Galerie Winter 2018

THE

COLLECTORS ISSUE

PERSONAL TREASURES FROM POP ART CARS TO OLD MASTERS

ART HOT SPOTS TO VISIT NOW

MEXICO CITY SAINT MORITZ MIAMI & MORE

PALM BEACH

PERFECTION

WINTER 2018 ISSUE NO 11

AT HOME WITH DESIGNER LILLIAN FERNANDEZ

SELECTION IS NOT ONLY A SCIENCE. IT IS AN ART.

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FEATURES 104 MIX TO THE MAX The moody, masculine London residence of designer Hubert Zandberg sets the stage for his eclectic collection of vintage treasures.

By Stephen Wallis 112 HER OWN WAY To create her perfect Palm Beach home, interior designer Lillian Fernandez played up patterns, paintings, and personality.

By Jennifer Ash Rudick 122 OUTSIDE THE BOX Using innovative machinery and pioneering techniques, artist Larry Bell creates otherworldly glass sculptures, which are now on display in a monumental retrospective.

By Mark Rozzo 128 FORWARD FOCUS In a Francis Sultana–conceived San Francisco apartment, daring high-design furniture makes just as much of a statement as the bold contemporary artwork.

By Vicky Lowry 138 CREATOR, CONNECTOR, CATALYST, COLLECTOR The Mexico City apartment of Zona MACO’s founder, Zélika García, devised by Luis Bustamante, is a showplace for the large-scale works and installations created by her inner circle of artist friends.

By Michael Slenske

Designer Hubert Zandberg’s maximalist London apartment blends custom creations—like rosewood and brass wall panels— with an extensive art collection, including David Gamble’s Andy Warhol’s Medicine Cabinet.

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154 STYLE IDYLL The dreamy Brazilian retreat of art dealer Ivor Braka and model Kristen McMenamy features a creative blend of architectural styles, reclaimed woods, and antique discoveries.

By Dominic Bradbury

SIMON UPTON

146 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li

60 Clockwise from right: Saint Moritz is a hotbed for artists, gallerists, and collectors.

Artfully designed furniture coexists with sculpture in a San Francisco home. Glorious lighting at L’Arlatan in Arles, France.

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76 BREAKTHROUGH Art adviser Elizabeth Margulies forges inventive ways to interject art into everyday life. By Rozalia Jovanovic 78 BOOKS An irresistible limited-edition book captures the history of Tiffany & Co.’s dazzling windows.

By Jacqueline Terrebonne 80 BACKSTORY On its 50th anniversary, AfriCOBRA is headlining a wave of exhibitions that demonstrate its message is just as relevant today. By Janelle Zara

DEPARTMENTS 24 EDITOR’S LETTER

By Jacqueline Terrebonne 33 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

42 THE ARTFUL LIFE: GIFT GUIDE Artist collaborations sure to wow everyone on your list.

44 THE ARTFUL LIFE: DESIGN Splendid furniture and accents for the expertly curated home.

48 SPOTLIGHT Design talent John Derian and textile maison Pierre Frey introduce a wallpaper inspired by the past. By Jill Sieracki

50 TRENDING TALENT Four artists whose eye-opening work you won’t want to miss.

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60 DESTINATIONS A flurry of new galleries, fairs, and exquisitely appointed hotels makes Saint Moritz an art lover’s paradise.

By Alexander Lobrano 64 THE COLLECTORS Major influencers in the spheres of art and design share what drives their passion for collecting—from Old Masters to jazz records.

Produced by Lucy Rees 72 CUISINE Renowned culinary queen Patricia Wells expands her cooking school with a sun-splashed atelier in the heart of Paris.

By Ann Mah

AfriCOBRA artist Wadsworth Jarrell’s Prophecy.

FROM TOP: GIAN ANDRI GIOVANOLI/SWISS-IMAGE.CH; PIERRE COLLET; PETER BAKER; COURTESY OF THE ARTIST AND KAVI GUPTA

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Clockwise from far left: Larry Bell uses the Tank to produce his ethereal works.

Inside the Tadao Ando–designed Wrightwood 659. A Lady Dior handbag crafted by Mickalene Thomas.

122 84 CONCIERGE Vivid public works, architectural-marvel museums, and world-renowned private collections make Miami a yearlong cultural hot spot. By Patrick Finn 88 ARCHITECTURE Award-winning talent Tadao Ando’s latest project—a transformative gallery in Chicago—is as sculptural and captivating as the exhibitions hosted within the new space.

By Fred A. Bernstein 90 BESPOKE Designer Achille Salvagni shows his absolute mastery of creating sumptuous superyacht interiors.

By Christine Schwartz Hartley 94 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

96 PASSPORT From an island paradise in the Indian Ocean to a cozy Scottish inn, hotels are offering art-fi lled experiences, making them cultural destinations unto themselves.

By Geoff rey Montes 100 POINT OF VIEW Chicago power gallerist Monique Meloche shares her favorite restaurants, shops, and art-centric getaways.

By Rozalia Jovanovic

COVER

Designer Lillian Fernandez meticulously planned her Palm Beach waterfront home, complete with a bold geometric trellis painted in an Yves Klein–inspired blue. Photography by Francesco Lagnese; styled by Lili Abir Regen.

THE

COLLECTORS ISSUE

162 REAL ESTATE New and unique buildings that let buyers live among museum-worthy works. Plus, three exceptional waterfront homes currently up for sale.

By Geoff rey Montes

PERSONAL TREASURES FROM POP ART CARS TO OLD MASTERS

ART HOT SPOTS TO VISIT NOW

MEXICO CITY SAINT MORITZ MIAMI & MORE

166 SOURCES 168 IN FOCUS Giorgio Armani on why he cherishes a drawing by Matisse.

PALM BEACH

PERFECTION

WINTER 2018 ISSUE NO 11

AT HOME WITH DESIGNER LILLIAN FERNANDEZ

TO SUBSCRIBE TO GALERIE:

Go to galeriemagazine.com, or call 818-487-2019 (in the U.S.) or 855-664-4228 (outside the U.S.).

CLOCKWISE FROM FAR LEFT: DOUGL AS FRIEDMAN; TOM ROSSITER; COURTESY OF DIOR

DEPARTMENTS

T IMELESS BE AUTY BE AU TIFULLY TI MED U LT R A P R E M I U M TRADE EXCLUSIVE AVA I L A B L E I M M E D I AT E L Y *

S I L VA A Q U A R U G 8 4 4 . 4 0 . STA R K | S TA R KS A P P H I R E . C O M *stock levels may vary

Clockwise from top: Me at the Jean de Merry showroom in Los Angeles.

Oyster plates from Moss Antiques in New Orleans. A vignette in the London home of Hubert Zandberg.

his studio in Taos, New Mexico (page 122). And in London, designer Hubert Zandberg goes for a bold salon-style display, mixing Guido Mocafico with Robert Mapplethorpe, Maurizio Cattelan with Rick Owens (page 104).

Once we scratched the surface, everyone had something to share, from the fabulously rare to the exceptionally quirky.

Personally, I’ve been hooked on oyster plates for decades— always on the lookout for these 19th-century gourmet collectibles, from Limoges versions with demure, hand-painted flowers to bold majolica ones bursting with colors. We’d love to hear from you about what you collect.

Visit galeriemagazine.com/mycollection to tell us your story, and we’ll post our favorites on our newly redesigned site.

And if you’re on the hunt for what to snap up next, we’ve broken down the hottest art destinations, highlighting locales for fairs such as Art Basel, Zona MACO, and Nomad St. Moritz. After all, is a collection ever really complete? As designer Robert Couturier teased, after taking me through his impressive assemblage of Old Master portraits: “Collecting is really just an elegant form of hoarding.” Elegant, indeed!

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

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COUNTERCLOCKWISE FROM TOP: SYLVIE COGRANNE; SIMON UPTON; COURTESY OF MOSS ANTIQUES (3)

W

hen we embarked on creating our inaugural Collectors issue, one of the first people I reached out to was Max Hollein, the recently appointed director of the Metropolitan Museum of Art. If anyone knew how to curate a collection, I felt certain it would be him. But instead of explaining how to make big-name acquisitions, he went deeper and shared his observations on the psyche of collectors—and how their intimate knowledge of the works can teach even the most specialized curators new ways of looking at things. Unsurprisingly, his insights were spot-on and applied to the many luminaries featured in our story “The Collectors” (page 64).

This passion extends to the talents we visit in their personal spaces. Designer and art collector Lillian Fernandez masterfully mingles blue-chip contemporary pieces such as an Anish Kapoor with vintage Art Deco furnishings to create a riveting conversation between textures and periods in her dazzling Palm Beach home (page 112). Legendary artist Larry Bell hangs his nearly 200 guitars with works like his “Church Studies” in

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CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

/ D E S T I N AT I O N S /

EDUARDO REZENDE

Deep Dive

Ximena Caminos is a woman on a mission. “I’m trying to create Miami’s new version of the iconic Raleigh hotel pool,” the Argentine-born curator explains from the courtyard of her latest glamorous lifestyle project, the Blue Heron. Launching in early 2019, just in time for Art Basel, the hotel and members-only club carves out an urban oasis in South Beach by uniting two historic Art Deco hotels on 200 feet of beachfront. Caminos, fresh off her success spearheading the creation of the Faena Forum, a sculptural Rem Koolhaas–designed event space and amphitheater, joined forces with developer Eric Hadar to construct what he describes as “not just another tourist hotel.” From an on-site art gallery called the Honey Lab to an extensive holistic wellness program, Blue Heron goes well beyond offering your typical resort amenities—even providing a philanthropic component with its partnership with the Ocean Preservation Society, which raises awareness of environmental threats to Miami’s coastline. Buzzy touches include a restaurant by Juan Santa Cruz and enviably fashionable uniforms

by Nicola Formichetti. And for that perfect Instagram-worthy moment, Caminos has commissioned a vibrant mural painted by artist Michael Lin that connects not just one but two swimming pools. Now, that’s how you make a splash. blueheronoceansociety.com JACQUELINE TERREBONNE

GALERIEMAGA ZINE.COM

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Vincent van Gogh’s Self-Portrait, 1889.

THE ARTFUL LIFE / DESIGN /

SET IN STONE

G R A P H I C D I S P L AY

Michael Craig-Martin’s Untitled (trainer fragment), 2017.

Just north of Vero Beach, Florida, the exclusive coastal community of Windsor is famous for its high-society polo matches, Léon Krier– designed town hall, and lengthy list of amenities. Among them is the Gallery at Windsor, an independent art space that is now in the second year of a curatorial partnership with London’s Royal Academy of Arts. The latest exhibition opens January 29 and features the work of Irish-born Conceptual artist Michael Craig-Martin, who is known for his deceptively simple yet astonishingly precise renderings of everyday objects. “Everything is made for a purpose,” reflects Craig-Martin. “Artifacts tell the story of the society.” As his most extensive American show to date, “Present Sense” will feature not only paintings and editions but also neon-color steel sculptures dotting the 425-acre grounds. windsorflorida.com —geoffrey montes

An artwork from James Oughtibridge’s Ebb and Flow collection.

/ MUSEUMS /

/ FILM /

STROKE OF GENIUS

In At Eternity’s Gate, painter and filmmaker Julian Schnabel captures Vincent van Gogh (convincingly portrayed by Willem Dafoe, who is already receiving Oscar buzz) in a way only a fellow artist could—with sweeping vistas, saturated colors, and unconventional perspectives that give insight into the Postimpressionist painter’s troubled mind. The film’s release will coincide with an exhibition at the Musée d’Orsay, which, for the first time, has invited a major contemporary artist (Schnabel) to curate works from its collection; the show will be on display until January 13, 2019.

—jill sieracki

GRAND REOPENING

Sweden’s Nationalmuseum, which showcases six centuries of Scandinavian art and design, is once again Stockholm’s premiere cultural destination. Closed in 2013 for a $130 million overhaul, the 1866 neo-Renaissance edifice was graciously reconfigured by architects Josefin Larsson, Gert Wingårdh, and Erik Wikerstål. “Now the museum is a flagship of inspiration and experiences,” says museum director Susanna Pettersson. Dozens of concealed windows have been unmasked, and skylights illuminate a new sculpture courtyard. Most notably, the institution tripled the number of objects it can display. Says Pettersson, “I value the possibility to bring the grand, and even magical, atmosphere back to the galleries.” nationalmuseum.se —G.M. 34

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COUNTERCLOCKWISE FROM TOP LEFT: COURTESY OF WINDSOR; MIKE BRUCE, COURTESY OF THE ARTIST AND GAGOSIAN; HANS THORWID/ NATIONALMUSEUM; COURTESY OF LIAIGRE; LILY GAVIN; COURTESY OF NATIONAL GALLERY OF ART, WASHINGTON

/ D E S T I N AT I O N S /

British ceramist James Oughtibridge’s elegant large-scale forms are the subject of a new exhibition at the Liaigre showroom in the Miami Design District in December. Masterfully hand-built using a slab construction technique, the coveted pieces incorporate texture and undulating lines that complement the minimalist-chic aesthetic of the renowned French design powerhouse. The concept embodies artistic director Deborah Comte-Liaigre’s vision to spotlight on-the-rise talents and present a more holistic experience of living artfully. liaigre.com —LUCY REES

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/ MUSEUMS /

Underground Experience

/ D E S T I N AT I O N S /

Sydney-based menswear label Joe Bananas has made its way Stateside with a high-design boutique on New York’s Madison Avenue.

Company co-owners Kim Bourke and Evan Sturrock use their own silk farms and in-house weavers to create an ultralimited quantity of colorful and textured fabric that is transformed into bespoke suiting beloved by everyone from Sir Elton John to Shirley MacLaine. joebananas.com —J.S.

FANTASTIC VOYAGE

They say getting there is half the fun, but Seabourn also makes the journey a beautiful experience. The luxury cruise company has enlisted ArtLink to curate more than 1,600 works (300 of them custom) for its two largest ships. Designed in collaboration with Adam Tihany, the dazzling interiors “provide cultural references, alternative points of view, moments of reflection, and tastes of foreign cultures,” says ArtLink’s Celine Strypsteen. “After all, curiosity for the new, the different, and the unknown has always been a fundamental reason for people to board ships.” Raising the bar even more, Seabourn has announced its inaugural 146-day World Cruise: Extraordinary Destinations, which sets sail in January 2020 and will dock in 62 ports in 36 countries on five continents.

Talk about extraordinary. seabourn.com —g.m.

/ DESIGN /

/ FASHION /

TAILORED TAPESTRY

T OAST OF T H E T OW N

No one knows better than Saint-Louis how much an expertly made cocktail deserves an exquisite glass. To revamp a classic style, the oldest crystal manufacturer in Europe has turned to the hospitality company that’s behind the Experimental Cocktail Club, the innovative mixologists who first brought cocktail culture to Paris, and that now heads up an empire of chic bars, restaurants, and hotels in places like London, Ibiza, and Verbier, Switzerland. The Manhattan collection taps into the group’s savoir faire to perfectly engineer a variety of options for modern-day potables with recipes to match. Take the Clover Club, made with egg white, crushed raspberry, two ounces of lemon juice, two ounces of summer berry cordial, four ounces of gin, and two dashes of Peychaud’s bitters. Shake and serve up in a beveled-edge coupe. saint-louis.com —J.S. 36

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CLOCKWISE FROM TOP LEFT: COURTESY OF UCCA DUNE; COURTESY OF JOE BANANAS (2); COURTESY OF SEABOURN; COURTESY OF SAINT-LOUIS

Art, nature, and architecture combine to extraordinary effect at UCCA Dune, a new, semisubterranean art space in China’s Beidaihe District (considered the Hamptons of Beijing).

Designed by OPEN Architecture, the museum is the second outpost of the renowned Ullens Center for Contemporary Art, founded by Belgian megacollectors Guy and Myriam Ullens. The debut exhibition, “After Nature,” features work by nine artists, including Political Pop artist Li Shan. There are plans for a second, partially submerged ocean gallery, reachable only at low tide. ucca.org.cn L.R.

Photo: MATTHEW KLEIN

‘Smooth’ link necklace with ‘Rampant Pegasus’ pendant, and ‘Big Baby’ pearl hoop earrings. All in hand-hammered 19k gold.

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/ EXHIBITIONS /

Andreas Emenius is interested in the way one medium flows into another, and his shows take on a similarly dynamic nature, merging fine art and contemporary culture in surprising ways. His paintings often embrace both figurative and abstract elements. You might see canvases and sculpture commingled with sports jerseys and cereal boxes that are branded with the Adidas logo and accentuated with a performance; familiar objects become odd in this context. A graduate of Central Saint Martins and an artist at Shin Gallery in New York, Emenius is displaying his work at an exhibition at the New York Design Center (in a show presented by Galerie) as well as at Manhattan’s Palace Hotel. In 2019, he has an exhibit opening at the Nikolaj Kunsthal in Copenhagen. Says Emenius, “The future is fluid.” andreasemenius.com —rozalia jovanovic A 2018 painting by Andreas Emenius titled Move.

A 1937 Tiger’s Eye turban ornament by Cartier.

creative genius with a series of ambitious shows. This one unpacks the 72-page Codex Leicester, an important scientific manuscript lent by its current owner, Bill Gates. uffizi.it

A look from Rodarte’s spring/ summer 2015 runway collection.

WINTER EXHIBITIONS WE LOVE UFFIZI GALLERIES, FLORENCE Water as Microscope of Nature. Leonardo da Vinci’s Codex Leicester Through January 20, 2019 To celebrate the 500th anniversary of the Renaissance master’s death, museums around the world are spotlighting his 38

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PALACE OF VERSAILLES, FRANCE Hiroshi Sugimoto Through January 20, 2019 Following in the footsteps of Jeff Koons and Takashi Murakami, Hiroshi Sugimoto is showing at Versailles. In a first for an artist, he’s taking over the Estate of Trianon, the private domain on palace grounds where the French royals often sought refuge from the rigors of the court. On display are his contemplative photographs and architectural projects. en.chateauversailles.fr NATIONAL MUSEUM OF WOMEN IN THE ARTS, WASHINGTON, D.C. Rodarte Through February 10, 2019 The brainchild of sisters Kate and Laura Mulleavy, fashion brand Rodarte is known for its

conceptual blend of high style, contemporary art, and modern femininity. Their first museum retrospective features some 90 runway looks in a striking space designed by architect Rafael de Cárdenas. nmwa.org LEGION OF HONOR, SAN FRANCISCO East Meets West: Jewels of the Maharajas from the Al Thani Collection Through February 24, 2019 Magnificent jewelry and rare precious objects from the 17th to 19th centuries and beyond reveal the fascinating cultural exchanges between Indian maharajas and European royalty. legionofhonor.famsf.org BARNES FOUNDATION, PHILADELPHIA Silent Secret Waterfalls: The Barnes Series January 12—November 17, 2019 The entrance to Albert Barnes’s splendid salon-style museum is transformed by a new, site-specific series of 11 sublime waterfall paintings by artist Pat Steir. barnesfoundation.org

MET BREUER, NEW YORK Lucio Fontana: On the Threshold January 23—April 14, 2019 The Argentine-born Italian artist’s last U.S. retrospective was in 1977, at the Guggenheim Museum. Now the Met Breuer is showcasing the breadth of his practice, including his most famous cut-up canvases, “Concetti Spaziali.” metmuseum.org —L.R.

