Salon - The Intersection of Art + Design

SALON

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The Intersection of Art + Design

A new future for collectible design and art

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Salon Art + Design 2020

Bernard Goldberg Fine Arts, LLC, specializes in American and European art created in the early 20th century with a focus on early Modernism. Exhibiting artworks from Edward Hopper to Gustav Klimt, and sculpture from Gaston Lachaise to Jacques Lipchitz, the gallery also exhibits decorative works

by Modernist designers and architects including Samuel Yellin, Edgar Brandt, Frank Lloyd Wright, and Josef Hoffmann.

Bernard Goldberg Fine Arts, LLC New York info@bgfa.com (212) 813-9797 www.bgfa.com

(Opposite) Paul Manship, Dancer vase, bronze with gilding, 1913, 16 7/8 × 8 1/2 × 6 7/8 inches (including original base) (Above) Gaston Lachaise, Fountain, bronze, 1922, 10 × 12 1/2 × 5 1/2 inches

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R & Company Celebrating over 20 years in business, R & Company represents a distinguished group of historic and contemporary designers whose work is among the most innovative and finely crafted of their time.

R & Company is currently developing exhibitions and publications about its represented designers, encompassing a diverse program that includes work from North America, South America, Europe, and Asia produced between 1945 and today. Through passion, research, and collecting,

(Opposite) Jeff Zimmerman, Crystal Cluster unique illuminated sculpture, blue and turquoise hand-blown glass, 2016, 27 × 46 inches (Right) Serban Ionescu, Folk #15 sculptural chair, wood and steel, 2020, 22 × 17 × 41 inches

R & Company continues to champion collectible design and develop the contemporary marketplace.

Evan Snyderman and Zesty Meyers 64 White Street New York, NY 10013 United States 82 Franklin Street New York, NY 10013 United States r@r-and-company.com (212) 343-7979 www.r-and-company.com

Friedman Benda Friedman Benda identifies and advances key narratives that intersect contemporary design, craft, architecture, fine art, and cutting-edge technological research. The gallery promotes synthesis between leading creative thinkers and makers by creating opportunities to advance new connections within the global design community. Friedman Benda is committed to a critical view of design history. We aim to expand the design dialogue from its established sources, exploring perspectives that have previously been marginalized. Spanning five continents and four generations, Friedman Benda represents a roster of seminal established and emerging designers, as well as historically significant estates.

Since 2007, the gallery’s exhibitions, publications and collaborations with institutions have played a vital role in the development of the contemporary design market and scholarship.

515 West 26th Street New York, NY 10001 United States gallery@friedmanbenda.com (212) 239-8700 www.friedmanbenda.com

(Left to right) Adam Silverman: Tide Jar, 2019, Untitled, 2017, Untitled, 2015; Faye Toogood: Maquette 243 / Wire and Card Table, 2020; Carmen D’Apollonio: One More Time, 2019; Faye Toogood: Maquette 057 / Canvas Chair Tapestry, 2020; Bruno Gambone: Untitled, c.1980s; Jonathan Trayte: Soft Pair, 2019; Daniel Arsham, India Lounge Chair VI, 2019; gt2P (Great Things to People): N1: Revolution Aux Table S, Quitralco, Osorno Volcano, 2017, Remolten N1: Revolution Aux Table M, Quitralco, Osorno Volcano, 2017; John Mason: Four Stack Figure, Eggshell, 2015

Maison Gerard Since 1974, Maison Gerard has presented the best in French Art Deco. The gallery has expanded over the past two decades to include a diverse range of contemporary artists and designers. Maison Gerard today is not solely a place for design, but a place where design lives; not only where the old and new coexist seamlessly, but where it is easy to feel at home among the beauty of both.

Benoist F Drut 43 & 53 East 10th Street New York, NY 10003 United States (212) 674-7611 www.maisongerard.com

At 130 William, a building designed by Sir David Adjaye Photo: Michael Kleinberg

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Salon Art + Design 2020

ABA GAllery GALLERY

Masterpieces of Russian Avant-garde

AlexAndrA exter

nAtAliA GonchArovA

Abstract Composition, circa 1916 gouache and mixed media on paper 66 x 50.8 cm (23 x 20 in)

Abstract Composition with Palette, circa 1917 oil on canvas 73.7 x 53.3 cm (29 x 20 in)

By AppointMent only. 212 677 2367. 7 east 17th Street, new york ny 10003. www.abagallery.com. abagallery@gmail.com

ABA GAllery GALLERY

Masterpieces of Russian Avant-garde

KAzimir mAlevich Portrait of Leporskaya, oil on canvas, 98 x 77.5 cm (39 x 30.5 in) PROVENANCE: Collection of Nina Suetin EXHIBITIONS: Kazimir Malevich. The State Russian Museum. St. Petersburg 2018 Kazimir Malevich. Doha Art Museum. Qatar 2019

By AppointMent only. 212 677 2367. 7 east 17th Street, new york ny 10003. www.abagallery.com. abagallery@gmail.com

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ABA contemporAry ABA contemporAry ABA contemporAry ABA contemporAry

Salon Art + Design 2020

GALLERY GALLERY GALLERY GALLERY

Edward Edward Edward Edward

BEkkErman BEkkErman BEkkErman BEkkErman

Labyrinth of Love #7, mixed media on canvas, 51 x 56 in (130 x 142 cm) Labyrinth of Love #7, mixed media on canvas, 51 x 56 in (130 x 142 cm) Labyrinth of Love #7, mixed media on canvas, 51 x 56 in (130 x 142 cm) Labyrinth ofpaintings Love #7, mixed media on canvas, 51 x 56and in (130 x 142exploration cm) Edward Bekkerman’s are an honest, masterful, divine into Edward Bekkerman’s paintings are an honest, masterful, and divine exploration into the unknown. Bekkerman is a contemporary shaman whose mystical abstractions Edward Bekkerman’s paintings are an honest, shaman masterful, and divine exploration into the unknown.

