Jean-Louis Deniot

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Š 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

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Š 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

Deniot’s response to designing a small bathroom: “I drew inspiration from a ballroom to design a bathroom! It’s small but glamorous, especially the crystal sconces and shimmering lighting. Bold experimentation in decorating a rather small dimension can make a sizeable difference and a great impact,” he says.

The bathroom is lavished with mirrors to give the appearance of endless space. Deniot deployed one of his classic design methods to prevent the expanses of mirror from seeming too glittery or “new”: above the bath, the mirror is in mosaic sections that break up the expanse and give the effect of glitter.

Wall lights are by Maison Baguès, and a 1940s crystal chandelier is by Serge Roche. An antiqued mirror sits on the custom vanity. The custom-designed countertop is honed Bardiglio Turquin marble, an elegant stone from an Italian quarry with a signature blue tone and dove grey striations. It stands on a custom-designed cabinet with distressed mirror.

© 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

chairs, it has versatile seating for many occasions, Deniot notes. “I wanted to create interesting interactions and perspectives for all guests. The new Jean de Merry day bed was added for maximum attitude, and other pieces play contrasts between sharp and loose, precise and organic shapes.”

The custom Nepalese wool rug was designed by Deniot, as was the Jean de Merry XXL marble, bronze, and parchment console. Obelisks are bronze. The large, abstract painting is by Claudia Aronow-Roush, and a 2003 Jean de Merry gray parchment daybed is covered in abstract silk damask. The coffee table is onyx, and the armchair and stool are by T. H. Robsjohn-Gibbings. In the bay window is a Vladimir Kagan sofa. Floor lamps are 1950 Jacques Adnet, and the long Edward Wormley sofa covered in alpaca is from Loro Piana.

© 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

evening, restaurants of the Left Bank are just a quick walk across the noble Pont de la Tournelle.

The family residence, originally built in the late seventeenth century, is hidden behind a massive portal that leads from the street into a discreet courtyard and portico.

The original concept for updating the two-story residence was simply to improve the floor plan, which was somewhat cramped. But for Jean-Louis Deniot, always a perfectionist, it was essential to make fundamental interior architecture corrections to his client’s new acquisition, and to erase years of ill-informed changes so that the five-bedroom apartment would reach its potential.

“It’s an elegant building, with a grand stone staircase that leads up to the apartment entry and tall windows to capture quintessential Paris views. The building is strong and pure, with great ar Deniot loves a mix—of periods, artists, metals, and points of view. Opposite: The large Louis XV gilt corbeille sofa is from Auction Drouot. The 1940 desk from Maison Jansen, from On Site Antiques, has a Hiquily swan lamp from Galerie Yves Gastou. The Hiquily console with onyx top is also from Yves Gastou. A comfortable 1940s armchair

by André Arbus is covered in Westbury fabric. The custom rug is by Galerie Diurne.

Above: A bronze and rock chandelier is by Hervé Van der Straeten. The graphic artwork is Ruth Francken’s La Manif.

Deniot likes the vibrant and vivid effect of juxtaposition and variety in his designs. Each piece has its own character and is shown to advantage jostling with contrasting works. Following pages: An abstract bronze sculpture is signed Tao Sigulda. The Ruth Francken Portrait of Iannis Xenakis is from Galerie Yves Gastou. The 1950s abstract feminine sculptural wood lamp, signed Marianna Von Allesch, is from On Site Antiques, rue de l’Université, Paris.

The Harry Bertoia “Sputnik” sculpture is also from On Site Antiques.

Bold and graphic, the one-of-a-kind console by McCollin Bryan, London, makes a fine placement for the large neoclassical alabaster urn lamp from Galerie Edouard de La Marque. A pair of marble obelisks is from On Site Antiques.

© 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

architectural integrity, but this apartment had been chopped up into a series of small rooms,” notes Deniot. “It was originally home to courtiers of the king, to bankers and nobles. The entry stairs were made very wide so that three ladies in crinoline could walk side by side. So I wanted to recreate beautifully proportioned new interiors, bring back the high level of craftsmanship, and make my client happy.”

Deniot arranged an inspection and study of the apartment with the new owners. “It was disappointing to see how much this historic apartment had been ruined. My first impulse was not to start simple cosmetic changes but to bring in the bulldozer. The structure required major work. After discussions with my client, we decided to proceed with detailed engineering studies. Then, very Modern, ancient, refined, and raw are all in the fascinating mix. Previous pages: The gold-leaf Louis XVI–style frame has a custom two-way mirror (to hide the TV screen). The Roger Bezombes medaille L’Enfer is from Galerie Yves Gastou, as is an André Arbus stone masque.

To offer a sense of a lifetime of collecting, Deniot chose two sixteenth-century paintings attributed to Jean Cousin and Christian Demenstien.

The window in the bedroom, so crucial for light and views, had earlier been boarded up because an admired French president did not want the residents of this apartment overlooking his own residence.

Deniot was determined to have it returned—and succeeded. The green curtains are Veraseta iridescent silk, carefully interlined.

The 1940s Louis XV/XVI-transition-style low alcove sofa is by Jansen, covered in Sabina Fay Braxton handcrafted fabric.

The central zebra pillow is from Jim Thompson. Side pillows are in Loro Piana cashmere. Reading lamps are from Galerie des Lampes. The coffee table is by Fernand Dresse, Galerie Yves Gastou, and the custom thousand-stripes carpet is by Galerie Diurne.

In design detail, framing the precious new view is a shade from Edmond Petit “Starlight.” The corner pillow is covered in Holland & Sherry cashmere. The central pillow is covered in Jim Thompson “Illusion.”

© 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved

Š 2014 Rizzoli International Publications. All Rights Reserved