CLOCKWISE FROM TOP: COURTESY OF SHIN GALLERY; PRUDENCE CUMING ASSOCIATES, COURTESY OF THE FINE ARTS MUSEUM OF SAN FRANCISCO; GREG KESSLER/KESSLER STUDIO

One to Watch

Harry Winston’s 718 Marble Marquetry necklace, Brownstone earrings, and Central Park ring.

Rock Center

NEW YORK LANDMARKS INSPIRE A DAZZLING JEWELRY COLLECTION

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andering the streets of Manhattan has long been a source of creative inspiration, but never were the results as brilliant as the pieces Harry Winston dreamed up during his lifetime. The house’s latest introduction, the New York Collection, takes guidance from some of the famed jeweler’s favorite landmarks.

Pear-shaped emeralds are designed to hearken back to the neo-Gothic lines of St. Patrick’s Cathedral, while mosaics of precious stones are set to conjure the eternal beauty of Central Park. The city’s signature architecture also has its shining moment with marble marquetry and brownstone façades conceived in exquisite gems. harrywinston.com

Mosaics of precious stones are set to conjure the eternal beauty of Central Park

Artistic Pursuits

DIOR’S COLLABORATION WITH WOMEN ARTISTS ELEVATES ITS MOST ICONIC HANDBAG

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The artist Mickalene Thomas and the top-handle bag she designed for Dior.

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ew York artist Mickalene Thomas is known for creating vivid portraits of black women that challenge traditional notions of beauty. This winter, hot off the heels of a number of buzzworthy museum exhibitions, she has moved beyond the canvas to design an elegant, top-handle purse by Christian Dior. Thomas created a psychedelic patchwork of embellished textiles as part of Dior Lady Art #3, in which 11 world-renowned artists were given carte blanche to reinterpret the Lady Dior handbag. “I used different materials to achieve what I would normally create using oil, acrylic, silkscreen, and rhinestones,” says Thomas. At the request of Dior creative director Maria Grazia Chiuri, the limited-edition collection for the first time features only women talents, including Thomas, Lee Bul, and Polly Apfelbaum. dior.com LUCY REES

FROM TOP: COURTESY OF HARRY WINSTON (4); COURTESY OF DIOR (2)

JACQUELINE TERREBONNE

SHOPPING: GIFT IDEAS FOR ART LOVERS

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Not all artworks can stand up to the heat of the kitchen, so LA CORNUE tapped Parisian street artist Kongo to transform six Château 150 cookers into one-of-a-kind works of art; $300,000. lacornueusa.com

In 1987, Jean-Michel Basquiat walked the runway for COMME DES GARÇONS. Now the avant-garde fashion label has teamed up with Basquiat’s estate to create a series of eight shirts and tees; $550–$680 and $150, respectively. farfetch.com

New York artist REINALDO SANGUINO hand-glazes these ceramic pieces to create unique artworks.

The brightly colored stools come in three shapes (cylinder, hourglass, and barrel) and can be used indoor or out; $4,000. thefutureperfect.com

PARMIGIANI FLEURIER

reinterpreted Marcello Lo Guidice’s paintings as 12 different watches. The faces, created with lasers that replicate the texture of his work, are finished by a miniaturist painter applying his signature colors; $36,000. parmigiani.com

Join in Yayoi Kusama’s dots obsession with these eye-catching skateboards, available exclusively at MOMA DESIGN STORE. Based on the artist’s handpainted patterns, the Canadian-maple decks can be displayed as art or add wheels to ollie; $200 each. store.moma.org

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Following the success of collaborations with artists such as Jeff Koons and Vik Muniz, BERNARDAUD has launched a series of 100 porcelain pieces based on illustrations by Joan Miró, available in a limited edition of 100; $25,000 for the set. bernardaud.com

CLOCKWISE FROM TOP: COURTESY OF DOVER STREET MARKET; COURTESY OF THE FUTURE PERFECT; COURTESY OF BERNARDAUD (2); COURTESY OF PARMIGIANI; COURTESY OF MOMA DESIGN STORE (2); COURTESY OF L A CORNUE

ARTFUL LIFE

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SHOPPING: DESIGN PIECES WITH A GOLDEN TOUCH

JIUN HO’s Bergen triple-arm chandelier, available from DE SOUSA HUGHES, takes cues from the phases of the moon with its pivoting alabaster shades. Available to the trade. desousahughes.com

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The sculptural lines of the Appia armchair by JEAN DE MERRY are animated by a series of swooping arcs, including the handsome bronze legs. Available to the trade. jeandemerry.com The subtle curve of JULIAN CHICHESTER’s Hockney bench reflects the shimmering pools of the artist’s paintings; $2,823 (as shown in velvet). julianchichester.com

Jeweler KIMBERLY MCDONALD collaborated with rugmaker MARC PHILLIPS to create a mesmerizing new line of rugs based on her favorite natural materials, including opal, agate, and geode.

This wool-and-silk version is inspired by her signature geode cuff and sold by custom order. marcphillipsrugs.com

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The iconic Aves Gold bone china pattern (left) by ROYAL CROWN DERBY gets a modern makeover. The reinvention (right) of the heritage design, originally created over 80 years ago, allows the table to be set in multiple new ways. The teacup in the original pattern is priced at $140; the update is $88. devinecorp.net

For JONATHAN BROWNING’s first furniture piece for RH, the lighting designer found inspiration in the rigorous geometry of 18th-century mazes and 19th-century Chinese lattice design. This jewel box of an étagère features a honed and polished-brass framework with stepped glass shelves; $2,996. rhmodern.com

CLOCKWISE FROM TOP: COURTESY OF DE SOUSA HUGHES; COURTESY OF JULIAN CHICHESTER; COURTESY OF RH; COURTESY OF DEVINE CORPORATION; COURTESY OF MARC PHILLIPS; COURTESY OF JEAN DE MERRY

ARTFUL LIFE

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

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JOHN DERIAN’S TREASURED VINTAGE FIND INSPIRES A NEW WALLPAPER COLLABORATION WITH PIERRE FREY

ohn Derian perfectly recalls the moment more than a decade ago when he found a jade-colored panel of 18th-century, hand-painted wallpaper in a tiny shop in upstate New York. “I absolutely splurged,” admits the New York decoupage artist. “I had to have it. Not only do I love that period, but I was enamored by how naïve the flowers were.”

Initially, the ephemera-obsessed Derian displayed the four-by-six-foot piece, with its edges frayed and colors still rich albeit worn, like a work of art in various apartments—above a chest of drawers, then over a little stove. Years later, with the hopes of having it reproduced for himself personally, he showed it to Patrick Frey and his son, Pierre, respectively the chairman and creative director and the director of communications of Pierre Frey, renowned for its traditional French wall coverings, textiles, and other home goods.

When Derian asked about re-creating the wallpaper, “it was like he was giving me the best idea ever,” says Pierre, who is taking on a more creative role at the family-owned maison. “We have a lot of 48

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friends and clients in common, so I dreamed for years of collaborating,” recalls Pierre, a frequent visitor to Derian’s East Village boutique and a fan of its collection of Astier de Villatte ceramics.

Advancements in wallpaper-printing techniques allowed the artists at Pierre Frey to duplicate Derian’s one sheet in all its vintage glory, capturing the original’s luster and texture. Available in three colorways—Derian’s original green; Chantilly, a creamy white; and Irise, an inky black—the design, named Le Paravent Chinois, is now part of Pierre Frey’s Braquenié collection. “We left the image so it appears a little worn in areas, which perfectly suits my tastes,” says Derian. “I prefer things to look old.”

And what’s in store now that Derian has rolls to play with? For starters, he’ll envelop the back wall of his cozy West Village shop, which opened in March, with the Irise version. “When it’s put together it’s going to look like vines growing around the room,” he says. “I like when an image creates an environment, like a garden that’s growing.” pierrefrey.com, johnderian.com JILL SIERACKI

STEPHEN KENT JOHNSON

John Derian (right) and Pierre Frey’s wallpaper collaboration, Le Paravent Chinois (shown), is available in Chantilly, Original, and Irise.

Paper Chase

Alcyone Sofa by Kimberly Denman SFDC Showroom 320 TEL 415.626.6883 desousahughes.com P H O T O G R A P H Y: J O S Æ’ M A N U E L A L O R D A

TRENDING TALENT

From top: Harmony Korine’s Shirley Temple Blockbuster (2018) is a vibrant grouping of paint-covered VHS cassettes and box covers. The artist and filmmaker at the Gagosian gallery in Mayfair, London, during his 2016 “Fazors” exhibition.

Breaking the Mold

THESE FOUR MIXED-MEDIA ARTISTS ARE CAPTIVATING COLLECTORS Harmony Korine is known as a disrupter. He came to public consciousness as the screenwriter of the controversial coming-of-age film Kids, which he followed up with a string of highly inventive paeans to societal outcasts, including Gummo and Spring Breakers, which earned him a cult following.

Simultaneously, Korine has been steadily creating and showing artwork, much of it blending the figurative and the abstract with the same kind of moody verve that drives his films. Such is the case with his most recent exhibition at Gagosian,“Blockbuster,” which features pieces made with VHS cassettes and covers he bought at a Blockbuster video store in Nashville that was shuttering. “I would drink a cup of Mountain Dew and stare into the vacant Blockbuster window,” says Korine, who put copies of his 2009 film, Trash Humpers, in cassette boxes from other films, painted the covers, and sent them to random addresses—an early sampling of what would become his current opus. “I loved how it looked inside, and the Mountain Dew would get me all hopped up and dreaming of different ways to deface the video covers.”

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Many of Korine’s paintings are colorful, messy, and collage-like. Some of the most striking are from a series of monochromatic assemblages in blue, yellow, and red (“Those colors pop the hardest for me”) called “Anamorphic Blockbusters” because they have the same ratio as the anamorphic lens he uses to create his films. Very distinctive in all of the works is a roughly rendered cartoonish figure with a simplistic body with limbs and a head but no facial features. “He’s a friend or a ghost or a faceless character,” Korine says of the icon, whom he named Twitchy.

Korine makes a film every five to six years and says when he’s not in production, he’ll go into the studio and “paint or throw things around and play with ideas.” Film and art are “part of the same unified aesthetic vision” and “come from a similar place creatively.” But, he vows, the process is different: “I like the idea of redoing the narrative, defacing the films, and turning them inward and making them my own.” gagosian.com ROZALIA JOVANOVIC

FROM TOP: ROB M C KEEVER, COURTESY OF GAGOSIAN; SARAH LEE/EYEVINE/REDUX

Harmony Korine

TRENDING TALENT Surrealism may be a century old, but Brooklyn artist Genesis Belanger breathes new life into the conceptual movement with her droll, alluring sculptures. Hand-rolled in clay, porcelain, and concrete, the works often merge furniture shapes with classic still life objects, which are tinted in candy-color hues whose cheerful effect belies a pointed edge. A centerpiece features a woman’s erotic lips and tongue sprouting from a bouquet of flowers. A life-size vanity table is cluttered with the belongings of a “hot-mess character” of Belanger’s imagination: perfume, booze, a melted chocolate bar. “It’s funny and sad at the same time,” she says. “I was thinking about how we marginalize women as they age—just when we become more dynamic and have more interesting things to say.”

Based on her exhibition schedule, Belanger has a surfeit of interesting things to say. Her new sculptures are currently paired with paintings by fellow Brooklyn artist Emily Mae Smith at New York’s Perrotin gallery (through December 22). Two solo shows follow: at Ghebaly Gallery in Los Angeles in May and Rodolphe Janssen gallery in Brussels in the fall. Yet despite a red-hot career, Belanger took a circuitous route. She studied fashion design at the School of the Art Institute of Chicago and built props for advertising campaigns in Manhattan before earning her MFA from Hunter College, where she was accepted into the painting program only to be captivated by clay. “It’s easy to find art in the abject, that touches some dark discord,” she says, “but I think it’s possible to make work that is relevant and beautiful.” genesisbelanger.com VICKY LOWRY

José Yaque

The wondrous beauty of nature takes center stage in José Yaque’s sublime paintings and intriguing sculptures. Part of an exciting new generation of Cuban artists, he creates lush canvases that resemble molten rock, layers of the earth’s crust, or even aerial views of a landscape. His technique is singular: He mixes and applies paint thickly with his hands and covers it in plastic before slowly maneuvering the sheet across the surface. “There is a performative aspect in my process,” he says, “and the works are the result of the relationship between my body, the painting, and nature.” Yaque’s installations, meanwhile, quite literally bring the outside world in, as he transforms galleries with earth, stones, and mineral components. He presented 3,000 glowing glass bottles filled with plant residue to reveal varying stages of decomposition at Art Basel Unlimited in Switzerland this past summer. The alchemist-like laboratory was one of the most talked-about works at the fair. (An earlier version caused similar buzz at the Cuban pavilion of the 57th Venice Biennale.) It’s shaping up to be a busy year for the Havana artist, who is represented by Galleria Continua and David Gill Gallery, as he prepares for the highly anticipated 13th Havana Biennial next spring. “There is a new wave of contemporary Cuban art making itself felt,” Yaque says, “and I am proud of this new moment.” galleriacontinua.com, davidgillgallery.com LUCY REES

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Above left: José Yaque’s “Kind of Blue” solo show included Phtalo-Prussia I (2018), an intoxicating wave of paint and enamel on canvas. Right: A 2018 stoneware-and-porcelain work, entitled Center Piece, by sculptor Genesis Belanger (below).

FROM TOP: COURTESY DAVID GILL GALLERY; COURTESY OF THE ARTIST AND MRS. GALLERY, NEW YORK; STEVE BENIST Y

Genesis Belanger

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Pia Camil

Pia Camil has a knack for flipping the art world on its head. For her latest project, at Art Basel in Miami Beach, the Mexico City–based talent is presenting a striking hand-stitched fabric installation resembling an unmade bed as a work of art. Titled Deshechas (meaning both “undone” and “leftover” in Spanish), it nods to Robert Rauschenberg’s and Tracey Emin’s subversive readymades but with a twist.

Camil uses the remains of discarded fabric rolls marked with industrial printing errors that have produced an expressive, painterly effect. “I’m interested in destabilizing these notions of

high and low, and making a statement that you can create an artwork out of something once considered a failure,” Camil says from her sprawling studio, which occupies a former 1920s cabaret in downtown Mexico City.

Her first big break was at the 2015 Frieze Art Fair in New York, where she distributed 800 ponchos made of fabric remnants to fairgoers. In doing so, she turned the wearers into active participants. “The way I use discarded materials elevates them into an art form. But at the same time, I am also devaluing art and taking it down off a pedestal,” she says.

Recently, Camil has been crafting large-scale hanging textiles made with secondhand T-shirts as well as gorgeous glazed ceramics inspired by bust-like jewelry mannequins and intriguing video works projected onto flowing gauze screens. With a sharp wit and modernist aesthetic, her coveted art comments on societal constructs. “In the end,” she says with a smile, “I’m just trying to mess things up a bit.” piacamil.me L.R. Los Angeles, a 2014 work by artist Pia Camil (above), brings together hand-dyed and stitched canvas pieces.

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COURTESY OF THE ARTIST AND BLUM & POE, LOS ANGELES, NEW YORK, AND TOKYO

“I’m making a statement that you can create an artwork out of something once considered a failure

O N TH E R O C KS d esign f. binfarĹ˝ | quickship

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Art in the Alps

NEW GALLERIES, A SOON-TO-OPEN MUSEUM, AND THE RETURN OF A UNIQUE FAIR ARE ADDING TO THE

Skiing has lured adventurous travelers to the glamorous alpine village of Saint Moritz since the mid-19th century.

Below: A selection of pieces by Pia Maria Raeder, Carol Egan, Studio MVW, and Ayala Serfaty presented by Galerie BSL at the town’s inaugural Nomad art and design fair.

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n Saint Moritz, most things blessedly never change—the parade of trapeze-cut mink coats swaying through the lobby of the circa-1896 Badrutt’s Palace Hotel, the hot chocolate at Hanselmann, and the fondue nights at Restaurant Engiadina are forever.

So is the spectacular beauty of the Engadine valley in southern Switzerland, which is where Saint Moritz, the most glamorous ski resort on the planet, is located. It’s as unblemished today as it was when the area became the world’s first alpine winter resort in the middle of the 19th century.

And while the martinis at Mario’s, the bar at Badrutt’s, remain almost raspingly bone-dry from one year to the next, the chatter in this intimate venue changes from season to season.

Last year, there was a lot of sotto voce fretting that the Russians (and not the right ones) were coming—and coming.

There was also ongoing speculation about whether the Niarchos family would finally decide to link the Engadine’s four separate ski domains—Corviglia, Corvatsch, Daivolezza, and Lagalb—to create a supersize ski resort like the one that debuted in Austria in December 2016.

This winter, Saint Moritz’s smart regulars are all about art, since the Engadine valley is in the midst of an everaccelerating cultural renaissance. To be sure, this sky-high resort has always had a creative edge, what with local talents like Giovanni Segantini, Alberto Giacometti, and Not Vital spanning both time and mediums. And there’s always been a serious crowd of collectors here, too. The legendary Bruno Bischofberger was the first to open a gallery in Saint Moritz, in

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1963, and for years everyone tried to wangle an invite to see the ten Andy Warhol portraits of Marilyn Monroe that once hung on the walls of German playboy Gunter Sachs’s penthouse in Badrutt’s. Art dealer Kenny Schachter has been spending holidays here for 25 years.