Bekkerman is a contemporary whose mystical abstractions evoke a powerful, raw, cosmic energy, the very life-force of the universe. the unknown.

Bekkerman a contemporary shaman whose mystical abstractions evoke a powerful, raw,iscosmic energy, the very life-force of theexploration universe.

Edward Bekkerman’s paintings are an honest, masterful, and divine into evoke a powerful, raw, cosmic energy, the very life-force of the universe. the unknown. Bekkerman is a contemporary shaman whose mystical abstractions evoke a powerful, raw, cosmic life-force of the universe.

By Appointment only.

7 east 17th Street, new york energy, ny 10003. the 212 very 677 2367. www.abagallery.com. abagallery@gmail.com

By Appointment only. 7 east 17th Street, new york ny 10003. 212 677 2367. www.abagallery.com. abagallery@gmail.com

By Appointment only. 7 east 17th Street, new york ny 10003. 212 677 2367. www.abagallery.com. abagallery@gmail.com

By Appointment only. 7 east 17th Street, new york ny 10003. 212 677 2367. www.abagallery.com. abagallery@gmail.com

CONTENTS 20

Salon – The Intersection of Art + Design A welcome to our magazine edition from Editorial Director Jill Bokor

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A Brief History of Salon From 2012, we chart how the fair – and the design market – has progressed

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On the Market How the pandemic has affected the world of collectibles, by Benjamin Genocchio

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By Design: Publisher Alexandre Assouline

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A Burst of Bespoke The unstoppable growth of private commissions, by Caroline Roux

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By Design: Curator Glenn Adamson

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By Design: Editor Wendy Goodman

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By Design: Designer Robert Stilin

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By Design: Decorator Julie Hillman

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By Design: Architect Charles Zana

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By Design: Curator Beth Rudin DeWoody

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By Design: Collector Nathalie de Gunzburg

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“Obsession is a Virtue” How Murray Moss and Barry Friedman started out, by Melissa Feldman

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At Home with Salon Galleries and partners highlight what they would have exhibited at this year’s fair

146 Directory All the galleries and partners featured

(Cover image) Winold Reiss, City of the Future (detail), oil and gold leaf on canvas, 1935–36, 58 × 72 inches. Courtesy: Bernard Goldberg Fine Arts, LLC

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Salon Art + Design 2020

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Twenty First Gallery Twenty First Gallery engages the needs of interior designers, collectors, and private clients, many of whom can be counted among founder Renaud Vuaillat’s first acquaintances during his 12-year tenure at the Serpette in Paris. With new work always appearing in the classical 2,500 sq ft open loft space, Vuaillat’s gallery is an essential stop in Tribeca’s burgeoning furniture design circuit for those seeking collectible, timeless pieces and limited editions.

(Opposite and below) Marcin Rusak, White Flora Cabinet, flowers and leaves, white resin, aluminum, 2020 (Right) Rob Wynne, Mirror, polished bronze, glass, 2020

Renaud Vuaillat 76 Franklin Street New York, NY 10013 United States info@21stgallery.com (212) 206-1967 www.21stgallery.com

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Salon Art + Design 2020

Adrian Sassoon Adrian Sassoon is one of the UK’s leading galleries for international, contemporary works of decorative art and design. The gallery has a focus on innovative and luxurious work in a diverse range of materials.

Over 25 years of experience has led to the continued patronage of an impressive following of collectors, interior designers, and international museums and galleries.

Through exhibiting a selection of unique, contemporary objects, Adrian Sassoon champions craftsmanship and expertise, invigorating this exciting field of collecting.

Adrian Sassoon 14 Rutland Gate London SW7 1BB, United Kingdom email@adriansassoon.com +44 20 7581 9888 www.adriansassoon.com

(Opposite) Vezzini and Chen, Mirage floor light, 14 blown and cut glass lights with carved parian porcelain interior components mounted on a brass stem, 2019, 90 1/2 × 23 5/8 × 19 5/8 inches (Below, left) Hitomi Hosono, A Dew Drop and English Daisy Bowl, molded, carved and hand-built porcelain with an interior of dancing sprigs, 2020, 6 1/8 × 11 inches (Below, right) Junko Mori, Propagation Project; Sun Flower, forged mild steel, wax-coated, 2019, 26 3/4 × 28 3/8 × 13 3/8 inches

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Salon Art + Design 2020

(This page) Jean-Luc Le Mounier, Vers Le Large Cabinet, FR, 2020. Inspired by the breakwaters of Saint-Malo, Vers le Large, symbolizes a graphic representation of the piers in Le Mounier’s town of Brittany. Featuring 12 hidden drawers, the cabinet stands on ten white bronze sculpted legs reflecting the weather worn wooden stakes of a pier. White bronze and black engraved sycamore, 73h x 98w x 18.50d in / 85.42h x 248.92w x 46.99d cm (Facing page) Jean-Luc Le Mounier, Fringe Cabinet, FR, 2020. The Fringe Cabinet, elevates contemporary design, by finding inspiration in the transformative qualities of contemporary couture. By punctuating the cabinet’s function with the free swinging fringe that hangs from its doors, Le Mounier has dramatically animated the rose tinted steel design. Nylon thread, tinted stainless steel, black oak. 51h x 74w x 15d in / 129.54h x 187.96w x 38.10d cm

