porthos Red Blue fabric by Brunschwig & Fils (T).

Page 156: In living room, chairs covered in Hoffman velvet, in brown, by Clarence House (T); clarencehouse.com.

Custom-made rug by Allegra Hicks; allegrahicks.com. Page 157: In living room, wall paint by Farrow & Ball; us.farrow-ball.com. Lamp by Penny Morrison. Sofas covered in Gainsborough velvet, in Vert, by Schumacher (T); fschumacher.com. Pillows covered in Pavie fabric, in green, and Palerme fabric, in blue, by Scalamandré (T); scalamandre.com, Andalucia velvet by Travers, zimmer-rohde.com, and Taibus Turchese fabric by Clarence House (T).

Branch table by Paula Swinnen; paula

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swinnen.com. Circa-1950s side table from Maison Bagues; bagues-paris.com.

Page 158: In study, Owl lantern from Soane (T); soane.co.uk. Club chairs upholstered in Toile de Tours fabric by Pierre Frey (T); pierrefrey.com. Page 159: In hallway, ebonized table from James Sansum. Glassware from KRB; krbnyc .com. Page 160: In master bedroom, Lazy Doris wall light by Besselink & Jones (T); besselink.com. Bedding by Pratesi; pratesi.com. Bed upholstery and curtains of Patterson fabric by Fabricut (T), fabricut.com, and Samarkand linen, in blue/green colorway, by Peter Dunham, peterdunhamtextiles.com. Carpet by Tibetano (T); tibetano.com. Page 161: In dressing room, walls covered in Les Touches fabric, in black, by Brunschwig & Fils (T). Lamp from John Rosselli & Assoc. (T); johnrosselli.com. Chair covered in Chevalier Wool Glacier by Brunschwig & Fils (T). Stool covered in Capri fabric by Schumacher (T). Wool carpet by Tibetano (T).

MOUNTAIN MAJESTY Pages 170–77: Architecture and interiors

by Scape Design Studio; scapedesignstudio .com. Pages 172–73: In living room, Dyad cocktail table by Holly Hunt (T); hollyhunt.com. Folding stand and tray

by GioBagnara; giobagnara.com.

Crosshair Hide bench by Wisteria; wisteria.com. Custom-made rug by Driscoll Robbins; driscollrobbins.com.

Mesh side table by Kettal; kettal.com.

Page 174: In kitchen, Arabescato marble from Eurostone; eurostonemarble.com.

Eve faucet by KWC; kwc.com. Custommade cabinets, in stained oak, by Taylor Woodworks; taylorwoodworkssunvalley .com. Gachot stools by Thomas Hayes Studio; thomashayesstudio.com. Page 176: On terrace, sofa, cocktail table, and ottoman by RH, Restoration Hardware; restorationhardware.com. Gio chairs by B&B Italia; bebitalia.com. Page 177: In master bedroom, Halo Oval pendant from Roll & Hill; rollandhill.com.

Boomerang Chill armchair and pouf from Sancal, sancal.com, upholstered in Olympia-Pesco fabric by Rubelli (T), rubelli.com. Side table by Poliform; poliform.it. Headboard and platform bed upholstered in fabric by Zinc Textile; zinctextile.com.

Publisher assumes no responsibility for the claims made by advertisers or the merits of their respective products and offerings.

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

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

sofaexpo.com

Generously supported by

Nancy Callan and Mel Douglas, courtesy of Traver Gallery

November 2-4 Opening Night, Nov. 1 Navy Pier

NBA ALL-STAR CARMELO

ANTHONY COLLECTS

ART BY ICONS AND EMERGING TALENT, INCLUDING

NATHANIEL MARY QUINN. HERE, HE TALKS

An avid art collector, Carmelo Anthony most recently purchased Nathaniel Mary Quinn’s Chainsaw Master.

Read more about Nathaniel Mary Quinn at galeriemagazine.com

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M

y friend Richard Beavers owns a gallery in Brooklyn, and we always talk about who is the next artist that’s coming up. I’ve seen Nathaniel Mary Quinn’s work and always liked it. Richard took me to Nathaniel’s studio, and Nathaniel showed me all his pieces and sketches that he’s working on. I loved almost everything in there, but I just kept coming back to this one piece, called Chainsaw Master, which wasn’t even finished yet. That’s when I knew I had to have it. I just had to.

I could really relate to the storytelling that’s in his portraits.

His art is based on how he grew up in Chicago, the people he was around. One of his pieces was of his next-door neighbor, a big lady who was very loud, very boisterous, and everybody knew her. He had another painting that depicted a pimp he saw. There was also one of his grandmother, and when you

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hear him tell the story of how his grandmother really was, as soon as you look at the painting, you see that. Growing up, I knew all these same characters—basketball players, people in the neighborhood, older ladies who took care of the kids, aunties and grandmas, prostitutes and drug dealers.

I’m very big on portraits, but I’m also big on that infusion of street art and abstracts. One of the staple pieces of my collection is a portrait of Muhammad Ali by Cryptik. I saw a mural he did in downtown L.A. and commissioned him to do this piece for me. I went through my phase where all I wanted were the Basquiats and the Banksys and the Andy Warhols. Then I thought, Let me start digging into the people they influenced. That next generation started to become more interesting to me. The price didn’t matter, whether it was $5 or $30,000. The works that I could relate to and felt comfortable with—that’s what I was going to buy.

I try to rotate my pieces. In New York my walls are mostly African art and portraits, and the house in L.A. is more vibrant—it’s more lighthearted and colorful. I’m very big on that coordination and building out a mood, changing art around for different feels. AS TOLD TO JILL SIERACKI

FROM TOP: DAMIAN GRIFFITHS, COURTESY OF PACE GALLERY; GLEN LUCHFORD

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