But now Saint Moritz and the Engadine valley are coming on strong as a bohemian-flavored art-world favorite and a serious place to buy pieces in the many new galleries that are discreetly opening in a landscape that remains defined by solid old stone farmhouses with sgraffito façades, church spires, and forests of snow-laden pines. Last December, the Vito Schnabel Gallery opened in Bischofberger’s former gallery space, a Bauhaus-looking building in Saint Moritz, with an Urs Fischer

FROM TOP: FILIP ZUAN/SWISS-IMAGE.CH; GIULIA PIERMARTIRI, COURTESY OF NOMAD

CULTURAL CACHET OF SAINT MORITZ

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exhibition; this year, the gallery features a show of new sculptures by Tom Sachs. “We’ve shown a variety of work—from painting and sculpture to video installations, from historical to contemporary,” says Schnabel. “Several of the artists we work with have created new pieces specifically for exhibitions in Saint Moritz, inspired by the Engadine valley.

The valley has a rich history of artists making work in the area, from Jean-Michel Basquiat and Andy Warhol to my father, Julian Schnabel. For over a century it’s been a destination for artists, collectors, curators, and academics. But it’s wonderful to see the area getting more attention from broader audiences and new generations as more and more art spaces open.”

A whole day (or two) can easily be spent visiting the other spaces in Saint Moritz, including Galerie Andrea Caratsch and Galerie Karsten Greve. The Von Bartha gallery in the Engadine village of S-chanf features a show of Sarah Oppenheimer sculptures until January 28, 2019, and the just-opened Saint Moritz branch of venerable gallery Hauser & Wirth, designed by architect Luis Laplace, will exhibit work by Louise Bourgeois come January.

Nomad St. Moritz, the traveling showcase for collectible design and contemporary art, sets up in the Chesa Planta, a beautiful, white 16th-century house in the village of Samedan, for its second edition in February (7 to 11). “Visitors will discover a truly unique dialogue between the architecture and installations,” says the fair’s cofounder Nicolas Bellavance-Lecompte. “The

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collectors are already based there, and the international visitors coming will definitely confirm that Saint Moritz is a great art and design destination.”

To the uninformed who thought Saint Moritz was all about skiing, ice cricket, dogsledding, and polo, this burgeoning art scene is a welcome surprise. “There is a growing ecosystem of artists, galleries, and events in the Engadine valley, and Muzeum Susch will add a fundamental value,” says Polish collector Grazyna Kulczyk, who is opening the private museum in January 2019. Set on the site of a 12th-century former monastery and brewery in the remote town of Susch, it will debut with an exhibition from Tate Liverpool senior curator Kasia Redzisz encompassing works that explore gender roles and the idea of femininity by more than 30 international artists. Afterward, the museum will house a number of site-specific installations as well as other temporary exhibits, many influenced by Kulczyk’s robust collection. “The remote, rural choice of location provides an immersive contrast that amplifies the disruptive mission of the institution,” she says. “It is a unique site surrounded by the same dramatic landscape that inspired Friedrich Nietzsche and Thomas Mann. It is a place away from the everyday where there is more of a chance to slow down, to appreciate art, and to think differently.” ALEXANDER LOBRANO

CLOCKWISE FROM TOP LEFT: DMITRY CHULOV/SHUTTERSTOCK; COURTESY OF BADRUTT’S PAL ACE HOTEL/THE LEADING HOTELS OF THE WORLD; ROMANO SALIS, COURTESY OF VITO SCHNABEL GALLERY; COURTESY OF GALERIE KARSTEN GREVE

Clockwise from above: Badrutt’s Palace Hotel is a gathering spot for Saint Moritz’s most fashionable crowd. The resort’s Le Grand Hall. Vito Schnabel’s gallery occupies the space that formerly housed Bruno Bischofberger’s.

Joel Shapiro’s Untitled sculpture has pride of place outside Galerie Karsten Greve.

Maitland-Smith and Pearson are licensed trademarks of Hickory Chair, LLC Š2018

The

Collectors

COLLECTING IS A CURIOUS ART. WHAT MOTIVATES ONE TO PURSUE OLD MASTERS, ANTIQUE JEWELRY, OR ARTIST-DESIGNED CARS? FOR SOME, A COLLECTION IS DRIVEN BY EMOTION; FOR OTHERS, IT’S MORE SYSTEMATIC. WHATEVER THE APPROACH, A COLLECTION SPEAKS OF A PERSON’S INSPIRATIONS, PASSIONS, AND UNIQUE VIEW OF THE WORLD. HERE, WE ASKED TOP ART AND DESIGN TALENTS TO SHARE THE STORIES BEHIND THEIR TREASURES. PRODUCED BY LUCY REES

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The first vehicle in Larry Warsh’s art-car collection was this Keith Haring Buick.

Opposite: Amy Gold and Tamsin Gorvy with artworks

by Marcel Dzama.

COURTESY OF PRIVATE COLLECTION AND VENUS OVER MANHATTAN. OPPOSITE: GENEVIEVE GARRUPPO

ART • FASHION • ARCHITECTURE • JEWELRY

“For me collecting is about understanding the energy of the times; it’s about reading between the lines and making choices,” says New York collector and publisher Larry Warsh. “I think collecting is also about assessing, evaluating, and absorbing an artist and the unique narrative of their work. Good collecting is not about following the latest trend; it’s about vision and courage. I often ask myself, Why is this artist important? What is this artist communicating? That helps guide my thinking process.

“I started collecting art in a focused way during the 1980s,” Warsh continues, “and I was friendly with Rene Ricard, an important critical theorist of the day.

Rene was a brilliant person who wrote a lot about art,

and his thinking was influential to my perspective and journey as a collector. He attuned me to the intensity of the moment and the work of Jean-Michel Basquiat and Keith Haring, and that led me to the action of collecting. The combination of intuition, timing, influence, and exposure really gave me a sense of confidence in how to assess and collect.

“The art-car collection began thanks to gallerist Adam Lindemann. I owe it to him for inspiring me to start collecting after I loaned the Haring car to his ‘Piston Head’ exhibition during Art Basel in Miami Beach in 2013. It occurred to me this was an interesting area. Again, it was that same combination of timing and intuition.” ROZALIA JOVANOVIC

Brett Gorvy, Amy Gold, Tamsin Gorvy

 CARS

Larry Warsh

 ART

It’s never too early to start collecting. Just ask Tamsin Gorvy, the 13-year-old daughter of art-world heavyweights Brett Gorvy, cofounder of the Lévy Gorvy gallery, and his wife, art dealer Amy Gold. When Tamsin was born, the couple, who met at Christie’s, decided they would gift her an artwork every birthday. Tamsin’s bedroom now features an impressive array of works by Lorna Simpson, Gabriel Orozco, Lauretta Vinciarelli, and her favorite, a small watercolor by Brazilian artist Jac Leirner. “We felt it would be something meaningful to share with her,” says Gold. And while the style of works has developed from the whimsical figuration of Marcel Dzama to an early abstraction by the Japanese Gutai group, nothing is childish. “We bought things that she would have forever and grow with her,” says Gold. The couple’s own collection, which is prominently displayed throughout their elegant Upper West Side apartment, is dedicated to photography and works on paper and ranges from Agnes Martin and Cy Twombly to radical feminist artists such as Hannah Wilke and Sonja Sekula. “Living with art is a privileged experience, and it allows a special connection with the artists,” says Brett. “We wanted to instill a love of art in Tamsin’s world.” —LUCY REES GALERIEMAGA ZINE.COM

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ARCHITECTURE

French dealer Patrick Seguin was first struck by the work of architect Jean Prouvé in the late 1980s, long before his midcentury creations were on the top of every designer’s dream-house checklist. Since then, Seguin has devoted his career to collecting not only his furniture pieces but also—impressively—his demountable architecture. He purchased his first Prouvé house in 1991: the 1948 Ferembal House, which he had architect Jean Nouvel readapt.

“These structures deserved to be recognized as important works of midcentury French architecture,” says Seguin, who now has 23 houses, which range in size from 390 to 2,066 square feet and are stored in a large warehouse.

(He has sold a few to friends, notably Richard Prince and Miuccia Prada.) “Prouvé’s work as an architect combined a practical and honest approach, a relentless search to exploit his materials to the best of their ability, and a consciousness of his surroundings.”

FA S H I O N

“There is no real life in clothes until they’re on a body,” says journalist Amy Fine Collins, whose vast wardrobe includes runway samples from Geoffrey Beene, James Galanos, and Thom Browne. Collins’s relationship with Beene was “one of these perfect kismet matches,” as she describes it. “I couldn’t imagine any other designer’s clothes on my body because he just completed me in such an ideal way.” After Beene’s death in 2004, she started searching for more of his original designs in thrift shops, resale stores—even her friends’ closets. Yet she never retired pieces, just cycled them in and out of storage while she waited for the silhouettes to come back in vogue. “It’s not just collecting clothing as objects; it’s collecting clothing as usable objects, little masterpieces.” —JILL SIERACKI

JEWELRY

From top: Amy Fine Collins in a vintage Geoffrey Beene dress. A circa-1945 Van Cleef & Arpels diamond, ruby, and turquoise “Clip Danseuse” brooch (left) and a 1945 emerald, ruby, and diamond bracelet

by Cartier. Jean Prouvé’s 1957 Temporary School of Villejuif.

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Fiona Druckenmiller

JACQUELINE TERREBONNE

Vintage jewelry purveyor Fiona Druckenmiller recalls at an early age admiring her mother’s weighty 1970s gold chains and oversize Tiffany & Co. peridot studs.

In her 20s, she began acquiring her own bijoux,

by Van Cleef & Arpels, Bulgari, and Suzanne Belperron. “I look for pieces that are exceptional in their uniqueness,” says Druckenmiller, who cites a coral, onyx, and diamond Art Deco Cartier ring once owned by Marjorie Merriweather Post as a particular treasure. “It is a perfectly preserved example of the unparalleled work the house was doing at that time,” she says. “I also feel a certain kinship with its original owner, as two women who really enjoy jewelry.” J.S.

FROM TOP: BARBARA ALPER/GETT Y IMAGES; COURTESY OF FALCONE STUDIOS (2); COURTESY OF GALERIE PATRICK SEGUIN

Patrick Seguin

Amy Fine Collins

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ART 

It was the late Parisian fashion designer Azzedine Alaïa who alerted Carla Sozzani to the fact that her 1,000plus pieces of 20th- and 21st-century photography could be called a collection. “I bought my first pictures in 1968 but didn’t realize I was ‘collecting,’ ” says Sozzani, the founder of luxury concept store 10 Corso Como. “I just bought things because I liked them.”

Sozzani’s collection includes images by the legendary photographers she collaborated with during her years as a fashion editor for Italian Vogue and Italian Elle, from Paolo Roversi and Sarah Moon to Bruce Weber, Helmut Newton, and Richard Avedon. Some of her favorite pieces include an Irving Penn warrior photograph and a Man Ray self-portrait, but it’s the work of Francesca Woodman that has the deepest resonance.

“All of her pictures are about the discovery of herself as a woman,” says Sozzani. “They are very touching.”

Last year, some 200 of Sozzani’s most iconic images were displayed in the exhibit “Between Art & Fashion.”

These days, however, she is less occupied with adding to her cache. “When I see something I like, I have much less compulsion to buy it than I used to,” she says. “My collection was born spontaneously from the heart, and it will continue that way.”

—SHELLIE KARABEL

Norman & Irma Braman “It’s a pure love of art—that’s what guided our collection from the very beginning,” says Norman Braman, who, along with his wife, Irma, has amassed one of the deepest and richest collections of 20th- and 21st-century art in the world. Says Irma, “Curators will marvel at the way Norman shows the work in a different light.”

Built over four decades, the Bramans’ collection spans Willem de Kooning, Jasper Johns, and Jean-Michel Basquiat—there’s even an entire room filled with Alexander Calders. The philanthropic couple, who recently funded a new permanent home for the Institute of Contemporary Art, Miami, first fell for Calder in the late 1970s. “We like to collect in depth,” Norman says. “And it was a time when Calder’s prices hadn’t spiraled to the degree they have now.” These days, the caliber of works the Bramans are interested in buying is increasingly tied up in museums, private collections, or foundations, but they still have some lucky encounters, such as acquiring Picasso’s The Lovers (1923) practically straight off the wall of a Guggenheim exhibition. As for what’s left on their wish list, “we are not looking for names to fill in the gaps. But I have always wanted a Pollock,” Irma says. “He was the one who got away.” —l.r.

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 PHOTOGRAPHY

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Clockwise from above: Photography collector Carla Sozzani. Erwin Blumenfeld’s Le Décolleté (The Décolleté) and Gli Italiani si voltano (Italians turn around),

by Mario De Biasi.

FROM TOP: NICK GARCIA; © THE ESTATE OF ERWIN BLUMENFELD; VICTOR BOYKO/WIREIMAGE; © ARCHIVO MARIO DE BIASI

Carla Sozzani

Norman and Irma Braman with works

by Alexander Calder.

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 ART

“Every collector is in love with—and extremely knowledgeable about—the objects they own,” says Max Hollein, the newly appointed head of the Metropolitan Museum of Art. “As the director, you’re the custodian. Collectors have a more personal and intimate relationship with the objects and can even teach museums how to look at them in different ways. They also care about creating the perfect environment—surrounding each piece with the right works, so there’s a complete narrative. The great collector and philanthropist Leonard Lauder’s incredible gift of Cubist works is a testament to that, with the most recent addition of Juan Gris’s work The Musician’s Table from 1914. This extraordinary masterpiece exemplifies Cubism at its best. He wanted to have that shared.” —j.t.

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Juan Gris’s The Musician’s Table is included in The Met’s Leonard A. Lauder Cubism collection.

 JA ZZ RECORDS

“I’ve always found that jazz, especially from the 1950s and ’60s, is consistent with the approach we have to furniture,” says Ralph Pucci, the esteemed New York design dealer. “It’s all about elegance, sophistication, and exploration. I’ve amassed around 700 jazz recordings from that time frame and sometimes find that the cover art is just as inspiring as the music. I have a Chet Baker album with a John Altoon–designed cover that resembles the new David Storey mural outside our Los Angeles showroom, and so many ones by Andy Warhol.

I’m always picking up more at the phenomenal Academy Records, which is conveniently just a few doors away from my showroom in New York.”

—J.T.

CLOCKWISE FROM TOP LEFT: TIM STREET-PORTER; CHRIS FORTUNA; COURTESY OF BLUE NOTE RECORDS; COURTESY OF THE METROPOLITAN MUSEUM OF ART, NEW YORK (2)

With his timeless style, it comes as no surprise that interior designer Robert Couturier gravitates toward Old Masters.

While a sale at Christie’s last spring featured some 100 of his belongings, Couturier hung on to his treasured collection of portraits. Arranged salon-style throughout his country estate in Kent, Connecticut, the paintings represent a whole cast of characters, from the pregnant Marchioness of Worcester, who died in childbirth, depicted by English court painter Gilbert Jackson to lords and ladies by Rhode Island portraitist Gilbert Stuart. There’s even a pair of paintings of a husband and wife by Ammi Phillips from 1820 that Couturier reunited after finding them at separate auction houses. “I don’t care very much about who made the particular painting,” says Couturier. “I’m attracted to the person and the idea of him or her.” —J.T.

Ralph Pucci

 PORTRAITS

Max Hollein

A Gilbert Jackson portrait in the Connecticut home of Robert Couturier.

Robert Couturier

800.262.0336

Clockwise from left: Patricia Wells inside her Paris cooking school. The space reflects the warm, muted colors of her home in Provence.

A recent class dish—chickpea crepes with zucchini and herbs.

The kitchen atelier is tucked behind gardens off the rue du Bac.

Main Menu

COOKBOOK GODDESS PATRICIA WELLS CONJURES A DREAMY NEW PARISIAN KITCHEN ATELIER

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IDHA LINDHAG

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ined with jewel-box boutiques and patisseries, and bustling with shoppers, the rue du Bac is one of the chicest—and busiest—streets in Paris.

But behind a set of heavy carriage doors on a picturesque Directoire building hides a serene and sunny space suffused with warm color and cooled by breezes through centuries-old linden trees—it’s the kitchen atelier of celebrated American cookbook author and teacher Patricia Wells.

For 17 years, Patricia and her husband, Walter, have lived on the ground floor of this gracious mid-19th-century building. When a neighboring apartment recently came free, Wells jumped at the opportunity to bring her renowned cooking school next door to her home. She worked with Alon and Betsy Kasha, founders of the Paris design group A+B Kasha, to transform the apartment—which had been untouched for decades—into an elegant, intimate kitchen atelier that deftly combines Parisian style with modern convenience. “The Kashas have a clean, classic look; there’s nothing brand-new about it,” says Wells. “At the same time, the entire atelier is completely up to date.”

Reflecting Wells’s love of Provence, where she and Walter have a home, the rooms are splashed in shades of yellow—from a custom Lacanche stove in earthy ocher to the salon’s buttery leather sofas. Stone floors in pale lemon, canary-bright rattan café chairs, and gold-dipped cast-iron hardware gleam against cream-colored cabinets that mirror the light. “There wasn’t any question there was going to be yellow,” says Wells. “In my head it’s just sunshine, which we need a lot of in Paris.”

terrasse is a slender garden that features unusual varieties like shiso and oyster plants alongside classic fines herbes like tarragon, thyme, and mint.

Though Wells regularly changes her class menu, recent examples of her seasonal, market-fresh dishes include delicate chickpea crepes with zucchini and herbs; steamed turbot with peas, spinach, and kaffir lime; and an aromatic rosemary sorbet. The recipes are all emblematic of Wells’s cuisine, abundant with fruits and vegetables and featuring herbs grown in her beloved garden, which, like everything in the atelier, was meticulously planned.

“It took us a full year to work out all the details and obsess over them,” she admits. “But now it’s just a dream come true.” patriciawells.com ANN MAH

From far left: A private terrasse becomes an outdoor dining room in summer.

Steamed turbot with peas and spinach in a lemongrassinfused sauce. A custom Provenceyellow Lacanche range in the kitchen atelier.

Restored stone walls contribute to a rustic atmosphere, while the generous center island offers ample space for Wells’s students to practice their new knife skills on oversize ash boards that stretch almost the width of the counter. “This is a clean look but still lived in,” she says, “because when you’re cooking you need to have everything in reach.”