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Todd Merrill Studio represents an international group of established and emerging artists working at the intersection of art and design. Individually, through meticulous craftsmanship and rigorous studio experimentation, each strives to break the previously set inherent limitations of conventional materials like wood, metal, plaster, concrete, ceramics, glass, and resin. Their intimate studio approach fosters an atmosphere of creativity where the work rendered significantly bears the hand of the artist. Collectively the artists are creating a new visual vocabulary that advances long-held, established artistic boundaries. Their groundbreaking, one-of-a-kind, works contribute to today’s increasingly relevant idea of collectible design.

80 Lafayette Street, New York, NY 10013 212-673-0531 / www.toddmerrillstudio.com (This page) Jean-Luc Le Mounier, Hamada Mirror, FR, 2020. The sparkling, black framed Hamada Mirror breaks new ground with a revolutionary technique of metal working before now only used in fine jewelry making. To recreate the dramatic scorched earth effect, Le Mounier constructs a complex composition of individually sculpted metal plates, on which several layers of black crystal and gold are fused, producing a finely detailed, glittering effect. Steel, mirror, enamel, black crystal, gold. 51h x 51w x 2d in / 129.54h x 129.54w x 5.08d cm

SALON – THE INTERSECTION OF ART + DESIGN

by Jill Bokor In this most challenging year, as event after event was cancelled, Salon wondered if it would meet the same fate. By the beginning of August, it was clear that we, too, would be unable to hold a live fair.

Something we’ve all learned in 2020 is that nothing can be taken for granted. While we’d previously all lived making constant reference to digital platforms, for everything from luxury goods to insurance, political solicitations to personal services, the art world was slightly different. We had the luxury of seeing announcements for art exhibitions and fairs online and then going to them. All that changed by the middle of March. Clever organizers found a way to create virtual fairs and viewing rooms and, like the virus itself, they were novel for a while. But like so much about this year, fatigue set in for the virtual fairs.

When we knew that there could be no live Salon this year, we looked for other ways to further our platform and meet our exhibitors’ needs. I had spent 20 years as a magazine publisher and been very sorry about the fate of the print media that had played such an outsize role in American culture for over a century. It occurred to me that there might be a kind of retro-chic in producing a magazine, and we moved forward with the idea. It seemed that in this moment of evanescence, people liked the idea of a beautiful object entering their homes, being displayed and referred to over time. Hence, Salon – The Intersection of Art + Design.

The idea was for a legitimate magazine that would create a discourse about this moment and the future of art and design. And while we’ve referenced Salon’s past in our timeline, the magazine does indeed take on changes in

the marketplace. However, the true centerpiece of the magazine is At Home with Salon: the editorial portfolio of objects that would have been exhibited in this year’s fair. Despite the challenges, our exhibitors have amassed a remarkable collection of the beautiful, the functional, and the uncommon, providing here a quick survey of the worlds of art and design in 2020.

Because there is no ignoring the virtual, and because you can’t get a true picture of a gallery’s offerings with one photo, the magazine will be also published online on 19 November, the day Salon would have opened. Additionally, in their dedicated pages, participants have been given QR codes that will take readers directly into the galleries themselves. We hope it’s the best of all possible worlds. More importantly, we hope that the world is a brighter place next year and look forward to welcoming you to the Park Avenue Armory for Salon’s 10th anniversary in November 2021.

I would like to thank the Salon team for such a quick pivot to this new medium. We’re all grateful to the writers who’ve lent us their thoughts and the subjects of our By Design interviews, who’ve taken time to talk about collecting design. Finally, our deepest gratitude to the team at Cultureshock. Without their talent and expertise, we could not have pulled this off.

Jill Bokor is Executive Director, Salon Art + Design

Look out for these codes to explore more content

FOR SALON ART + DESIGN

FOR CULTURESHOCK

www.thesalonny.com

Editorial Director, Jill Bokor

Editor, Edward Behrens

Managing Director, Jennifer Stark

Art Director, Alfonso Iacurci

Digital and Database Manager, Nora Wimmer

Production Editor, Suzie McCracken

Salon – The Intersection of Art + Design is published

by Cultureshock on behalf of Salon Art + Design © 2020

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Publishing Director, Phil Allison Production Manager, Nicola Vanstone

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Cover printed by Carlson Print Group

Cultureshock 27b Tradescant Road London SW8 1XD Telephone + 44 20 7735 9263 www.cultureshockmedia.co.uk

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Nilufar Gallery announces TERRA (IN)FIRMA, the first solo exhibition of the French-Lebanese artist Flavie Audi, in Italy.

The show weaves through a geological narrative shaping a utopian world where real and virtual meet with the intention to destabilize our encounter with the terrestrial so to imagine a posthuman topography.

In navigating this uncanny plain, we encounter fragments of hyper-liths dispersed through space, rupturing our sense of stability; rocks become fluid, tilting on their axis, conglomerating. Forms caress and nudge each other in tender relations.

Digital aesthetics warps our sense of material nature, hybridising the organic and the synthetic.

Ultimately, TERRA (IN)FIRMA confronts us with the Promethean dilemma: should the Earth be treated as a resource whose utility is determined primarily by human needs? Can human technology overcome our environmental problems?

Nilufar Gallery, via della Spiga 32, 20121 Milano +39 02 78019 • Nilufar Depot viale V. Lancetti 34, 20158 Milano +39 02 36590800 www.nilufar.com • nilufar@nilufargallery.com

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Salon Art + Design 2020

Exceptional 32-Light Chandelier

by Max Ingrand for Fontana Arte

Rare Arm Chairs

by Gio Ponti

MoonWalk Floor Lamp

by Lorin Silverman

ITALY, c 1958 Cut glass, polished & enameled brass, bronze. This model was exhibited in the Italian Pavilion of the 1958 World’s Fair in Brussels.

ITALY, c 1964 Ash, brass, cotton velvet.

Designed for the Parco dei Principi Hotels & produced by Cassina.

Blown glass, metal foil, black-painted brass, polished chrome, marble.

Made to order in New York City.

H 12” DIAM 63”

H 34” W 28.5” D 38”

H 70” W 27” D 9” GLASS BOWLS DIAM 18”

UNITED STATES, 2020

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DONZELLA LTD 200 LEXINGTON AVENUE NO.1510 DONZELLA PROJECT SPACE NO.1509 NEW YORK, NY 10016 DONZELLA.COM INFO@DONZELLA.COM

DONZELLA_LTD 212 965 8919

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J. Lohmann Gallery J. Lohmann Gallery specializes in contemporary decorative arts by internationally established designers and emerging talents. The gallery plays an instrumental role in nourishing the relationship between design, decorative arts, and sculpture, and its success is due to its unique roster of ceramic and glass artists, all of whom are celebrated for their groundbreaking use of innovative techniques.

(Left) Sandra Davolio, Coral Flowers, porcelain, 2020. Photo: Ole Akhøj (Above) Barbara Nanning, Verre églomisé No. 1, glass, gold, 2020

Joern Lohmann By appointment New York, NY 10021 United States info@jlohmanngallery.com (212) 734-1445 www.jlohmanngallery.com

A BRIEF HISTORY OF SALON

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Salon Art + Design 2020

In 2012, design was being collected in an understated way compared to important art, while collecting in general had shifted from a vertical to a horizontal activity, crossing geography, history, and styles. It was with this in mind that Salon was created – picking up the baton from the Modernism fair, New York’s original and most opulent design fair. As the fair reaches its first magazine edition, we look at what happened next.

2012 2013

Running head

We decided to create the first New York fair that would showcase design as well as art. No one else was doing it – most art fairs discouraged design and the very few existing design fairs did not accept art. Salon partnered with the prestigious Syndicat Nationale des Antiquaire to create the first US fair to showcase both.

For the second and final time, the fair collaborated with the Syndicat Nationale des Antiquaire. The mix of participants at the fair included 18th-century French furniture dealers and modern picture galleries, with material ranging from ethnographic art to an assortment of international mid-century design.

27 (Clockwise from far left) The 2019 fair with Friedman Benda in the foreground; L’Arc en Seine, 2012; David Gill, 2014; Bernard Goldberg, 2015; Adrian Sassoon, 2013.

Photos: Peter Baker

2014

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Salon decided to expand its offerings and crept further into the 20th century. While collectible design was rapidly becoming its own category, there wasn’t a fair in New York that specialized in it. To that end, we made a decision to become a design fair punctuated by art. It represented a real shift.

2015 + 2016 These two editions saw a great expansion in the geography of participating galleries. Early exhibitors had come mostly from France, the UK, and America, but 2015 and 2016 included more dealers from Germany, Switzerland, Belgium, and Scandinavia.

Salon became known for cutting a wide swath in its offerings.

It was also the first year that our Partners program took off; Goyard, the luxury trunk maker, created an elegant entrance to the fair.

Salon Art + Design 2020

2017 2018

Running head

While there was already a decided tilt toward the 20th and 21st centuries, this year Salon also included, for the first time, galleries specializing in classical ancient art – showing the roots of everything that was to come after. By that time, participants from Asia and Spain had joined the fair.

The momentum for contemporary design was accelerating. As a collecting category, it had come into its own and the latest material was highly sought after.

Younger collectors were also entering the market.

Salon was accessible to them, showing that not all collectible art and design starts in the six figures.

(Clockwise from far left) 29 Signage outside the Armory, 2015; Friedman Benda, 2017; DeLorenzo, 2017; Eileen Fisher Project, Sponsor Exhibition, 2017; Galerie Dumonteil, 2013; Goyard sponsors the 2016 edition. Photos: Peter Baker

2019

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Our last fair’s offerings ranged from Wiener Werkstätte, Arts and Crafts, Deco, Bauhaus, and international mid-century Modern work to late-20th-century French, Italian, and Scandinavian design, culminating in pieces made that year. Collectors and designers could furnish an entire house with objects both functional and decorative, serious and whimsical – and with ever-emerging materiality. As an event, it both assessed and predicted trends in the design marketplace.

(Clockwise from top) Galerie Negropontes, 2017; Outside the Armory in 2019; Sollands Collectors Lounge, 2019. Photos: Peter Baker

Salon Art + Design 2020

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Photo Michel Gibert, for advertising purposes only. Flower arrangement by Thierry FĂŠret.

Running head

In celebration of the brand’s 60th anniversary, renowned Portuguese artist Joana Vasconcelos imagined a line of seating and accessories for Roche Bobois. The Bombom collection presents her interpretation of comfort and interior design: playful, generous and resolutely optimistic.