Tucked at the back of a leafy, cobblestone courtyard, the atelier owes its breezy brightness to a wall of French windows that open onto a private terrasse that in the warmer months doubles as an outdoor dining room and salon, thus expanding the cozy 800-square-foot interior. Beyond the 74

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IDHA LINDHAG

“This is a clean look but still lived in, because when you’re cooking you need to have everything in reach,” says Patricia Wells

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Art Smarts

BUILDING ON HER FATHER’S LEGACY, ELIZABETH MARGULIES SETS A BOLD NEW PATH

W

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ROZALIA JOVANOVIC

Visit galeriemagazine.com for an exclusive look at Elizabeth Margulies’s list of emerging artists to know.

DANIEL DORSA

Elizabeth Margulies with a work by Daniel Buren at Bortolami Gallery in New York.

hen Elizabeth Margulies was studying for her master’s degree in modern and contemporary art at Sotheby’s Institute of Art in New York, friends started looking to her for advice. “Have you heard of this artist?” they would ask. “Is it a good price?”

Thus Margulies’s career as an art adviser was launched. But as the daughter of Martin Margulies—whose collection is world-renowned and a perennial draw during Art Basel in Miami Beach—art was almost certainly her destiny. “I grew up in a home with many historical artworks and traveled to art fairs with my dad when I was a child,” says Margulies, who attended her first Venice Biennale at age eight. “I’ve always loved art.”

Today, as the founder of Elizabeth Margulies Art Consulting, she is helping carve the careers of emerging and midcareer artists, including Tomas Saraceno, Iván Navarro, and Shara Hughes, by supplementing and enhancing the exposure they get through their galleries or, in some cases, working with artists who aren’t represented. As the art market becomes increasingly dominated by galleries with global footprints, Margulies is blazing a new trail by creating unconventional opportunities for artists, like connecting them with commercial projects or facilitating unique installations. She’s also built a client base of private collectors and real-estate developers who have highly visible public spaces, such as Flaneur Hospitality, for which Margulies is curating an art program of emerging talent.

Also for Flaneur, Margulies enlisted David Salle to create two massive prints of his works to adorn the scaffolding of an under-construction luxury hotel. “We thought it would be great to start with a bang and activate the façade of the building,” she says. “Why not use it as a blank canvas and give the gift of public art to the people?”

In addition to nurturing talent, Margulies also sees her role as helping the public develop a deeper appreciation for art. “I want to make people aware of the intrinsic value of art,” she says thoughtfully, “the rewards and the cultural capital that art brings to every project or city.” elizabethmargulies.com

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BOOKS

Window Watchers A SHIMMERING NEW TOME

CELEBRATES TIFFANY & CO.’S MOST DAZZLING DISPLAYS

The oversize, hand-bound monograph (left) includes this window collaboration with Baz Luhrmann and Catherine Martin, which featured pieces from the brand’s Great Gatsby collection, such as the Savoy diamond and freshwater pearl headpiece (above).

JACQUELINE TERREBONNE

WINTER BOOKS WE LOVE The Gardens of Bunny Mellon

Even without formal training, Rachel “Bunny” Mellon created scores of magical outdoor spaces. This lush volume documents her horticultural sculpting, including her transformation of the White House grounds for the Kennedys.

Vendome Press, $60 78

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Picasso’s Kitchen One of Pablo Picasso’s most frequent muses was food, with everything from fruit bowls to lobsters appearing in his work.

This book not only showcases those pieces but also delves into some of the artist’s favorite haunts and how they figure into his oeuvre. La Fábrica, $55

François-Xavier & Claude Lalanne: In the Domain of Dreams

The Lalannes’ 50 years of collaboration has produced copious treasures—from flocks of sheep to a baboon fireplace—that appeal to collectors like Reed Krakoff and Peter Marino. This monograph captures the couple’s most coveted sculptures. Rizzoli, $85

COUNTERCLOCKWISE FROM TOP: RICKY ZEHAVI; COURTESY OF ASSOULINE; ROGER FOLEY; COURTESY OF ARTBOOK D.A.P.; COURTESY OF RIZZOLI

J

ewelry windows generally follow a formula, but not at Tiffany & Co. Its intimate, small-scale windows at the Fifth Avenue flagship have lured many a shopper—including its most famous fictional fan, Holly Golightly—with their witty, inimitable creations.

“The opening of Breakfast at Tiffany’s is such an iconic scene,” explains Richard Moore, the brand’s VP of global store design and creative visual merchandising. “People come from all over the world for that moment, and I hope they’re not disappointed.”

Theatricality in Tiffany displays actually goes back to the house’s inception, when founder Charles Lewis Tiffany installed a guardrail outside the window. In the 1950s, window display artist Gene Moore transformed Fifth Avenue retail with his magical inventions, collaborating with painters Jasper Johns, Andy Warhol, and Robert Rauschenberg—the latter of whom once joked, “Moore noticed me before Leo Castelli did.” Richard Moore and Charles Young now dream up the witty windows, and the sketches for their vignettes are just as carefully guarded in the Tiffany archive as the jewels.

In time for the holidays (and holiday windows), a new collectible book entitled Windows at Tiffany & Co. (Assouline, $845) celebrates the highlights of these imaginative feats—such as a window inspired

by The Great Gatsby, created by filmmakers Baz Luhrmann and Catherine Martin and bubbling over with glamour. Peppered with quotes from famous Tiffany fans—from Lady Gaga to Bob Colacello—the special Assouline Ultimate Collection volume includes images of the most beloved windows, hand-tipped illustrations, and never-seen-before sketches. And naturally, the covetable keepsake comes encased in its very own blue box.

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A DAZZLING SERIES OF

EXHIBITIONS MARKS THE 50TH ANNIVERSARY OF AFRICOBRA 80

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lthough the African-American artist collective AfriCOBRA was born out of the civil unrest of the late 1960s, the group feels just as poignant today. As it celebrates its 50th anniversary, paintings, sculptures, and mixed-media pieces by its founders—and others who joined later—have been headlining gallery shows, including ones at Kavi Gupta in Chicago and Kravets Wehby in New York.

They’re also being incorporated into groundbreaking group exhibitions, such as “Soul of a Nation: Art in the Age of Black Power,” which originated at Tate Modern and is on view at the Brooklyn Museum through February 3.

COURTESY OF BARBARA JONES-HOGU

Color Form

AfriCOBRA cofounder Barbara JonesHogu’s 1973 screen print When Styling.

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Right: Phantasm # 1 by Gerald Williams. Below: Jae Jarrell’s mixedmedia piece Frock You. Both are exemplars of the work that came out of AfriCOBRA.

AfriCOBRA embraced what it called “coolade colors” as celebratory statements of black culture Its aesthetic philosophy centered on exalting the black experience, employing references to African national and traditional symbols in syncopated, kaleidoscopic rhythms.

Donaldson called the style “TransAfrican” and defined it as “superreal”—art that exceeded reality.

AfriCOBRA arrived when black artists were systematically being denied access to the greater art world and there was little institutional support for people of color; museums, still very Eurocentric, rarely showed black artists, nor did they hire black curators or critics. The collective’s depictions of black subjects in moments of triumph, or “shine,” were images that institutions had so far failed to show. “They themselves became a kind mini-institution,” says Hayes of AfriCOBRA. At the MOCA North Miami exhibition, on view until April 7, works of the founding members are presented alongside projects by artists who later joined the group, including Nelson Stevens, Napoleon Jones-Henderson, Omar Lama, Sherman Beck, and Carolyn Lawrence. On display are pieces that focus on the black family, an early theme central to the artists’ work. “They decided what they could contribute was a visual aesthetic,” says Hayes, “not just for the late 1960s into the early ’70s, but into contemporary times.” JANELLE ZARA

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COURTESY OF THE ARTISTS AND KAVI GUPTA

“AfriCOBRA was a response not only to the political climate of the Black Power movement, but also thinking about how artists—black artists—could participate in a time of struggle and liberation in the United States,” says Jeffreen M. Hayes, curator of “AfriCOBRA: Messages to the People,” which is currently on display at the Museum of Contemporary Art North Miami and kicks off with an artists’ reception during Art Basel in Miami Beach.

Cofounded in 1968 by the late artist Jeff Donaldson alongside talents Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu, and Gerald Williams, AfriCOBRA embraced what it called “coolade colors”—vibrant and hypersaturated shades of orange, strawberry, cherry, lemon, lime, and grape—as celebratory statements of black culture. The group, whose moniker is short for African Commune of Bad Relevant Artists, took on Donaldson’s 1969 essay, “10 in Search of a Nation,” as its manifesto: “Color that is expressively awesome. Color that defines, identifies, and directs.

Superreal color for Superreal images.”

We bring our classic tastes, anywhere you wish.

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Miami Design District’s Jungle Plaza event space was created in collaboration with studio 2x4. Below: Dispersing Surrounding by Kishio Suga will be on display at the Margulies Collection at the Warehouse during Art Basel.

GLOBAL ARTS CLUB THE CULTIVIST CURATES THE ULTIMATE TOUR OF MIAMI’S CULTURAL HIGHLIGHTS

F

rom its magnificent Art Deco District to the colorful neighborhood of Wynwood, Miami is known as the Magic City for a reason. And thanks to Art Basel in Miami Beach, the prestigious annual fair that returns in December, the city’s charms are quite familiar to those involved with the arts. But Miami’s cultural riches don’t end with Basel. South Florida boasts some of the country’s best museums, collections, and public art. These are our picks to take in Miami’s unique creative energy.

THE BASS MUSEUM OF ART Popular with locals because of its centuries-spanning collection and its always surprising programming, the Bass Museum of Art

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THE DESIGN DISTRICT Don’t miss the neighborhood’s eye-catching public art, including a bus stop designed by Urs Fischer, murals by renowned studio 2x4, and a site-specific installation by Zaha Hadid in the historic Moore Building. Another neighborhood draw is the Institute of Contemporary Art, Miami, which opened last December. The firm that designed the building, Aranguren + Gallegos Arquitectos, has explained it wanted to make ICA Miami a “magnet for the public” in an area already filled with attractions such as luxury boutiques and high-end restaurants. The museum makes a strong first impression, thanks to its tessellated metallic façade, but inside, visitors are always greeted with new and challenging displays. Highlights this winter include a series of sculptures by Louise Bourgeois made from a single pink fur coat as well as major surveys of Larry Bell and Judy Chicago.

P R I VA T E C O L L E C T I O N S Miami’s incredible private museums are an integral part of the city’s art scene. Housed in a former Drug Enforcement Agency warehouse in Wynwood, the Rubell Family Collection is currently presenting a retrospective of Miami painter Purvis Young. In late 2019, the Rubell collection is set to move to a new and larger facility designed by Selldorf Architects. There is also

FROM TOP: EDUARDO REZENDE; COURTESY OF COLLECTION MARTIN Z. MARGULIES

Beyond Basel

occupies a stunning, recently renovated Art Deco building in Miami Beach. When approaching the Bass through Collins Park, make sure to take a few moments to contemplate Ugo Rondinone’s Miami Mountain (2016), a monumental sculpture that, in the words of the museum, reflects a spirit of “romantic minimalism.” This winter, the Bass presents a show by Paola Pivi, an Italian artist known for her humorous and surreal installations involving animal sculptures, such as her trademark feather-covered bears. Also on view are works by the Haas Brothers, a duo whose elegant yet vaguely unsettling sculptural objects blur the line between fine art and design.

the Margulies Collection at the Warehouse, another Wynwood staple that is known for large-scale installation art, including past exhibits by Anselm Kiefer and Ernesto Neto. This December, the Margulies Collection presents an exhibition by Japanese artist Kishio Suga, an innovator of installation art since the 1960s, when he helped pioneer the Mono-ha movement, which staged encounters between natural and industrial materials.

W YNWOOD WALLS In 2009, American real-estate developer Tony Goldman decided to do something extraordinary with Wynwood’s warehouse buildings with the goal of encouraging the integration of art into people’s daily life. Starting with a cluster of six properties around 25th and 26th Streets, Goldman

invited artists to approach the walls as if they were canvases, creating an outdoor exhibition space of unlimited potential. The project grew from there, and today Wynwood Walls is one of the world’s top destinations for street-art enthusiasts and has expanded to include Wynwood Doors and Wynwood Walls Garden.

PÉREZ ART MUSEUM MIAMI Housed within a sculptural waterfront building designed by Herzog & de Meuron, Pérez Art Museum Miami is exhibiting pieces by Ebony G. Patterson, a Jamaican artist whose work is marked by acute social observation and intricate layers of decorative motifs, including flowers, glitter, lace, and beads.

Also on view is For Those in Peril on the Sea (2011), a large-scale installation by the London artist Hew Locke that speaks to Miami’s long history as a destination for immigrants traveling from the Caribbean.

After taking in the institution’s international array of works, snag a table under botanist Patrick Blanc’s hanging gardens at on-site bayside café Verde.

BAKEHOUSE ART COMPLEX A former Art Deco bakery houses one of Wynwood’s most vibrant arts centers: Bakehouse Art Complex provides artists with residencies and studio space while offering dynamic programming, including exhibitions and classes, to the local community. Close to 60 artists use the facilities to create projects in a range of media, from painting to video.

Meanwhile, visitors can walk through the open studios to meet with artists and gain insight into their process. PATRICK FINN

CLOCKWISE FROM TOP LEFT: JOE KRAMM, COURTESY OF THE ARTISTS, R & COMPANY, NEW YORK, AND MARIANNE BOESKY GALLERY, NEW YORK AND ASPEN; DANIEL AZOUL AY; JUAN E. CABRERA; COURTESY OF RUBELL FAMILY COLLECTION

Clockwise from right: The Haas Brothers’ Spotley Cru beaded chair will be part of an exhibition at the Bass Museum of Art. Artist Hew Locke’s installation For Those in Peril on the Sea is in the permanent collection of Pérez Art Museum Miami. The exterior of Pérez. Thrill Issues by Janiva Ellis, on display at the Rubell Family Collection.

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TADAO ANDO CRAFTS A MASTERFUL ART SPACE OUT OF A FORMER APARTMENT BUILDING

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ritzker Prize–winning architect Tadao Ando is known for his lyrical use of exposed concrete, evidenced in minimalist masterpieces like Japan’s Church of the Light and the Pulitzer Arts Foundation in St. Louis. While he rarely does private houses, Ando designed a residence in Chicago’s Lincoln Park area for media entrepreneur Fred Eychaner in the 1990s.

While the house was under construction, Eychaner bought

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FRED A. BERNSTEIN

FROM TOP: JEFF GOLDBERG/ESTO (2); HIROMITSU OGATA

Wonder Walls

the 1920s apartment building next door and eventually let the tenants’ leases run out. Recently, he began working with Ando to turn that building into an exhibition space for art, architecture, and historical artifacts. Called Wrightwood 659, it opened in October with the show “Ando and Le Corbusier: Masters of Architecture,” which explores the relationship between the The floating Japanese and Swiss modernists. Among staircase inside the items on display are 106 small Wrightwood 659 models of Le Corbusier buildings made beautifully contrasts with the building’s

by Ando’s students and a much larger original brick, which model of Naoshima, the “art island” on was exposed when Tadao Ando (inset) which Ando has built several museums transformed and a hotel. the space.

Architecture buffs will find the design of Wrightwood 659 as arresting as its exhibitions: Behind the structure’s original brick-andlimestone façade, Ando created three floors of galleries set into an angled atrium beneath a dramatic slit of a skylight.

“The interstitial space between the concrete galleries and brick walls connects the layers of the building and becomes a circulation zone,” says Ando. The top floor opens onto an elegant roof terrace with spectacular views in all directions.

(Daniel Whittaker, who cofounded Wrightwood 659, served as the link between Ando and the construction team; Eychaner calls Whittaker the “design-purity enforcer.”)

Now Whittaker and director Lisa Cavanaugh are planning an ambitious program that includes a reinstallation of “Dimensions of Citizenship,” the U.S. exhibition at the 2018 Venice Architecture Biennale, followed by an exhibition that will commemorate the 50th anniversary of the Stonewall riots.

Regardless of what’s on view, however, Ando hopes “the spirit of this architecture prompts a dialogue between the traditional and the contemporary.” At that, he is a master. wrightwood659.org

Clockwise from left: An aerial view of the Grande 35 Metri yacht Achille Salvagni designed for Azimut. The vessel’s luxurious deck bar is crafted from glossy mahogany with chrome inserts. The living area includes Dedar fabrics and silk rugs.

Next Wave

ACHILLE SALVAGNI’S AWARD-WINNING SUPERYACHT INTERIORS SHIMMER WITH CUSTOM DETAILS

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PAOLO PETRIGNANI

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ver since Achille Salvagni designed his first yacht interior—an unremunerated “challenge” commission for a client whose office he was in the process of completing—he has been perfecting his approach to these unique living spaces. As compared with cultivating the perfect ambience for a luxury residence, designing a ship’s interior comes with its own pertinent set of questions, including what type of environment do you need when you’re in Capri one day, on the Côte d’Azur another day, and in the Caribbean yet another? And how do you proceed when you cannot connect the project to any neighborhood, heritage, or legacy?

Salvagni addressed each of those points—as well as the quandary of how to mitigate the sharp aerodynamic edges and glossy, high-tech surfaces of a yacht’s exterior and the constants of intense, changing light and blue seas—for the interiors of a recently completed 115-foot Azimut yacht. The living spaces are all about curves, “softness and gentleness,” says Salvagni of the vessel, owned by an American banking family and boasting down-to-the-last-millimeter precision on three decks. “There is nothing that overwhelms you, no edge that disturbs you.”

Indeed, every element exudes a supple elegance conducive to absolute ease and rest, from the elliptical master staircase, with its

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leather-finished, backlit onyx steps, to the salon’s vast circular seating area and the lobby’s wavelike mahogany console. In the main cabin, ingenious “wings” extend from the headboard to enfold round-edged nightstands.

Completed over two years by approximately 75 shipyard artisans—among them cabinetmakers, upholsterers, and metalsmiths working under Salvagni’s direction—the interior design is on par with this vessel’s pedigree: Legendary motor yacht designer Stefano Righini devised the concept and exterior styling of this Grande 35 Metri for Azimut Yachts, one of the industry’s leading high-end manufacturers, based in Viareggio, Italy.

Since its unveiling, “a long list of clients have asked to have exactly the same boat,” says Salvagni, who describes himself as “above all an architect, then a designer, and thirdly a decorator.” That they would want this particular vessel with this specific interior speaks volumes about the assuredness of 92

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Salvagni’s aesthetic and the quality of his work—which has been receiving acclaim since his first foray into yachts in 2006. His initial challenge vessel won the World Yachts Trophies Award for interior design at the prestigious Cannes Boat Show in 2007.

In the ensuing years, Salvagni—a designer steeped in historical references who was born in the Eternal City and received his master’s in architecture there—has become a growing force in yacht interior design and now divides his time equally between vessels, residences, and the flawlessly handcrafted furniture he showcases at Achille Salvagni Atelier in Mayfair, London, and Maison Gerard in New York.

A confirmed wit, Salvagni has a final bon mot to describe the design jump from his initial 86-footer to the 120-foot superyachts he is now appointing: It’s like going from “a pied-à-terre,” he says, “to a big villa by the shore in Malibu.” CHRISTINE SCHWARTZ HARTLEY

PAOLO PETRIGNANI

Clockwise from top left: Customdesigned lacquered wood furnishings complement Achille Salvagni Atelier art.

Sinuous lines on custom pieces by the designer. In the owner’s suite, Salvagni’s Sting lamp adorns a custom lacquered wood-and-brass desk and a chair in a Dedar fabric. The yacht’s interior designer, Achille Salvagni.

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} ROY LICHTENSTEIN | CERAMIC SCULPTURE #10 (1965)

On the Block

FASCINATING SALES FROM AROUND THE WORLD

BY JEANNIE ROSENFELD

Sold at Phillips London (October 5)

Seizing on the growing appreciation for modern and contemporary ceramics, Phillips held its first dedicated sale of 20th- and 21st-century works in clay. “Shape & Space: New Ceramic Presence” was organized by influential Italian curator Francesco Bonami. Among the top lots was this playful take on coffee cups and saucers by the Pop master, which brought £309,000 ($402,000).

STUDIO OF JEAN-MICHEL BASQUIAT | VINYL-ANDCHROME-PLATED STEEL CHAIRS (CIRCA 1955)

~ ZAO WOU-KI | JUIN-OCTOBRE 1985 (1985)

Sold at Sotheby’s Hong Kong (September 30)

This rare, monumental triptych was commissioned by architect I. M. Pei and displayed at Raffles City shopping center in Singapore. The work exemplifies how the Franco-Chinese artist, who died in 2013, fused Chinese ink traditions with Western Abstract Expressionism in enchanting, tonal brushstrokes.

In recent years, Zao’s work has been increasingly sought after by major institutions, and the astounding HK$510,371,000 ($65,197,418) paid for this offering asserts his global status.

~ HUSQVARNA | 400 CROSS MOTORCYCLE (1970)

Sold by Bonhams at the Barber Vintage Festival, Birmingham, Alabama (October 6)

In its first auction coinciding with this annual Barber Vintage Motorsports Museum event, Bonhams offered more than 100 classic motorcycles. This iconic dirt bike, ridden by legendary actor Steve McQueen in the documentary On Any Sunday, brought $230,500.

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A testament to Jean-Michel Basquiat’s unwavering star power, 11 items consigned by a friend of the artist, including rudimentary drawings and unattributed portrait photographs, all commanded multiples of their estimates.

Expected to bring between $2,000 and $3,000, these two chairs from his studio, which were featured in a February 1985 New York Times Magazine cover story, fetched $149,000.

COUNTERCLOCKWISE FROM TOP: COURTESY OF PHILLIPS; COURTESY OF SOTHEBY’S; COURTESY OF BONHAMS; LIZZIE HIMMEL

Sold at Wright Chicago (September 27)

Pho to : Matthe w Millman

2 HENRY ADAMS, SUITE 350, S A N F R A N C I S CO, C A 9 4 1 0 3

T E L E P H O N E : 4 1 5 . 9 4 7. 7 0 0 0

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Great Escapes

EXTRAORDINARY NEW HOTELS ARE TRANSFORMING THEIR PUBLIC SPACES WITH GALLERY-WORTHY ART COLLECTIONS

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hen the remote Japanese island of Naoshima was transformed into an art-and-architecture lover’s paradise dotted with Tadao Ando–designed buildings, contemporary public works, and otherworldly galleries, it ignited a trend for upscale travel experiences that offer next-level cultural immersion. “Today’s luxury traveler is

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seeking a more enriching experience than a fly-and-flop vacation,” says Albert Herrera, senior vice president of global product partnerships at luxury travel adviser Virtuoso.

“Showcasing local artists within hotels allows the guest to get a feel for the destination in a more personal way. What we’re seeing now, though, are hotels that use their public spaces almost like museums, featuring works of art in a more pronounced way. The trend is certainly reaching new levels of inspiration and sophistication.”

From Scotland to the Maldives, art is no longer just hotel decor—it’s part of the attraction. After purchasing a 55-acre vineyard in South Africa’s verdant Stellenbosch Valley (about 30 miles east of Cape Town), Laurence Graff, founder and chairman of Graff Diamonds, opened the Delaire Graff Estate.

The resort and spa functions as an opulent showcase for his extraordinary personal art collection, which includes established traditional masters of contemporary African art, such as William Kentridge, Deborah Bell, Irma Stern, and Alfred Neville Lewis, alongside an exciting new wave of emerging African artists, like Cyrus Kabir and Zanele Muholi.

In December, Graff will unveil six new Superior Lodges, plus a 7,100-square-foot Owner’s Villa, designed in a Cape Dutch style by David Collins Studio, which also devised the rest of the estate. “It’s been satisfying to watch them take shape,” says Graff of the suites. “The African influence can be felt in every space, from the warm color palette to the bespoke soft furnishings and carefully curated artworks.”

On the outskirts of Arles, France, high-profile arts patron Maja Hoffmann is building a 20-acre campus for her LUMA Foundation, which supports independent artists in photography, the visual arts, and other mediums. Hoffman hired Cuban-born artist Jorge Pardo to completely reinvent the interiors of a 15th-century palace, now christened L’Arlatan, built on the ruins of a Roman basilica nearby.

Pardo filled the space with a riot of kaleidoscopic patterns, lining the 41-room property (6 are reserved for artists in residence) with close to two million handmade mosaic tiles,

COURTESY OF DEL AIRE GRAFF ESTATE

Above: The Owner’s Lodge at the Delaire Graff Estate offers panoramic views of South Africa’s Stellenbosch Valley. Right: Artist William Kentridge’s Untitled, on display in the Delaire Graff Restaurant.

David Patchen

www.davidpatchen.com | david@davidpatchen.com | 650.740.9794 see website for gallery representation

“The idea of getting a bunch of artists to make work for a tiny island is pretty special; to end up in such a far-flung place and get to experience work so far from our normal contexts struck me as unique, and I jumped at the chance to be a part of it,” says Kahn, who created a number of sculptures that will live underwater at the resort’s dive site. “My pieces are all about encouraging people to think about our effect on the ocean—they go from colorful and vibrant to macabre and colorless, a reflection of how humans have made the oceans acidic and unfriendly for sea life. The last piece is a tower with footings for new coral polyps to develop, and I hope the experience encourages people to help the oceans in whatever way they can.” GEOFFREY MONTES

Clockwise from top: The Fife Arms in Scotland. Untitled 3, a porcelain sculpture by Zemer Peled, one of the artists whose work is on view at Joali Maldives. Joali’s poolside luxury beach villa.

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CLOCKWISE FROM TOP: SIM CANETT Y-CL ARKE; COURTESY OF THE ARTIST AND MARK MOORE FINE ART; COURTESY OF JOALI MALDIVES

more than 100 hand-painted doors—each one a work of art in its own right—and a cascade of honeycomb-like chandeliers, which hang majestically within a sculptural spiral staircase.

Another must-visit experience was engineered by influential husband-and-wife gallerists Iwan and Manuela Wirth. Beginning in December, they’ll welcome guests to their art-filled destination in the Scottish Highlands, the Fife Arms in Braemar. Interior designer Russell Sage, Moxon Architects, and landscape design star Jinny Blom collaborated on the extensive two-year restoration of a romantic 19th-century coaching inn built by the Earl of Fife.

The landmark will display more than 12,000 works, antiques, and objects, including site-specific installations by Zhang Enli and Bharti Kher, not to mention historic pieces by renowned Scottish artists Archibald Thorburn and John Maclauchlan Milne. Adding to the allure, a number of artists contributed works particular to the location—for instance, poetic excerpts by Alec Finlay are carved into wooden headboards in many of the 43 guest rooms.

Set on one of the world’s deepest atolls, the Joali Maldives lures art aficionados from around the globe with its on-site studio and gallery. “Each piece was curated using Joali Maldives as an inspiration, incorporating raw materials and nature,” says general manager Steven Phillips of the resort’s impressive roster of works, including pieces by Zemer Peled, Misha Kahn, Nacho Carbonell, Porky Hefer, Chris Wolston, and Doug Johnston. The 24-acre property, with 73 villas, was crafted by the architectural team of Autoban, Atolye4n, and Studio Glitt, and also boasts a whimsical manta-ray-shaped tree house designed by Hefer and a massive ceramic communal table made by Kahn.

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Game Changer

LEADING CHICAGO GALLERIST MONIQUE MELOCHE DISCUSSES HER FAVORITE THINGS

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ne of Chicago’s foremost gallerists, Monique Meloche has launched the careers of Amy Sherald (who painted Michelle Obama’s portrait), Rashid Johnson, and Ebony G. Patterson, who currently has a survey show at Pérez Art Museum Miami. Of her roster, Meloche says, “I’m ridiculously fond of artists who like to do superambitious projects early on in their career.”

Meloche, who recently moved her gallery to a larger space in Wicker Park, is also well known for her taste in fashion and for entertaining visiting artists, curators, and museum directors when they come to Chicago. Here, the art dealer lets us in on her favorite spots in the Windy City as well as her penchant for high heels, pizza, and prosecco.

My mother was a former model, and I kept a ton of her clothes, like this floor-length Diane von Furstenberg wrap dress from the 1970s. There are killer pieces of hers that I incorporate all the time; I like unexpected juxtapositions. I’m also a huge fan of Rick Owens—I probably own more of his pieces than any other designer. But I’m known for my shoes. I have an extensive collection of over 200 pairs; I even did my master’s thesis on the history of the shoe in contemporary art.

My favorite work of contemporary shoe-related art is Doris Salcedo’s series, “Atrabiliarios,” which includes shoes of Colombian women who had been kidnapped. This sculptural piece in Ebony G. Patterson’s new show at PAMM has about 400 women’s shoes covered in black glitter that are hanging in a cloud-like form. I sent her 25 of my own pairs to be included in that installation.

Most of my and my husband’s personal collection is focused on contemporary art, but one of our most awesome

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CLOCKWISE FROM FAR LEFT: KEVIN PENCZAK, COURTESY OF THE SCHOOL OF THE ART INSTITUTE OF CHICAGO; KATRINA WITTKAMP; COURTESY OF 21C MUSEUM HOTELS; ADAIR CREATIVE, COURTESY OF CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, BENTONVILLE, ARKANSAS; COURTESY OF DVF ARCHIVES; COURTESY OF THE ARTIST AND MONIQUE MELOCHE, CHICAGO

Art dealer Monique Meloche in her Chicago gallery with Return to Sender (2018), by Jeff Sonhouse.

From far left: Chicago’s Ikram boutique. The art-filled 21c Museum Hotel and the Crystal Bridges Museum of American Art, both in Bentonville, Arkansas. A vintage Diane von Furstenberg wrap dress.

Below: Ebony G. Patterson’s . . . they stood in a time of unknowing . . . for those who bear/bare witness.

pieces is a 1966 Brunswick pool table that his parents gifted to us when we bought our house. When you walk in, it sets the stage, like there’s going to be some entertaining going on here.

Every year, during Expo Chicago, I do a party with pizza and prosecco; it’s turned into this superfun event for out-of-town curators, artists, and collectors, with a lot of great networking. Sharon Hoffman, a collector from Kansas City, and Hank Willis Thomas hashed out the idea of For Freedoms [a nationwide initiative that uses public art to spark conversation about civic issues] in my kitchen.

When I’m entertaining, I take everybody to Erie Cafe. It’s a real old-school Chicago steakhouse, with red leather booths, waiters in white jackets. There are also ridiculous portions, and the food is delicious—I get the white fish with lemon and capers every time.

I’m fascinated right now with Bentonville, Arkansas, with the Crystal Bridges Museum. I went there when they first opened. They had a really weird show, a survey of unknown artists across America. But they’ve found their way.

My favorite places to stay are the 21c Museum Hotels. For the most part, they’re in historic buildings that they’ve repurposed. The architect, Deborah Berke, is very sensitive to the original uses of the buildings. One was a former bank, and they’ve made the vault into a private dining room. 21c Museum Hotels has a tremendous collection. The curator, Alice Stites, organizes thematic group shows that travel from one property to the next. There’s always an interesting exhibition in the lobby

and gallery spaces, and it’s got both a local and an international flavor. They’ve been very supportive of my program, in particular Ebony G. Patterson, early on. The next project they’re working on, fantastically, is in Chicago. I’m thrilled!

My favorite local boutique is Ikram. It’s very funny—Ikram Goldman opened her store and I opened my gallery on the exact same day in 2001. I’m very much a fan of her aesthetic.

She carries a lot of Rick Owens and Rodarte. It’s a very expensive habit, but after a good sale, it’s nice to splurge. moniquemeloche.com INTERVIEW BY ROZALIA JOVANOVIC

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PETER BAKER

In a San Francisco loft, a torchère by Garouste and Bonetti complements works by Richard Serra, Yayoi Kusama, and Herb Ritts.

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In one of his living room seating areas, London designer Hubert Zandberg hung a large Edgar Martins photograph, smaller works by Wolfgang Tillmans and Pieter Vermeersch, and a tribal mask from Liberia above a bamboo daybed and a 1960s M. Vuillermoz geometric bar cabinet; the armchair and stool are 1960s Brazilian pieces, the cocktail table is a vintage Pia Manu design, and the carpet is antique Berber. Opposite: A stylishly spirited vignette next to Zandberg’s bed combines a midcentury Tommi Parzinger mirror, a vintage Hermès lamp, and a contemporary ceramic vessel by Johannes Nagel with a 1960s Sergio Rodrigues rosewood desk. For details see Sources.

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“slightly updated with a bit more acid, a bit more green,” Zandberg says. He compares the space’s initial impact with that of a busy pattern on a fabric. “It becomes an overall concept,” he says, “but then you can start to peel away the layers and engage with individual pieces.”

When in London, Zandberg tends to buy art from a few preferred galleries—including Maureen Paley and Carl Freedman—and he’s a familiar face on Portobello Road on Saturdays and on Columbia Road and around Shoreditch on Sundays. He also makes frequent trips to his favorite hunting grounds in Paris, Berlin, and Cape Town, where he keeps what he calls “lock-up-and-go apartments.” Zandberg jokes: “Some people have a sex life. I have a shipper who’s on speed dial.”

Given his passion for art and objets, it’s tempting to say that Zandberg designs with a collector’s mentality. But it’s equally true that he collects with a designer’s mentality. “I often collect with a bigger narrative in my mind,” he says. “It’s the combinations of items and the dialogues between them that most interest me.”

In the apartment’s L-shaped living area, Zandberg deployed an open bookshelf as a divider to help create three distinct

PORTRAIT BY INGRID RASMUSSEN

o ahead and cue the clichés: More is more, or taking it up a notch, too much is never enough. Because it’s all true when it comes to Hubert Zandberg, the aesthetically voracious, insatiably acquisitive South African–born designer whose latest London apartment is a refined study in fill-it-to-the-brim exuberance. While his client projects—whether a historic Paris hôtel particulier, a Tuscan villa, or a penthouse in Moscow—span a wide stylistic range, his own homes consistently betray the soul of a dyed-in-the-wool maximalist.

“I did really slightly overdo this place,” Zandberg says of his two-bedroom apartment, located in a recently constructed building near his office in Notting Hill. “I thought I could push the boundaries in terms of sheer quantity of items.”

At just 850 square feet, it’s much smaller than his previous London residence, a historic five-level former canal keeper’s house, where displays of art, decorative objects, natural history items, taxidermy, and assorted curios lent the space a distinctive cabinet-of-curiosities vibe. While quite a few pieces made the move to his new home, Zandberg was eager to live with recent acquisitions that had been in storage and let contemporary art really take center stage. “I had a need for something a little bit fresher and wanted to force a change,” explains the designer, who also bought a second apartment in London’s East End that will serve as more of a weekend base—“my country place,” as he puts it.

Inside the Notting Hill home, the visual barrage begins in the entrance hall, where dozens of black-and-white artworks, including photographs by Guido Mocafico, George Dureau, and Peter Hugo, are arranged floor to ceiling in a dense salon-style installation. Adding to the arresting effect is vivid yellow wall paint inspired by the canary-colored stairwell at 10 Downing Street, only

Left: To create an intimate, clubby sitting area, Zandberg (below) installed custommade rosewood and brass paneling, mohair curtains, and an eclectic mix of vintage seating that includes an Eames lounge chair, a Cini Boeri sofa for Knoll, and an armchair by Preben Fabricius and Jørgen Kastholm. The swing-arm lamps are circa-1950 Lunel Edition designs, the large photo work is by Anne Hardy, and the ceramic sculpture near the window is by Sebastian StÜhrer.

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spaces, each with its own feel and interplay of pieces. Outside the small and minimally used kitchen (“the oven is mostly for Champagne storage,” Zandberg admits), he composed a sitting area where a bamboo daybed and a Brutalist mosaic-top cocktail table are joined by a vintage Brazilian rosewood armchair and a 1960s geometric bar cabinet. Rounding out the eclectic mix of accoutrements are a wall-mounted Paul Evans mirrored cabinet, a tribal mask from Liberia, and photographs

by Edgar Martins and Wolfgang Tillmans, an artist of special importance to Zandberg. “I adore Wolfgang’s work—he really captures the zeitgeist,” says the designer, whose social circle overlapped with the artist’s when they were both starting out in London. “When I look at a picture by him, that’s my time.

Those are the pictures of my life.”