Bombom, designed by Joana Vasconcelos.

Collection of sofas with entirely removable slipcovers, upholstered in different shades of Stretch fabric. Sets of mobile backrests, can be positioned freely on the seats.

Tutti Frutti. Rugs, designed by Joana Vasconcelos.

Manufactured in Europe.

Galerie BSL Founded by Béatrice Saint-Laurent, Galerie BSL commissions and exhibits refined and innovative works that challenge the established borders of art and design. All one-offs or in very limited edition, these functional sculptures channel an experience, arouse one’s sensibility, and speak to the heart as much as to the intellect. Fantasy fuses with the object, creating a dreamy aesthetic, full of energy and imagination.

Galerie BSL 14 rue des Beaux-Arts Paris 75006, France info@galeriebsl.com +33 1 56 81 61 52 www.galeriebsl.com

(Above) Charles Kalpakian, Cinétisme wall light, brushed, hammered, guilloched, and lacquered aluminium, LEDs, 2020.

47.2 × 35.4 × 8.1 inches

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Salon Art + Design 2020

Moderne Gallery Moderne Gallery, directed by Robert and Joshua Aibel, has been internationally renowned for its high-quality, 20thand 21st-century furniture, lighting, and accessories since 1984. Recently relocated to the Showrooms at 2020 in the Port Richmond district of Philadelphia, 16,000 sq ft are filled with an extensive inventory. In 1985, Moderne Gallery was the first gallery to

promote the work of George Nakashima and still has the finest and largest selection of his work. Moderne Gallery extended its focus to include work by Wharton Esherick, Sam Maloof, David Ebner, Peter Voulkos, Edward Moulthrop, and many others. Moderne Gallery is unique in its specialization in vintage and contemporary work from the American Studio Craft movement.

Robert and Joshua Aibel 2220 East Allegheny Avenue Philadelphia, PA 19134 United States info@modernegallery.com (215) 923-8536 www.modernegallery.com

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(Above) Ryo Toyonaga, Untitled, stoneware, 1993, 19 × 15 × 33 inches (Left) George Nakashima, Triple sliding door cabinet, cherry and pandanus cloth, 1961–62, 104 × 21 × 32 inches

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Salon Art + Design 2020

presents

The Gilbert Collection

Egyptian Greek Hardcover catalogue available WWW.PHOENIX ANCIENTART.COM

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“ Someone valued these objects in the ancient world.

They were made with an aesthetic impulse to create beauty in their daily lives.”

Dr Walter Gilbert

Amlash Iberian NEW YORK Electrum, Exclusive Agent - 725 Fifth Avenue, 19th floor - New York, NY 10022, USA - T +1 212 288 7518 GENEVA 6 rue Verdaine - 1204 Geneva, Switzerland - T +41 22 318 80 10

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Salon Art + Design 2020

Chahan Gallery The gallery offers a selection of rare mid-century furniture and contemporary artworks, as well as Chahan Minassian’s own design collections. These pieces of furniture and lighting reflect his aesthetic, playing with textures and pure lines.

Rock crystal, travertine, ceramic or Murano glass are integrated into his designs to offer exceptionally handcrafted and signature pieces such as lamps and standing lamps, suspensions, armchairs, coffee tables, and screens.

Chahan Gallery 11 rue de Lille Paris 75007, France gallery@chahan.com +33 1 47 03 47 00 www.chahan.com

(Opposite) Ceramic and travertine guéridon

by Chahan Design and Peter Lane; Poudré lamp in Murano glass by Chahan Design; Lounge chair by Chahan Design; Starburst ceramic suspension by Chahan Design and Antoinette Faragallah; Accordion ceramic standing lamp

by Chahan Design and Peter Lane (Below) Large Waterfall coffee table in rock crystal marquetry by Chahan Design

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Salon Art + Design 2020

Karl Kemp The preeminent gallery for fine furniture and decorative art in New York City. Presenting a focused collection of continental 19th-century antiques, Art Deco and mid-century design, featuring works from Osvaldo Borsani, Lorenzo Burchiellaro, TH Robsjohn-Gibbings, Carlo Hauner and Martin Eisler, J & L Lobmeyr, and Martin Potsch.

The large Sputnik cylinder chandelier from Lobmeyr, was developed by Erich Boltenstern and Hans Rath for the foyer of the Innsbruck State Theater in 1966. Around a cylinder made of nickel-plated brass, the crystal elements are grouped in the shape of rays and create an impressive play of light.

The chandelier is stamped at the upper rim.

(Right) Oswaldo Borsani, Bar cabinet, crafted by Atelier Borsani Varedo, Italy, parchment, glass, wood and metal, 1952, 55 × 45 × 15 3/4 inches.

The cabinet retains its original metal tag from the maker.

Archive number 7565/2 Archivio Osvaldo Borsani (Opposite) J & L Lobmeyr, Sputnik cylinder chandelier, nickel-plated brass and crystal, Austria, 1966, 108 × 31.5 inches.

Four available

The parchment exterior of Borsani’s bar cabinet features unique artwork by Adriano Spilimbergo. The interior features a glass shelf with unique artwork from Lucio Fontana. Both artists collaborated to feature their artistry on only the finest and most special pieces for the Borsani Atelier.