There’s also a small dining area—where the table is as likely to be arrayed with art objects as it is with plates of food—and a lounge-like space outfitted with what Zandberg describes as “midcentury, almost gentleman’s clubby paneling” and “furnishings that are a bit masculine.” This is where he spends most of his time, on the 1970s Knoll sofa or in the Eames lounger, reading or watching TV, perhaps enjoying a cocktail from the vintage bar trolley in the corner. “I love retro barware—the playfulness and kitschiness of it—as well as the juxtaposition of high and low art,” he says. “It’s about not taking things too seriously.”

Even in the bedroom and dressing room, where the mood is a bit more restrained, Zandberg inserted hits of eccentricity and whimsy. Next to the overscale canopy bed, the dashing refinement of a Tommi Parzinger horn mirror and a Sergio Rodrigues rosewood table is balanced by the idiosyncratic expressiveness of a hand-molded vase by Johannes Nagel, one of the ceramic artists, along with Sebastian Stöhrer, who count among Zandberg’s latest obsessions. In the dressing room, he devoted an entire wall to artwork depicting women like Courtney Love and Faye Dunaway. Zandberg calls it his “wall of girls—portraits of strong women that I just thought would be fun to hang together.”

With this apartment, what Zandberg wants to avoid at all costs is the sameness and suffocating tastefulness of so many interiors. “The pieces may be stunning and you love everything in it, but why does it not sing? Why is it not capturing you, not filling you with joy?” For this anything-but-ordinary designer, with his ready embrace of kitsch, contradiction, and cliché, it’s how you put it all together that really matters.

Above: Zandberg designed the bed with a canopy upholstered in a Dedar gold-metallic fabric; the midcentury swing-arm lamps are by Lunel Edition.

Opposite: The entrance hall’s salon-style display of black-and-white artwork—including large photographs by Guido Mocafido and Peter Hugo on the far wall—is set against a yellow backdrop inspired by a stairwell at 10 Downing Street; sculptures by Rick Owens and Kendell Geers stand atop a 1970s console found in a flea market.

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A silk-upholstered antique English daybed adds a chromatic splash to the dressing room, which is outfitted with a vintage Jules Wabbes armoire, a custom-designed glass-fronted clothes cabinet, and a Berber rug.

Opposite: One of the room’s walls is devoted to images of women, including a David LaChapelle photograph of Courtney Love and a Terry O’Neill poolside shot of Faye Dunaway.

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obdurat status mabilis w800.

Above: One of Anish Kapoor’s concave mirrors presides over the living room at the Palm Beach home that Roy & Posey Architecture and Virginia Dominicis Design Studio built for decorator Lillian Fernandez and her husband, Luis. Fernandez combined club chairs and sofas custom made by New Dimensions with vintage Art Deco armchairs, lamps, and side tables; the stool is

by Alexandre Loge, the curtains are made of a Zimmer + Rodhe fabric, and the sisal carpet is by Niba Rugs. Opposite: Fernandez stands with her dog, Lina, in the gardens conceived by Fernando Wong Outdoor Living Design. For details see Sources.

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Creating her lakefront dream house in Palm Beach, designer Lillian Fernandez goes distinctively, decisively modern Written and produced by Jennifer Ash Rudick Photography by Francesco Lagnese Styled by Lili Abir Regen

alm Beach native and interior designer Lillian Fernandez has always been disciplined, nonconformist, and faultlessly elegant. We became friends at age 12, and while our entire class swore by Lacoste polos and Sperry Topsiders, she had already moved on to sharkskin shorts and strappy sandals. At 22, while most of her friends (this writer included) were flailing our way through blind dates and first jobs, Fernandez displayed her signature self-assuredness, marrying Luis, her husband of more than 30 years, and landing a position with a commercial architect. “I wanted to be a designer, so I thought I should learn to read blueprints and know about building mechanics,” she recalls.

When Fernandez built her forever house, it was hardly a surprise that she made an emphatic break from the Mediterranean styles typical of Palm Beach and instead conjured a modernist sanctuary that stands out gracefully among its lakefront neighbors. “My husband and I weren’t really looking to move,” she says, “but I had always dreamed of living on the lake.”

Lake Worth, the stretch of Florida’s Intracoastal Waterway that separates Palm Beach from the mainland, was central to our lives growing up—its placid surface a place for boating, fishing, and waterskiing. Adding to the lake’s appeal for Fernandez was the fact that each of her parents live along its shores. So when her sister, real-estate agent Crista Ryan, called to say a lot was available, Fernandez 114

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jumped at the chance to create from scratch her vision of a contemporary tropical residence.

Fernandez’s architectural references were rooted in her childhood Palm Beach home, designed in a breezy Bermuda style by society architect John Volk and centered around a leafy courtyard. But with the picturesque lakefront serving as the primary focal point for her new home, she sought additional inspiration from a modernist seaside villa designed by Hugh Newell Jacobsen in Casa de Campo, a secluded oasis in the Dominican Republic where her family has a retreat. “I absolutely loved the simplicity of that house and the way it flowed from the inside to the outdoors,” Fernandez says. “The interiors were so pared down, it became all about the surroundings.”

To help realize her vision, she called upon local architects Stephen Roy and Virginia Dominicis and garden designer Fernando Wong, providing them with a succinct set of directives for an artful one-bedroom house, plus a separate guesthouse, emphasizing connections to the outdoors. “People thought we were crazy to build a one-bedroom,” Fernandez recounts, “but my sons are grown and we didn’t want to walk past empty bedrooms.”

Together, the team conceived a series of peaked white-stucco volumes, arranging the main house and two-bedroom guesthouse around a courtyard with a narrow reflecting pool and covering terraces and walkways with steel trellises painted in an eye-catching blue inspired

by Yves Klein. The residence features generously scaled entertaining spaces, including the main house’s living area—the home’s true heart— where soaring windows flood the room with light and offer views of the gardens and lake beyond. “Each space, whether a breezeway, terrace, or garden, has its own relationship to the outdoors,” says Dominicis.

Wong’s elegantly spare landscaping defers to the architecture and enhances every exposure. The shape of the living room’s picture windows mirrors the minimalist square swimming pool. Fernandez’s office enjoys verdant views of an urn-shaped fountain set on a lawn of zoysia grass, clipped to the perfection of a PGA Tour putting green. A library window frames an enormous, sculptural banyan tree—the sunlight filtering through its glossy leaves.

Fernandez’s biggest challenge was the interiors. “As a designer, I feel like I’ve used every fabric on earth for client projects, and I wanted → A shallow water feature extends from the twobedroom guesthouse into a courtyard, where Little Greene paint in a hue inspired by Yves Klein adds visual pop to a walkway trellis crafted by builder Hugh Davis; the torchère is by Lori Jayne Palm Beach.

Clockwise from left: Curtains in a leafy Zimmer + Rohde fabric, a vibrant Robert Dash painting, and speckled terrazzo flooring amp up the interplay of pattern in the family room; arrayed around the shagreen cocktail table are a McGuire rattan club chair, a vintage rattan armchair, and Hive rattan floor lamps. Jean-Luc Ferrand sconces and a Karen Knorr photograph found at Palm Beach’s Holden Luntz Gallery are mounted above a 1930s Art Deco mirror-top console in the living room. A powder room with a carved bamboo wall covering and Belize stone floors is outfitted with a 1960s brass-and-crystal pendant light, a sink and faucet by Covet Lounge, and a low teak table by Roberta Schilling.

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something different,” she says. “I hunted for original textiles, and if a pattern was meant to run vertical, I used it on the horizontal.” While many of Fernandez’s design projects call for expansive, overstuffed sofas, here she opted for mostly clean-lined, low-back furnishings, in part to keep the focus on the views. Sprinkled throughout are Art Deco pieces that exude a modern elegance, plus select French and English antiques sourced from markets in London and Paris as well as shops along West Palm Beach’s Dixie Highway. “I like to combine eras. I don’t want any spaces to be one-note,” the designer explains.

When it came to the artwork—from one of Anish Kapoor’s signature concave mirrors to a pair of Karen Knorr’s surreal photographs of interiors with animals— Fernandez relied on the same instinct and conviction that have governed her since she was young. “I don’t decorate around the art or buy art to fit into the house,” she says. “It just has to give me goose bumps.”

Almost immediately upon moving in, Fernandez’s and Luis’s habits began syncing with the house. Over morning coffee, they watch tarpon feeding and boats heading out to the Atlantic. Weekends are spent paddleboarding, diving, and fishing. Friends arrive by boat for a dinner of freshly caught mahi-mahi served at a table set on the dock—the lake gently lapping the seawall below. As the sun disappears and their villa glows with soft light, the setting feels like perfection.

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Above: The kitchen is outfitted with cabinetry by Downsview, including a section in a custom blue; the range is by Wolf, the counter seats are a Karl Springer design, and the low stool is by Made Goods. Right: In the master bedroom, New Dimensions custom made the headboard (in a Schumacher fabric) as well as the armchairs and ottoman (in a Brunschwig & Fils fabric); the bespoke bed linens are by Tina Chen, the curtains were hand-painted by Khooshe Aiken, the carpeting is by Safavieh, and the settee on the terrace is by Thomas Pheasant for McGuire.

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2 Known for his organic, sculptural furnishings, artisan Alexandre Logé created several custom pieces for the home, including the dining room’s console. For this lighting pendant, which hangs in the stairwell, he used plaster, brass, and alabaster. alexandreloge.com

Kennedy and Brooke Astor.

“These were all wedding gifts,” says Fernandez of her collection, which includes original plates, bowls, and candlesticks. In 2015, fashion designer Tory Burch bought the rights to make the designs. toryburch.com

3 In the mid-1960s, Palm Beach potter Dodie Thayer began handcrafting ceramic dishes molded from giant cabbage leaves. Lettuce ware, as it was known, quickly became a status symbol, used by the likes of Jacqueline

4 A large-scale photograph

by British photographer David Yarrow hangs in the dining room. Taken at a cattle sale in South Sudan, Mankind 2 provides a striking visual counterpoint to the Philip Jeffries

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4 (1,2,4,5,7) FRANCESCO L AGNESE; (3) COURTESY OF TORY BURCH; (6) KAREN KNORR; (8) COURTESY OF OPIARY

3 1 “We wanted to make the house as eco-friendly as possible,” says Lillian Fernandez, who crowned the roof with photovoltaic panels from Sunshine Solar Services.

A series of automated trellises, meanwhile, shift with the sun and close when it rains. French artist Yves Klein inspired the paint color, which was made by Little Greene. “The Yves Klein Foundation gave us the sample, and then we matched it,” she adds. sunshinesolarservices.com, littlegreene.com

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sea-grass wall covering and modern furnishings. holdenluntz.com 5 For the bedroom curtains, Fernandez tapped her friend Khooshe Aiken, an artistic neophyte who was trying her hand at stenciling. “It was the first time she’d ever painted on fabric,” says Fernandez. “She’s just so talented.” 561-315-6901

by natural forms, are a favorite of Fernandez’s.

(She owns two planters that flank an entry.) Opiary’s works, like this pedestal lantern draped with moss, are both functional and dreamlike. “They do supercool tables as well,” she notes. opiary.com

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6 A photograph (one of a pair) by German-born artist Karen Knorr adds a touch of whimsy to the living room. Titled Peers of the Realm (Lanesborough), it juxtaposes a family of zebras with an elegant entryway. holdenluntz.com 7 The design for the serene guest bath was dictated by a pair of mirrors from Somerset Bay Home. “They were supposed to hang vertically, but they didn’t fit with the vanity,” reveals Fernandez.

“What a lucky mistake.” somersetbayhome.com 8 Brooklyn studio Opiary’s concrete sculptures, inspired

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Inside his studio in Taos, New Mexico, Larry Bell stands next to the Tank, a high-vacuum thermal evaporator he uses to give his glass sculptures tinted, filmlike surfaces that are reflective yet translucent.

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olling into the New Mexican outback town of Taos in 1972, artist Larry Bell was smitten. “I just loved the place, and I fell in love with the people,” he says. “And it was quiet. You could really control your distractions.” Bell, best known for his luminous glass-cube sculptures that radiate with pure energy, was living in Los Angeles but had come to Taos for his show at the Dennis Hopper Works of Art gallery. Hopper was one of Bell’s earliest collectors, having discovered his work at the storied Ferus Gallery in the early 1960s. It was at the encouragement of fellow Ferus alum Ken Price, the ceramics visionary who’d decamped to Taos a few years earlier, that Bell had decided to make the trip.

The area had an artistic legacy. Names like Georgia O’Keeffe, Ansel Adams, D. H. Lawrence, and the Taos School hung in the piñon-scented air. The Sangre de Cristo Mountains loomed over it all, their ski slopes beckoning. Spanish was spoken in the streets. The tacos were amazing.

By the next year, Bell found himself trading a sculpture for a house. He wound up staying and raising a family.

Though he also maintains a studio in Venice, California, and is widely considered an L.A. artist, Taos is his home, personally and creatively. “I came up here being a Jew from Los Angeles,” he says with a laugh, “and everything was just so . . . great.”

Interest in Bell’s work, nearly five decades on, has never been stronger. On November 1, the Institute of Contemporary Art in Miami opened “Larry Bell: Time Machines,” his first full-fledged museum exhibition in 40 years. In late November, Rizzoli published a whopping monograph covering the arc of 124

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his career. The timing is perfect: The artist turns 80 next year.

How does he feel about this victory-lap moment? “I’ve been resurrected from the dead more than once!” he says, again with that signature laugh.

The building that his Taos studio is in, located near the center of town, is a resurrection story in itself. In 1974, when Bell first caught sight of the former commercial laundry facility, it was a ruin. A photo of the site—full of weeds and junked cars—looks like something Walker Evans might have taken. “The place had been deserted for 20 years,” Bell says. “The roof was caving in. It was totally messed up. But there were four walls and so. . . . ” So he went for it, incorporating a low-slung building next door as an annex, bringing the adobecolor, tin-roof facility up to 10,000 square feet of work space.

Bell has been labeled a “pioneer of Perceptualism”—not to mention Minimalism, Light and Space, Finish Fetish, L.A. Look, you name it. From paintings and hanging sculptures to his signature glass cubes and full-on environments (including the landmark Black Room, which he debuted at MoMA in 1970 and is re-creating in Miami), his work has probed human perceptions of light, surface, and dimensionality, harnessing industrial processes along the way. And yet, Bell points out, his work is also about “improvisation” and—to employ a key art-historical term—fun.

Bell, after all, was the mustachioed guy who showed up at the 1963 Duchamp retrospective at the Pasadena Art Museum done up like Groucho Marx. He was a thrift-store dandy who earned the nickname Dr. Lux. (Bell still looks natty in his Borsalino hats.) He’s an inveterate wiseacre,

One of Bell’s “Light Knot” sculptures, made with Mylar film, is suspended above a maquette for a glass-cube work and a collage from his “Church Studies” series. Additional “Light Knots” hang from the wire racks.

TONY PRIKRYL, COURTESY OF THE ASPEN ART MUSEUM

Clockwise from top left: Two of Bell’s “Church Studies” are mounted on a studio annex wall alongside guitars from his extensive collection.

The artist at work. Glass-cube sculptures installed on the roof-deck sculpture garden at the Aspen Art Museum. A work in progress.

seemingly beloved by everyone, including the British artist Peter Blake, who put Bell on the cover of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album. He played 12-string guitar in the goofball art-world pickup band Five Bags of Shit, whose lineup included him, Price, Ed Moses, John Altoon, Sam Francis, and, on lead toilet plunger, Frank Gehry. “Somebody played the kazoo,” he adds uncertainly.

The memories are vague.

Today, Bell has a collection of nearly 200 guitars, including 120 12-strings, many of which are displayed in his Taos studio annex. But the undisputed centerpiece of the operation here is the Tank: a high-vacuum thermal evaporator that enables him to fix impossibly thin, tinted, filmlike surfaces to glass. It’s what gives his work its otherworldly quality—solid yet diaphanous, reflective yet translucent. The machine is turning 50 this year but shows no signs of slowing down. The Tank and Bell are as synonymous as Sonny and Cher, although they probably get along better. “I do have a romantic relationship with the thing,” he admits. “I’ve always considered my medium to be the interplay between light and surface, and this machine allows me to change that interaction.” After the panels for his sculptures are made in Taos, the artist hauls them to his Venice studio for assembly.

Bell clocks in every morning around eight, working until whenever it’s time to knock off. He employs a staff of five.

“Everything is a collaboration,” he notes. Lately, the team has been repairing Bell’s iconic 1967 cube sculpture, Shadows, which somebody walked into at MoMA not long ago. That assignment puts Bell onto his favorite subject of all—glass.

“It has a shelf life of about three million years,” he says. “But the minute you take it off the shelf, danger lurks everywhere.”

These days, Bell continues to explore the same fascinations that have been with him since the beginning.

He’s fiddling with the Tank in order to develop a new way of finishing surfaces, one that involves exciting ions as opposed to electrons, the current method. And why not?

“I realize I can improvise in any way I want,” he says, demonstrating the self-assuredness that comes with a long career and the freedom of living and creating in Taos. “If it doesn’t work I can just say, ‘That’s okay, too.’ My aesthetic license—I renewed it a couple of years ago!”

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In the expansive living area of collector Shaari Ergas’s San Francisco apartment, designer Francis Sultana grouped a three-part bespoke sofa with Urs Fischer cube sculptures and a Mattia Bonetti side table atop a Fort Street Studio carpet. The text painting at right is by John Giorno, while a Garouste and Bonetti lighting sculpture stands next to works by Richard Serra and Matt Connors in the far corner. For details see Sources.

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iving with cutting-edge art can have its challenges. Dynamic pieces that stand out against the pristine backdrop of a white-walled gallery can lose their punch in a domestic setting. How do you create interiors that accentuate bold, brash works of art without having to live in a cold white box? To solve that problem, one San Francisco collector turned to a kindred spirit to help her design an inviting, deeply personal home that is as exhilarating as her art.

Six years ago, when Shaari Ergas bought a new apartment in a classic 1920s building in Pacific Heights, she was ready for a change. Having gifted her collection of modern Latin American art to the NSU Art Museum in Fort Lauderdale, Florida, where she had previously lived and worked as a real-estate developer, Ergas, now an entrepreneurial investor, turned her focus to contemporary works. She wanted her 130

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home to reflect that shift, with open rooms that flow together and where nothing is too precious for the rambunctious play of her two grandsons. “I was looking for the scale and proportion and aesthetics of European design,” she recalls, albeit infused with a low-key California sensibility. And she knew exactly whom to enlist for the job: her friend Francis Sultana.

If any designer has figured out the recipe for living harmoniously with art, it’s Sultana, a master tastemaker who’s made a career of devising superstylish homes for serious connoisseurs. The London decorator is a passionate collector himself. He shares his life with David Gill, the prominent dealer of contemporary design, and also serves as his gallery’s artistic director. Naturally, Sultana’s eclectic projects tend to incorporate at least a few pieces by designers from the gallery’s celebrated roster, which includes Mattia Bonetti, Zaha Hadid, and the Campana brothers, alongside his own polished furnishings—all of which more than stand up to powerful contemporary art. While his interiors typically feature clean, neutral backdrops (better for →

From left: A Serge Mouille light fixture branches out above the dining area’s Zaha Hadid table and Franz West chairs; the work between the windows is by Allora & Calzadilla, the figurative painting is by Chantal Joffe, and a Milena Muzquiz vessel perches on the table. In the library, an abstract work by Adriana Varejão surmounts an André Dubreuil cabinet topped by an Atelier Bauer lamp. The homeowner’s Vetements boots are a colorful complement to a hallway’s Sultana– designed bench and the vivid Harmony Korine painting above.

Yayoi Kusama polka-dot dogs liven up the library, where a bookcase displays photographs by Herb Ritts, Kate Barry, and Frank Horvat, as well as ceramic sculptures

by Klara Kristalova; the large vase is by Grayson Perry.

Another exuberant Kusama sculpture plays off a shimmering Garouste and Bonetti cabinet in the master bedroom.

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pumping up the volume of colorful art like Ergas’s), they are anything but sterile.

“Good collectors have strong, inspiring visions. These are people who buy art because it’s in their DNA,” Sultana says.

“Shaari had a very clear idea of what she wanted: an apartment for collecting, not decorating. She needed an editor. For me, it was about the editing of a collection, almost like being a curator.”

A two-year renovation of Ergas’s apartment involved removing walls to create the open, loftlike layout she coveted, raising interior doorways to the full ten-foot ceiling height and stripping a central structural column in the main living area of its bulky drywall to reveal its original concrete, which in turn inspired the pale shade of smoked-wood flooring used throughout. Then it was time for Sultana to practice his magic.

To take advantage of the living room’s spectacular views of Alcatraz and the Golden Gate Bridge, he designed a low-slung, three-part, serpentine sofa whose sections swivel 134

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Works by Stefan Brüggeman (at left) and Douglas Gordon overlook the library’s Sultana–designed sofa, which is accented

by Ulrika Liljedahl pillows; an Oscar de la Renta tray rests on the Garouste and Bonetti ottoman. Above left: In the entrance hall, a Michelangelo Pistoletto mirror piece, a Michael Wilkinson column of records, and a vintage armchair form a whimsical vignette beneath a Serge Mouille light fixture.

From left: An Adam McEwen limousine painting stands on its end in the entrance hall. Sultana designed the ottoman and rug in the dressing room, where he also installed a Property Furniture pendant light, a Tom Dixon desk, and a Jacin Giordano sculpture composed of variously colored toilet-seat covers. In Ergas’s bedroom, a Dan Colen work hangs above the Charles H. Beckley bed, which is flanked by Artemide wall lights; the mirror on the far wall is by Barnaby Barford, the suitcase sculpture is by AmÊlie Dillemann, and the ceramic cat beneath the Garouste and Bonetti bedside table is a family heirloom.

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easily, thanks to wheels hidden in the bronze legs.

Ergas can choose to sit facing the windows or turn the sections around and push them together in a semicircle to watch movies with friends on a screen that is mounted among works by Richard Prince and Yayoi Kusama. (It is also used to show video art.)

Sumptuous velvet upholstery and silken rugs underfoot add warmth and comfort—the kind of welcoming, soft touches that offset edgy art. “There’s something very casual yet sophisticated about how Shaari likes things,” Sultana explains. “It looks very natural, not making any one thing into a trophy.”

Despite the undeniable elegance of the spaces, a sense of humor and wit prevail, in both the art and the furnishings. Adam McEwen’s sculpture of a pair of legs stepping into buckets protrudes surreally from high up on a kitchen wall. Kusama’s polka-dot dog sculptures frolic in the library, which is outfitted with a

silver-footed Garouste and Bonetti ottoman covered in emerald-green kidassia goat fur. A towering Jacin Giordano sculpture made of stacked cloth toilet-seat covers brings a rainbow of colors to the dressing area off the master bedroom. “For me, the art has to reflect who I am,” says Ergas, noting that such decorative covers were common in the Florida apartments she renovated.

In the living room, meanwhile, Sultana paired paintings

by Ugo Rondinone and John Giorno—a wink to the fact that the artists are partners in life.

It’s the kind of insider touch that seasoned collectors appreciate. “I live with art, and my clients know I understand it,” Sultana says. “I get how they want to live. I get what they have and that they need homes that function and are flexible.” Most important, he adds, is “putting something together that captures the character and personality of the homeowner.

When you get it right, it’s a joy to the eye.”

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In the living room of her Mexico City apartment, the Zona MACO fair’s director, Zélika García, stands in front of a monumental Abraham Cruzvillegas painting, holding a work

by Mauro Giaconi. Designer Luis Bustamante renovated the interior and oversaw the mix of custom and vintage furnishings, including the Jean Prouvé daybed here. For details see Sources.

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Wo r k i n g w i t h d e s i g n e r L u i s B u s t a m a n t e , d y n a m i c f a i r

director Zélika García creates a Mexico City home

that’s as distinctive as the art she owns

By Michael Slenske

Photography by Ricardo Labougle

n the never-ending tour that is the global art-fair circuit, Mexico City’s Zona MACO has established itself as an essential stop. The most recent edition, in February, attracted 170 exhibitors, including heavyweights like Gagosian, Marian Goodman, and David Zwirner, while two successful offshoot shows, Zona MACO Foto and Salón, take place in August. A fourth, Zona MACO Desaño, coincides with the original. The fairs have been buoyed by Mexico City’s increasingly dynamic art scene as well as a new wave of world-class restaurants, hotels, and shops, but much of their success can be attributed to the leadership of Zélika García, who founded Zona MACO, short for México Arte Contemporáneo, 15 years ago. “I’ve never thought, I need to bring this or that gallery to Mexico, but it happens when you are doing things right,” says García, adding, “Why would you want to go to a fair in Mexico if it’s exactly like shows in London or Switzerland?”

A similar spirit of individuality defines García’s apartment in the Del Bosque towers, twin 30-story high-rises overlooking the Bosque de Chapultepec—Mexico City’s analogue to Central Park—in the upscale Polanco District. Designed by architect César Pelli and completed in 1997, the roughly cylindrical structures were originally built to house executives working in the adjacent Coca-Cola headquarters. When García acquired her 5,000-square-foot, three-bedroom perch in 2014, it was a dark, paneled warren of rooms with dropped ceilings. “There were a lot of squares and closets and doors and not a lot of light,” she says.

To transform the residence into an inviting showcase for her highly personal collection, García brought in Spanish designer Luis Bustamante, whom she met through a mutual friend. “We were both on the same page regarding the importance of art in the space,” says Bustamante, who is known for designing palatial residences for Mexican VIPs like Eugenio López, the influential collector behind the Museo Jumex (his Mexico City home was featured in Galerie’s Spring 2017 issue). As García recalls, “I told Luis, ‘I want it to be my home, not a home by Luis Bustamante.’ ” With García busy overseeing the four Zona MACO fairs, her apartment is as much a retreat from her job as it is a reflection of it. Bustamante demolished walls and raised the ceilings to enhance the natural light, including in the trapezoidal living room, which has the feel of a luxurious airship deck with its sprawling half-moon Vladimir Kagan sofa and open views over the park. Arrayed about the room are iconic vintage furnishings by Pierre Jeanneret, Jean Prouvé, and Charlotte Perriand from García’s collection, combined with lamps, benches, and sofas designed by Bustamante. “Creating custom pieces,” he says, “seemed like the best option to adapt to 140

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A two-panel painting by Sarah Crowner presides over the entrance hall, which is furnished with a pair of Pierre Jeanneret armchairs.

A Gaetano Sciolari light fixture and 1970s Christian Dior stools amp up the panache in the kitchen, which is outfitted with wall paneling and floors by Carlos Herrera Architects; the artwork at left is by Abraham Cruzvillegas, and the two pieces above the sink are by DarĂ­o Escobar.

Opposite, from top: In the living room, a semicircular sofa and glass-top table by Vladimir Kagan are joined by a Charlotte Perriand stool; a work by Gabriel Orozco hangs between the doors. An Alex Hank neon piece, installed above a Los Lichis photograph, casts a glow over the family room’s bar.

the fact that there were hardly any straight angles in the house.”

The overall vibe could be described as decadently moody. Though the walls are white, ceilings are black lacquer and many floors are dark wood.

Metallic finishes—notably in the shimmering kitchen, accented by a Gaetano Sciolari light fixture and Christian Dior barstools—are balanced with plush carpets and sumptuous upholstery. Eye-catching artworks provide animation, including statement pieces García didn’t have space for in her previous apartment. A two-panel geometric abstraction by Sarah Crowner presides over the foyer, while a wall-size monkey painting by Abraham Cruzvillegas hangs prominently in the living room.

Quite a few works in García’s trove were made specifically for her by artist friends. Perusing the living room’s floor-to-ceiling bookshelves, she points out drawings created for her by Anish Kapoor and Michelangelo Pistoletto, with whom she traveled to Cuba for the artist’s 2016 exhibition at the Museo Nacional de Bellas Artes in Havana. “Collecting is not about hoarding objects but about participating in artists’ lives and how you relate to an artist’s practice,” says artist Mario García Torres, a longtime friend whose work is found throughout the apartment. “As a collector and fair organizer, Zélika is looking into the concerns of artists more than dealers, and her collection is not just about names—it’s quite sophisticated.”

Zona MACO’s success has given rise to a thriving scene of concurrent satellite fairs and other events, helping to shine a spotlight on Mexico City’s galleries, museums, and artists. With her own son now in college, García has become a den mother of sorts to artists, curators, and dealers working in or visiting the city. “I like to have stories behind the work I acquire because it makes it more fun,” she says. “I’m buying a memory of an experience I had. All the stories make a collection more interesting.”

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1 In Mexico City, daring new architecture, such as the Fernando Romero–designed Museo Soumaya, is as much a draw as the exhibitions within. Free to visit, the museum houses one of the most extensive collections of Rodin outside of France, as well as works by Old Masters and the largest collection of pre-Hispanic and Colonial currency in the world. museosoumaya.org 2 Murals by native son Diego Rivera populate the city, including this painting of peasants at the Secretariat of Public Education. Rivera also designed, alongside Juan O’Gorman, the towering Museo Anahuacalli, which displays many of the artist’s original sketches as well as his personal collection of approximately 50,000 pieces of pre-Hispanic art.

Anahuacalli hosts a Day of

the Dead offering to Rivera through December 30; also on view is “Machama,” an exhibit of Adelia Sayeg’s sculptural ceramics. museoanahuacalli.org.mx 3 Known as the Blue House, the Museo Frida Kahlo gives insight into the painter’s private life, with displays of her clothing, kitchenware, and art supplies. It’s become an art-world pilgrimage and a must-visit on any tour of the Mexican capital. museofridakahlo.org.mx 4 The 16th edition of the Zona MACO art fair takes place February 6 to 10 at the Centro Citibanamex. The fair gathers the usual suspects, such as Gagosian and David Zwirner, but it’s best known for its strong presence of Latin American art and design galleries and the

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(1) CREATIVE COMMONS; (2) LUCAS VALLECILLOS/AL AMY; (3) ANTON IVANOV/SHUTTERSTOCK; (4) MAURICIO AGUIL AR; (5) CHRISTIAN HORAN/FOUR SEASONS; (6) © RENE BURRI/MAGNUM PHOTOS

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chance to discover exciting homegrown talent. zsonamaco.com 5 The Four Seasons Mexico City provides an artful oasis near the bustling city center. Popular with epicureans is the property’s award-winning Fifty Mils, which earned a spot on the World’s 50 Best Bars list, and restaurant Zanaya, which is helmed by chef Tonatiuh Cuevas and serves elevated Pacific Coast cuisine like pescado zarandeado, whole fish made in traditional fashion on a wood-fired grill. fourseasons.com

6 Celebrated Mexican architect Luis Barragán’s structures are revered as Mexico City landmarks. His home, known as Casa Luis Barragán, is honored as the only individual property in Latin America to be named a UNESCO site. While many of his Los Cubles designs remain private residences and are rarely open to the public, they can be viewed from the street, including his 1968 modernist color-block equestrian estate, Cuadra San Cristóbal, which hosted an exhibition by painter Sean Scully last year. casaluisbarragan.org 6

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As the myth goes, donning a black opal strengthens the wearer’s character, so just imagine the power bestowed by this sublime Oscar Heyman ring, which showcases a staggering 8.26-carat stone surrounded by 2.28 carats of round diamonds; oscarheyman.com.

Opposite: Celebrated for his psychedelic use of color and movement, German artist Gerhard Richter channels the magic and force of nature by smearing lacquer on glass to create the small but impactful paintings in his “Sinbad” series; gerhard-richter.com.

B Y S T E FA N I E L I

COURTESY OF OSCAR HEYMAN. OPPOSITE: COURTESY OF MARIAN GOODMAN GALLERY

Life Imitates Art

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DENNIS COWLEY, COURTESY OF THE ARTIST AND PACE GALLERY. OPPOSITE: COURTESY OF OLY

New York artist Tara Donovan, the subject of a major solo exhibition at the MCA Denver through January 2019, elevates overlooked materials to precious works of art. In Untitled (Styrofoam Cups), an undulating, cloudlike installation of the everyday object glows from within; pacegallery.com. Opposite: Crafted from cast-resin cones, the ethereal Fanad chandelier by Oly exudes a soft, radiant light; olystudio.com.

COURTESY OF MONCLER. OPPOSITE: COURTESY OF THE STATE HERMITAGE MUSEUM, ST. PETERSBURG, RUSSIA

Fantastical arrangements dominate the inky canvases of 17th-century Dutch still lifes. Pure products of the artists’ imagination, the works mix stems from different seasons and parts of the world, as seen in this masterpiece, Flowers in a Vase, by Jan Davidsz. de Heem; hermitagemuseum.org. Opposite: Romantic, moody florals are ready for the slopes in Moncler’s 3 Grenoble collection. Featuring a playful fusion of scale, the prints reflect the fashion-forward mission of the Moncler Genius Project, with collaborations by esteemed designers, including Pierpaolo Piccioli and Simone Rocha; moncler.com.

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ROBERT HARDING/AL AMY. OPPOSITE: COURTESY OF MAGNI

A master of modernism, James Magni uses rich materials in sculptural forms to create coveted design pieces. His Amsterdam console juxtaposes a striking marble top against delicate, shimmering bronze legs; magnihomecollection.com. Opposite: At nearly 30 feet tall, Louise Bourgeois’s monumental Maman stands guard outside the Guggenheim Bilbao Museoa. Made of bronze, marble, and stainless steel, the iconic sculpture symbolizes the dualistic nature of the creature as both predator and mother; guggenheim-bilbao.eus.

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At the beachside Brazilian retreat designer Wilbert Das created for art dealer Ivor Braka and his wife, Kristen McMenamy, tatajuba-wood chaise longues from Das’s Uxua Casa collection border the swimming pool.

Opposite: A vintage Thonet rocking chair rests on the porch outside the dining area. For details see Sources.

On Brazil’s Bahian coast, model Kristen McMenamy and art dealer Ivor Braka create an artisanal, history-tinged hideaway where time stands still

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From left: A palm-fiber hammock and a Uxua Casa collection sofa invite repose outside a cottage featuring traditional pau a pique mud-brick walls. Braka and McMenamy. An Amazonian basket was repurposed to create the pendant light above the living area’s Uxua Casa sofas, which are slipcovered in reclaimed vintage army tent fabric; the tall cabinet and the ceramics on top of it are Brazilian antiques, as is the cocktail table.

PORTRAIT BY DAVID X PRUTTING/BFA

or English art dealer Ivor Braka, his home on Brazil’s Bahian coast is a total escape. Here, he and his wife, American model Kristen McMenamy, can ease into the laid-back rhythms of this out-of-the-way idyllic spot, which is bordered by a verdant tropical forest and blessed with open views of the sea. Built and furnished with the help of Braka’s friend Wilbert Das, the designer and hotelier, it is a getaway that makes the most of an extraordinary setting.

“One of the things that I am quite happy about is that the house is a real retreat, even from art,” says Braka. “It’s all about being immersed in nature.”

Because of the humid climate, hanging important paintings or drawings here was not an option. “It means the walls are relatively empty,” he adds, “which is a mixed blessing.”

A leading private dealer of modern and contemporary art, Braka made his name—and fortune—trading works by Francis Bacon, Lucian Freud, and other blue-chip masters. He has homes in London and Norfolk, where he also owns an acclaimed pub and country inn with an impressive sculpture park. Known for his sartorial flair, Braka is a conspicuous presence on the global auction-biennial-fair circuit.

It was art that first brought him to Brazil some nine years ago, for a visit to the Bienal de São Paulo. A friend there suggested a trip to Trancoso, an old Bahian fishing village with charming colonial buildings, spectacular beaches, and an effortlessly chic vibe that attracts a sophisticated mix of wealthy Brazilians and in-the-know travelers from around the world. He booked a room at the Uxua

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An antique cabinet from a clergyman’s home overlooks the master suite’s Uxua Casa four-poster; a circular taboa-reed rug is laid atop the room’s reclaimed-canella floorboards. Opposite: On a terrace, a terra-cotta light fixture and eucalyptus chairs join a vintage pequi-wood table and an antique blanket chest.

PORTRAIT BY DAVID X PRUTTING/BFA

Casa Hotel & Spa, which is owned by Das, and his stay proved to be a revelation. While there, he took a drive down the coast along a winding dirt road to Praia do Espelho, a famously alluring stretch of secluded oceanfront, and he was hooked.