Director: Eric Barsky 36 East 10th Street New York, NY 10003 United States info@karlkemp.com (212) 254-1877 www.karlkemp.com

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Salon Art + Design 2020

Modernity Modernity is the prime gallery for rare and high-grade furniture, ceramics, glass, lighting, and jewelry by the most renowned Nordic designers of the 20th century. Our large collection includes design classics

by Hans Wegner, Finn Juhl, Josef Frank, Alvar Aalto, Axel Salto, and Berndt Friberg, to name a few.

Modernity Stockholm Sibyllegatan 6 114 42 Stockholm, Sweden info@modernity.se +46 707 604433 Modernity London 14 Cavendish Square London W1G 9HA, United Kingdom sebastien.holt@modernity.se +44 77 12 7177 19 www.modernity.se

(Above) Chieftain armchair designed by Finn Juhl for Niels Vodder, teak and original cognac leather, 1949. Stamped by the maker

(Opposite, left to right) Armchair model 4488,

by Kaare Klint for Rud. Rasmussen, mahogany with Brazilian rosewood inlays, woven cane and anelyne leather, 1931; Cabinet

by Carl Axel Acking for Svenska Möbelfabrikerna Bodafors, mahogany and brass, 1940s; Flower pot

by Gunnar Wennerberg for Gustavsberg, stoneware, early 1900s; Vase by Algot Eriksson for Rörstrand, porcelain, 1900s; Armchair model 4488 (as above); Seaweed rug by Barbro Nilsson for Märta MååsFjetterström MMF, Sweden, pure wool in tapestry technique, 1950s

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Salon Art + Design 2020

Lost City Arts Established in 1982 by owner James Elkind, Lost City Arts is recognized as a leading source of 20th-century design and fine art. The gallery specializes in collections of post-war American craft furniture with an emphasis on works by Harry Bertoia.

Lynn Chadwick was an English sculptor who produced large-scale, somewhat abstract works in bronze and steel. He was known for his improvisational technique

of welding metal without sketches or plans, designing as he manipulated his material.

His work is in the collections of MoMA in New York, Tate in London and the Centre Georges Pompidou in Paris.

James Elkind 200 Lexington Avenue New York, NY 10016 United States info@lostcityarts.com (212) 375-0500 www.lostcityarts.com

Lynn Chadwick, Walking Woman Maquette IV, bronze sculpture, signed edition 5/9, 1984

ON THE MARKET

François-Xavier Lalanne, Unique Rhinocrétaire, 1991. Sold at Sotheby’s L’Univers Lalanne auction in 2019 for $6,006,828.

Photo: Sotheby’s / ArtDigital Studio

How has the coronavirus pandemic affected the world of design? Benjamin Genocchio discovers how collectors and dealers are adapting to a new normal

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The figure repeatedly quoted in informal discussions with dealers about past, current, and future trends in the design market is that sales of design objects at art fairs made up between 25% and 50% of annual revenue for many galleries in the years before the pandemic.

Regional dealers have been the hardest hit by the cancellation of physical fairs, as they relied on their convening power to meet with and replenish clients. Fairs were the place to see and be seen. But nobody has been immune to the fallout from the pandemic, which many continue to experience in myriad ways, including restricted visitation at galleries and canceled exhibitions, fundraisers, and travel.

By now, most of us who love design have begun to embark on online shopping excursions. I have bought things – a chair by Elisabeth Garouste and Mattia Bonetti, and a vessel by Claude Conover, the mostly self-taught ceramicist from Pittsburgh who walked away from a career in graphic design and dedicated himself to ceramics at age 55. In the event that I have trouble sleeping, the internet can be an especially dangerous place for those of us with an insatiable passion for beautiful things.

In truth, the design market was already online and the pandemic has accelerated that process, along with other trends in the wider market. Sotheby’s Home, Chairish, 1stDibs, Incollect, Etsy, LiveAuctioneers, and Invaluable remain popular resources, while auction houses, at a lightning pace, have adapted to online sales, outdoor appraisals, digital vetting and appointment-only previews and visits with specialists. Their clients, after an initial nervousness, have also migrated online.

Today’s internet of things is a wonderful tool if you know what you are looking for, but it does not allow the kind of serendipity of a visit to an actual gallery or fair, where a variety of physical objects housed under one roof enables visitors to connect with things they didn’t necessarily know that they wanted. Not surprisingly, branded designers and vintage masters do well online, as buyers tend to know what they are getting and have some assurance of quality and authenticity.

For gallerists who deal in the vintage market, recent times even before Covid have not seen a straightforward trajectory. “As someone who has been dealing design for almost 30 years now, it’s been a very interesting market to watch evolve,” says Paul Donzella. “With regards to what I personally represent, I can say without a doubt

Salon Art + Design 2020

On the Market

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that Italian design has been experiencing a significant period of interest that continues to grow stronger.”

Needless to say, the growth of interest is not solely in European designers. As Donzella says, “We are also seeing a surge of interest in pieces by Philip & Kelvin LaVerne. We primarily only handle the very rarest of this American studio’s output. And the unique and small-edition works have been gaining popularity, and prices have been on the rise.” This is testament to the importance of trusted gallerists who are able to secure the finest objects.

The contemporary design market, too, is also very much in the hands of the galleries, where dealers have the time, commitment, and expertise to promote and discover today’s diverse and exciting new global talent, sometimes even fresh out of design college.

Contemporary design dealers tend to be interested in doing shows and presenting a body of objects by a single creator rather than selling off a piece at a time to the highest bidder. They treat design as sculpture, as art, enter into and out of the art market and art fairs and, much like art dealers, they want to tell a story about objects, develop a narrative that informs a process of making, and build a relationship with the creator who they can support and work with over a long period of time. They support publications on the designers, garner press coverage, and work with institutions on acquisitions, loans, and museum shows.

Primary material research is popular with designers today, as is a desire to build their own machines to make handmade things.

Marc Benda of Friedman Benda in New York points to the young English designer Faye Toogood, who staged her second solo show at the gallery this fall. She makes functional cast furniture, each based on a rough-hewn sculptural maquette made of corrugated paper or crumpled masking tape, that simultaneously disguises and reveals its sculptural origins and materials. “The show has done well,” Benda said. “We’ve had some institutional purchases and sold to clients in Europe, America, Asia, and Australia.”

We live in a time of great creativity and opportunity for those prepared to look and learn, says Benda. The geographical location of the design market has shifted, he points out, widening choices (Left) Jean Royère, Polar Bear sofa, 1962.

Sold at Christie’s Design auction in 2020 for €1,090,000.

Photo: Christie’s Images (Opposite) François-Xavier Lalanne and Manufacture De Sèvres, Les Autruches Bar, 1967–70. Sold at Sotheby’s Jacques Grange | Collectionneur auction in 2017 for $7,288,098.

Photo: Sotheby’s / ArtDigital Studio

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based on needs and tastes. “Twenty-five years ago, Europe owned the design market,” he says. “This shifted to the US, where individuals and institutions built great collections. American museums remain one of the strongest and most dedicated markets for design, but, more recently, Asia has emerged as important. This has expanded the range of options, but also the set of needs, and tastes for designers, as clients now come from all over.”

To get an impression of how the market is performing now, we can turn to the data. Artnet has perhaps the world’s largest, most accurate dataset for secondary market auction sales of art, design, and the decorative arts. Like other databases, Artnet only tracks transactions at auction and therefore it reflects a certain market interest and perspective and must be taken as one of many relevant indicators. Design is also an amorphous hybrid category, constantly evolving, that is not always reflected in an auction house or database taxonomy: Artnet divides data between a fine art and design database, and a decorative art database, though curiously Les Lalanne, Jean Royère, Gio Ponti, George Nakashima, and others appear in both sets.

The data shows that the auction market for collectible design is growing rapidly, both in terms of the top prices paid and in sales volume measured by dollar value. Looking at the past 18-month period of 2019–20, 13 designers have already achieved over $5 million in total auction sales. This is a dramatic increase on the available figures from 2018.

The challenges facing the international art and design world over the past year seem not to have dampened demand at the high end of the market. At Christie’s in Paris on June 30, 2020, during the height of the global pandemic, an unusual, six-light fixture by Jean Royère sold for $1,763,846 with premium, in an auction record for the artist. During the same sale, three more works by Jean Royère sold for over $1 million, including, separately, a couch and a pair of matching lounge chairs.

The success of the Christie’s sale follows similarly strong recent results at design auctions in Paris, London, and New York, especially for Claude and François-Xavier Lalanne, who have achieved success as designers but also as sculptural artists in the international art and museum world. At Sotheby’s Paris on October 24 2019, Choupatte (Tres Grand) from the collection of Claude and François-Xavier Lalanne sold for $2,410,674.

English designer Faye Toogood had her second solo show at Friedman Benda in 2020.

Courtesy: Friedman Benda and Faye Toogood.

Photo: Philip Sinden

2019–20 DESIGNER RANKING

BY SALES VOLUME

2018 DESIGNER RANKING

BY SALES VOLUME

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Rank

Designer

Auction sales 2018 ($)

1

George Nakashima

5,484,033

2

Ettore Sottsass

4,613,921

3

René Lalique

4,487,182

4

Gio Ponti

4,102,306

5

Jean Prouvé

3,905,753

6

Pierre Jeanneret

3,745,814

7

Charlotte Perriand

3,666,034

8

Hans J Wegner

3,186,333

9

Finn Juhl

3,021,029

10

Lucie Rie

2,501,655

11

Poul Henningsen

2,413,070

12

David Webb Inc

2,307,507

13

Paavo Tynell

2,108,174

Rank

Designer

Auction sales 2019–20 ($)

1

Claude Lalanne

39,676,624

2

François-Xavier Lalanne

28,124,875

3

Jean Royère

12,300,891

4

Gio Ponti

8,792,996

5

George Nakashima

7,461,825

6

René Lalique

6,491,801

7

Paavo Tynell

6,124,970

8

Charlotte Perriand

5,887,902

9

Jean Prouvé

5,882,948

10

Émile Jacques Ruhlmann

5,508,391

11

Fabergé (Co.)

5,213,762

12

Jean Dunand

5,167,523

13

Jean-Michel Frank

5,085,912

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Claude Lalanne’s works have sold for more than $2 million at auction since 2009 – a testament to the rewards for design and designers crossing over into the more lucrative art market. Nonetheless, François-Xavier holds the record for the highest individual price for a work of design by the two of them sold at auction, with Les Autruches, Bar, 1967–70, sold at Sotheby’s Paris on November 21, 2017, for $7,268,314. More recently, Unique Rhinocrétaire sold at Sotheby’s Paris on October 24, 2019, for just under $6 million.

This is not the first time that designers and architects have made objects that cross over into the art market — think of Marc Newson, Ron Arad, or Zaha Hadid. In the past, the problem was that what they were making was often not good as furniture, or not good sculpture. “The idea of functionality is up for grabs right now,” says Benda. “Yes, we still need to eat, sit, and sleep, but objects can do lots of things now. There is little interest in art for art’s sake.”