“I loved the fact that it felt as though we had stumbled upon a secret,” says Braka. “It’s only as the view starts to open up that you realize Espelho has one of the most beautiful beaches on the Bahian coast. It’s a very special place, and it does feel like an adventure getting there. It’s good to feel a bit intrepid.”

During a second trip four years later, Braka spotted a for-sale sign near Praia do Espelho and ended up buying a dilapidated bungalow with 130 feet of beach frontage. That was followed soon after by the purchase of an adjacent parcel on the slope above. Having admired the look and feel of Uxua, he persuaded Das to renovate the beach shack and, more significant, help him build a new hilltop family compound with enough space for the six children he and McMenamy have between them.

A former creative director of the fashion label Diesel, Dutch-born Das moved to Trancoso a decade ago to oversee Uxua, which he created with his American business partner, Bob Shevlin. Later, he began designing private homes in and around Trancoso, including one for CNN anchor Anderson Cooper. His work emphasizes context and character, focusing on local, often reclaimed materials and collaborating with area craftsmen.

For Braka’s home Das took inspiration from the traditional Brazilian country estates known as fazendas. He designed a

compound with a large pavilion for communal living and dining spaces, a two-story master villa for McMenamy and Braka, and three smaller cottages for the children and guests. This village in miniature is arranged around a long swimming pool, which faces the ocean. The idea was “to embrace the view of the sea like a person with two open arms,” explains Das. “It’s a very romantic vision of rural Brazil shaped by the old farms here in Bahia.”

Das salvaged window frames, doors, and other woodwork from derelict fazendas, weaving them into his designs, while giving each building its own style. Walls are variously made of wood, stucco, or traditional mud bricks, and floors range from canella-wood planks to terra-cotta tiles to burned cement.

“What’s really interesting is the architectural variety among the buildings, with the main building at the center of it all that looks like an old plantation house,” says Braka.

When it came time to outfit the interiors, Das and Braka went on a buying tour in the neighboring state of Minas Gerais, acquiring antique wardrobes, tables, benches, wall-mounted shrines, and other treasures. There was also a trip to São Paulo to hunt for midcentury Brazilian furniture by Sergio Rodrigues and others. Das combined these with designs from his own Uxua Casa collection to create richly layered rooms that are full of character, and every piece seems to tell a story. It’s all very considered and sophisticated but decidedly low-key.

“Kristen loves the fact that she can go without makeup here and not worry about anything,” says Braka. “The beauty of the place is that we can just be on our own and escape everything.”

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Custom-made copper mirrors and sink fittings accent a bath’s burnedcement vanity, walls, and floors; the palm-fiber pendant light was made by a local artisan, and the vase is from the Uxua Casa collection. Right: In the dining area, the table, benches, sideboard, and wall-mounted altar are all antique, while the terra-cotta pendant lights are by Ze Ceramica Trancoso.

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Cultural Capital

MUSEUM-ADJACENT ADDRESSES ARE THE LATEST TREND IN ULTRA-LUXURY LIVING

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ooking to further elevate their already architecturally significant residences, real-estate developers are building relationships with world-renowned cultural institutions.

The trend started in Denver, where acclaimed architect Daniel Libeskind crafted a razor-sharp extension for the Denver Art Museum, then cleverly concealed the project’s parking garage with an inventive residential building. The resulting glass-andsteel structure won an American Institute of Architects award for design excellence—and quickly sold all of its 56 units.

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A terrace of the Zaha Hadid–designed One Thousand Museum Residences offers sweeping views of the Miami waterfront.

CLOCKWISE FROM TOP LEFT: RENDERING BY HAYES DAVIDSON; OSCIT Y/SHUTTERSTOCK; RENDERING COURTESY OF ONE THOUSAND MUSEUM RESIDENCES

Jean Nouvel’s 53W53 tower in New York overlooks Central Park. Above: Buyers have exclusive access to MoMA’s sculpture garden for events.

In New York, Pritzker Prize laureate Jean Nouvel will open his striking 53W53 come spring. Steps from the Museum of Modern Art, the 1,050-foot-tall tower will also provide over 40,000 square feet of space for the storied institution starting next fall. “MoMA approved both architect and conceptual design,” says David Penick from Hines, the company developing the project. “In some ways, museumgoers won’t even know they’ve come into our building—there’s a seamless continuity of space.”

Housing 145 condos—which will boast interiors conceived by architect and designer Thierry Despont—the building will have the right to host events in the museum’s sculpture garden, Penick reveals, “and it’s no small task to throw a party there.”

The galleries themselves are being designed by Diller Scofidio + Renfro in collaboration with Gensler. (Notably, DS+R is also busy adding cultural cachet to nearby Hudson Yards, where its dynamic arts hub, known as the Shed, will nestle into an adjacent 88-story residential tower, set to debut next year.)

In Chicago, architect Jeanne Gang recently completed her dazzling Solstice on the Park, a 26-story structure overlooking the Museum of Science and Industry. And in Miami, Zaha Hadid’s One Thousand Museum Residences is just down the street from the Herzog & de Meuron–designed Pérez Art Museum Miami and the new Frost Museum of Science. Due to be completed early next year, the scintillating 83-unit building was one of the last projects Hadid designed before her sudden death in 2016 and will surely be a testament to her architectural genius. GEOFFREY MONTES

Miami Beach, Dec 5,6,7,8,9, 2018.

San Francisco, Jan 18,19,20, 2019.

untitledartfairs.com

 P H U K E T, T H A I L A N D | $ 2 3 M I L L I O N Traditional Thai architecture gets a modern twist at this retreat, which was created in 2013 by a global cast of top-tier talent, including the Campana brothers, Joseph Walsh, and Jaime Hayon. Currently operating as a boutique hotel, the 2.5-acre property sits directly on the turquoise Andaman Sea and comprises a trio of three-bedroom villas (each with its own pool) plus a lavish master suite. The estate also includes four luxe spas, a home cinema, and a living room that is lined with 3,000 blue-and-white ceramic plates and was inspired by Bangkok’s stunning Wat Arun temple. Contact: richmonts.com. ID: RS0065

On the Market

THREE EXTRAORDINARY PROPERTIES WITH WATERFRONT VIEWS

BY GEOFFREY MONTES

 DUBLIN | $11.6 MILLION Occupying 80 waterfront acres, the circa-1730s Seafield House has a Palladian design that’s attributed to the foremost classical architect of the time, Sir Edward Lovett Pearce. A century later, a striking Italianate tower, as well as a coach and stable yard, was added, bringing the number of bedrooms on the property to ten. After purchasing the landmark in 1996, the current owners embarked on a $4 million restoration that involved upgrading the 9,000-square-foot main villa’s internal systems and reviving original plasterwork and frescoes. They even brought in Italian statues and 600 mature trees, which now dot the grounds. Contact: sherryfitz.ie. ID: C59171

 N E W YO R K C I T Y | $ 2 1 M I L L I O N Architect Mott B. Schmidt built this Georgian-style townhouse—with unobstructed views of the East River—in the 1920s for the widow of railroad scion William Vanderbilt. Decades later, Drue Heinz, who became publisher of The Paris Review, purchased the 7,000-square-foot Sutton Place home with her husband, Henry John Heinz II. The couple preserved much of the six-bedroom dwelling’s prewar charm, including a stunning spiral staircase, oak-paneled library, and notable electric-blue front door. Ever the philanthropist, Drue, who died in March, requested a portion of the proceeds be donated to charity. Contact: sothebyshomes.com. ID: 00112427 164

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FROM TOP: COURTESY OF RICHMONT’S LUXURY REAL ESTATE (2); TRAVIS MARK FOR SOTHEBY’S INTERNATIONAL REALT Y; COURTESY OF SHERRY FITZGERALD

REAL ESTATE

David Cerny, courtesy of Hohmann Fine Art

FEBRUARY 14-18, 2019 Palm Springs Convention Center

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

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

Pages 22 and 40: 2018 Mickalene Thomas/ ARS, New York. Pages 42 and 94: The Estate of Jean-Michel Basquiat/ADAGP, Paris/ARS, New York 2018. Page 42: Successió Miró/ARS, New York/ADAGP, Paris 2018. Page 62: 2018 Joel Shapiro/ ARS, New York. Pages 66 and 138: 2018 ARS, New York/ADAGP, Paris. Page 68: 2018 Calder Foundation, New York/ARS, New York. Page 86: 2018 ARS, New York/ DACS, London. Pages 103 and 128: 2018 Richard Serra/ARS, New York. Pages 103, 128, 133, and 137: 2018 ARS, New York/ ADAGP, Paris. Pages 103 and 132: 2018 ARS, New York/ADAGP, Paris. Page 112: Anish Kapoor; all rights reserved, DACS, London/ARS, NY 2018. Pages 124–27: 2018 Larry Bell/ARS, New York. Page 129: 2018 ARS, New York/ADAGP, Paris. Pages 134–35: Studio lost but found/ARS, New York 2018. Page 136: 2018 Adam McEwen/ARS, New York. Pages 140–41: 2018 ARS, New York/ADAGP, Paris. Page 143: 2018 ARS, New York/ADAGP, Paris.

Page 144: 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ARS, New York. Page 145: 2018 Barragán Foundation, Switzerland/ ARS, New York. Page 152: 2018 the Easton Foundation/licensed by VAGA at ARS, NY. Page 168: Succession H. Matisse/ARS, New York.

NEXT WAVE Pages 90–92: Yacht by Azimut; azimutyachts.com. Interiors and select furnishings by Achille Salvagni; achillesalvagni.com. Page 90: In living area, sofa upholstered in fabric by Dedar; dedar.com. Page 92: In owner’s suite, armchair upholstered in fabric

by Dedar.

MIX TO THE MAX Pages 104–11: Interiors and select furnishings by Hubert Zandberg; hzinteriors.com. Page 104: In master bedroom, vintage lamp by Hermès; hermes.com. Vintage mirror by Tommi

Parzinger; lobelmodern.com. Rosewood table by Sergio Rodrigues; r-and-company .com. Wall sconce by Lunel; lorinmarsh .com. Page 105: In living room, vintage chair upholstered in fabric by Donghia (T); donghia.com. Screen covered in Oculaire wallpaper by Arte; arteinternational.com. Pages 106–7: In sitting area, 1970s Brigadier sofa by Cini Boeri for Knoll from Themes & Variations; themesandvariations.com. Custom pillows in fabric from Abbott+Boyd (T); abbottandboyd.co.uk. Eames lounge chair and ottoman from De Parma; deparma. com. Easy chair by Preben Fabricius & Jørgen Kastholm; langeproduction.com.

Page 109: In bedroom, bed upholstered in Shimmer Col. 9 Titti fabric by Dedar; dedar.com. Curtains in New Manor Park fabric by Blendworth Interiors; blendworth.co.uk. Page 110: In dressing room, throw from The Cloth Shop; theclothshop.net.

HER OWN WAY Pages 112–21: Interiors by Lillian Fernandez; lillianfernandezinteriors.net.

Architecture by Roy & Posey, royposey .com, and Virginia Dominicis Design Studio, virginiadominicis.com. Landscape design by Fernando Wong Outdoor Living Design; fernandowongold.com.

Construction by Davis General Contracting Corporation; davisgeneral contracting.com. Page 112: In living room, vintage Art Deco lamps and tables from John Prinster; john-prinster .com. Custom sofas and club chairs by New Dimensions; newdimensionsfurniture .com. Stool custom made by Alexandre Logé; alexandreloge.com. Curtains in fabric by Zimmer+Rohde (T); zimmer-rohde.com. Sisal rug by Niba Designs; nibadesigns.com. Page 113: Outside, solar panels by Sunshine Solar Services; sunshinesolarservices.com. Page 115: Trellises custom made by Reich Metal Fabricators; 561-585-3173. Torches by Lori Jayne Palm Beach; lorijayne.com.

Page 116: In family room, curtains in Cutouts fabric by Zimmer+Rohde (T). Standing lamp from Hive; hivepalmbeach.com. Pillows and fabric by MD Home (T); m-dhome .com. Sofa custom made by New

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

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Dimensions, upholstered in Baby Blue Tunis fabric by Jim Thompson Fabrics (T); jimthompsonfabrics.com. Laura Kirar lounge chair from McGuire; mcguire furniture.com. Page 117: In living room, sconces from Jean-Luc Ferrand; jeanlucferrand.com. Vase from Global Views; globalviews.com. Page 117: In powder room, vintage crystal and brass pendants from Sambataro; sambataro .co.uk. Shades from Conrad (T); conradshades.com. Carved bamboo wall covering and Belize stone flooring from Cavastone Group; cavastone.com. Sink and faucet from Boca do Lobo (T); bocadolobo.com. Uno Due Tre side table

by Roberta Schilling (T); rscollection.com.

Page 118: In kitchen, cabinets by Downsview Kitchens (T); downsview kitchens.com. Range by Wolf; subzero-wolf.com. Faucet by Dornbracht; dornbracht.com. Vintage goatskin stools

by Karl Springer. Countertops by Cavastone. Teak stool by Made Goods; madegoods.com. Page 119: In master bedroom, midcentury swing-arm sconces, in chrome and lucite, from High Style Deco; highstyledeco.com. Thomas Pheasant outdoor sofa by McGuire.

Headboard upholstered in fabric custom made by Schumacher (T); fschumacher .com. Chairs and ottoman custom made

by New Dimensions, upholstered in New Briquetage–Sky/Indigo fabric by Brunschwig & Fils (T); kravet.com.

Dhurries Collection DHU556B rug by Safavieh; safavieh.com. Bench upholstered in fabric by Robert Allen Fabrics (T); robertallendesign.com.

FORWARD FOCUS Pages 128–37: Interiors and select furnishings by Francis Sultana; francissultana.com. Architecture by Pierre Beucler of Architecture + Associés, aaarchitectes.com, and Cornelia Griffin.

Consulting by Louis Schump of Rapt Studio, raptstudio.com. Pages 128–29: In living room, side table and candlesticks

by Mattia Bonetti; davidgillgallery.com.

Rug by Fort Street Studio; fortstreetstudio .com. Page 130: In dining room, table by Zaha Hadid; zaha-hadid.com. Page 131: In library, lamp by Atelier Bauer; atelierbauer.com. Page 131: In hallway,

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boots by Vetements; vetementswebsite. com. Page 132: In library, bookshelf by Marc Melvin Design; marcmelvindesign .com. Page 133: In master bedroom, cabinet by Garouste and Bonetti; davidgillgallery.com. Page 134: In entry hall, light fixture by Serge Mouille; sergemouille.com. Page 135: In library, pillows by Ulrika Liljedahl; ulrika liljedahl.com. Ottoman by Garouste and Bonetti. Tray by Oscar de la Renta; oscardelarenta.com. Page 136: In dressing room, pylon desk by Tom Dixon; tomdixon.net. Pendant from Property Furniture; propertyfurniture.com. Page 137: In master bedroom, lamp and nightstand by Garouste and Bonneti.

Sconces by Artemide; artemide.com. Bed

by Charles H. Beckley; chbeckley.com.

Table by Eero Saarinen; knoll.com.

CREATOR, CONNECTOR, CATALYST, COLLECTOR Pages 138–45: Architecture by Carlos Herrera Architect; carlosherrera.com.mx.

Interiors and select furnishings by Luis Bustamante; luisbustamante.com. Page 138: In living room, rug by Unique Carpets; uniquecarpetsltd.com. Pages 140–41: In entry hall, Senat chairs by Pierre Jeanneret; patrickseguin.com. Page 142: In kitchen, chandelier by Gaetano Sciolari; pamono.com. Range, sink fittings, and cabinets by Cocinas Sevilla; cocinas-sevilla.mx. Chairs by Christian Dior; dior.com. Page 143: Sofa and cocktail table by Vladimir Kagan, vladimirkagan.com, and upholstered in fabric from Loro Piana (T), us.loropiana .com. Console by Rick Owens; rickowens .eu. Side table from Galeria ADN; adn-galeria.com.

STYLE IDYLL Pages 154–61: Interiors and select furnishings by Wilbert Das of Uxua Casa; uxuacasa.com. Page 157: In living area, armoire from Nobre Decadência Antiquário; nobredecadenciaantiquario .com.br. Page 158: In master bedroom, ceiling fan by Reverlux; reverlux.com.br.

Page 159: On terrace, ceiling pendant by Ze Ceramica Trancoso; +55-73-3668-2352.

Page 161: In dining area, lighting pendants by Ze Ceramica Trancoso.

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T W O R K S H O P G A L L E R Y/ C O N V E NC ID CARPENTERS U IV / /F A V D Y IE E R A S T U D I O A P A R T M E N T- G A L L E R Y/ E TA G E P R O J E C T S / F R I E D M A N B E N D I D I E R LT D / ER ER LER A L G L RICK SEGUIN/ GALERIE PHILIPPE GRAVIER/ AL T H E F U T U R E P E R F E C T/ G A L E R I E P AT AL S G G E U L A L Y / R H E L O L S A G T / L A V E O R N Q A L B L URROWS/ JASON JAC GALLERIA ANTONELLA VI / N H / AGE UD J O H N K E I T H R U S S E LL / K AS M I N / L A F FA N O U R – G A L E R I E D OW N TOW N / L M A / EBRETON IR O / G S E EL N E G A L L E R Y/ O R N A M E N T U M / P I E R R E M A R I I MERCADO MODERNO/MODER IEG S UD / Y T R S S A R A H M Y E R S C O U G H G A L L E R Y/ S I D E G A L L E R & C O M P A N Y/ S A L O N 9 4 D E S I G N / LL RRI E I SOUTHERN GUILD/ THOMAS FRITSCH – ARTR M IUM/ TODD IAM M DESIGNMIAMI.COM @DESIGNMIAMI #DESIGN

GIORGIO ARMANI’S FASHION

DESIGNS ARE CONSIDERED TIMELESS CLASSICS. HERE, HE TALKS ABOUT A WORK FROM ANOTHER ENDURING

ICON

“I’m not a collector, and the only work I have is a drawing by Matisse. I’m very fond of it because it was a birthday gift from my friend Eric Clapton. Matisse has always been one of my favorite artists. I find that there’s great harmony, incredible inventiveness, and lightness in his work. I particularly appreciate his philosophical simplicity.” AS TOLD TO JACQUELINE TERREBONNE 168

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FROM LEFT: FABRIZIO NANNINI; COURTESY OF GIORGIO ARMANI

THAT ADORNS HIS HOME IN MILAN

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