The pandemic has, of course, uprooted just about everything in our lives. But it has also created new opportunities. “It’s made us stop and take the time to analyze our business in a deeper way than ever before,” says Cristina Grajales of Cristina Grajales Gallery in New York. Several dealers reported a surge over the past six months in requests for custom design work, site-specific commissions, and private home projects. “A lot of people are at home, and often in second homes that are maybe not as designed as their primary homes, and have decided that they could use new pieces,” says Lewis Wexler from Wexler Gallery in Philadelphia and New York.

“People, it seems, are renewing their homes and re-nesting. We’ve been busy as several big commissions have come to fruition.”

“The home has become our sanctuary,” says Grajales. “This idea is not new, but a profoundly important consideration during these troubling times.” She describes the present moment as one of a return to humanism, even the idealism of Modernism, with clients now increasingly concerned with what she says is “the impact our work can have on the way we lead our lives”. She adds: “Clients are rethinking their living spaces and want to surround themselves with pieces that are more than just decorative.”

Grajales and Wexler seem to be right about that. 2020: It’s Good to be Home is the name of the latest exhibition at Gallery FUMI in London’s Mayfair through December 31. Sam Pratt, along with his colleagues at Gallery FUMI, sees a turn towards meaningful, customized, more socially and environmentally conscious design. “We think that collectors will be looking towards the future and towards the new. They might be more socially conscious, looking for works with the least harm on the environment, or at least made with some thought. We think the unusual, the handmade, colorful, and perhaps even playful works might come into their own. The collectible design

Installation view from 2020: It’s Good To Be Home at Gallery FUMI, Mayfair.

Courtesy: Zuketa Ltd

“NOBODY HAS BEEN IMMUNE TO THE FALLOUT FROM THE PANDEMIC”

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Salon Art + Design 2020

“COLLECTORS WILL BE LOOKING TOWARDS THE FUTURE” market will continue to be relevant as collectors and buyers go for one-off, limited works, taking a dimmer view of the mass-produced and the resulting negative effect on the environment.”

Dealers also point to the power and potential of digital communication to expand the audience for what they are doing and to reach new clients everywhere. “I’ve had to imagine another way of working through strong digital communication,” says Aline Chastel from Galerie Chastel Maréchal in Paris. “It is very important to stay in touch with each of my collectors but also to spread the gallery’s taste with our newsletter, Instagram, or Pinterest.” Lewis Wexler completely agrees. “Wexler Gallery has used social media to market our artists and designers. We highlight one particular artist or designer per week and look at their work in depth. We have been using video as a means to get to know the maker – it’s a great narrative tool to tell a story and that’s what people want right now. Of course, we also promote work on Instagram, Facebook, and various selling platforms.”

The need to see or touch a design object before making a final purchase, no matter the price, may well be a quaint thing of the past – certainly, the new digital economy is here to stay, as dealers and auction houses have found ways to make sure that their clients can meaningfully experience items online. And while the event-driven, media-hyped art and design world will likely start up all over again when the world economy reopens for business, it will not be the same: there is a new wariness, it seems, of the huge costs associated with shipping, travel, and lavish dinners. People are realizing that the social side is less important. Instead, it’s about returning to the idea of art and design being about who we are; of building on real narratives and stories; of returning to the old fashioned notion of artists producing works not just for consumption, but to stand the test of time.

Benjamin Genocchio is an art critic

Galerie Negropontes Galerie Negropontes is located in the heart of Paris, near the Louvre and Palais Royal.

The gallery shows artists and designers in the mind of the French decorative arts and entrusts the making of their creations to craftsmen with exceptional know-how. Galerie Negropontes is specialized in proposing bespoke pieces, creating with each new project a human experience that is resolutely forward-thinking.

Featured artists and designers include: HervĂŠ Langlais, Perrin & Perrin, Eric de Dormael, Etienne Moyat, Benjamin Poulanges, Dan Er Grigorescu, and Gianluca Pacchioni.

Galerie Negropontes 14–16 rue Jean-Jacques Rousseau 75001 Paris, France galerie@negropontes-galerie.com +33 1 71 18 19 51 www.negropontes-galerie.com

Photo: Francis Amiand

Salon Art + Design 2020

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Lobel Modern (Opposite) Philip and Kelvin LaVerne, Grace and Harmony, signed on bases, one-of-a-kind pair of illuminated bronze sculpture floor lamps, c.1970 (Right) Anzolo Fuga, Large and exceptional hand-blown glass Pavone vase for AVEM, Murano, Italy, 1957–60 (Below) Paul Evans, Rare credenza model PE-366 for Directional Furniture, walnut burl and brass with brown fiberglass top, 1965

Lobel Modern was established

by Evan Lobel in New York City in 1998 to promote important 20th-century designers, whose originality and exceptional craftsmanship and materials transformed their works into art. The gallery showcases period furniture, lighting, art, and decorative arts. Lobel Modern has since become a critical resource for designers, architects, and collectors the world over. Featured designers include: Karl Springer, Gabriella Crespi, Philip and Kelvin LaVerne, Paul Evans, Vladimir Kagan, Tommi Parzinger, and Anzolo Fuga.

Evan Lobel 200 Lexington Avenue, Suite 915 New York, NY 10016 United States info@lobelmodern.com Instagram: @lobelmodern (212) 242-9075 www.lobelmodern.com

A P P A R A T U S

A P PA R AT U S ST U D I O.C O M

By 60 Design

ALEXANDRE ASSOULINE The luxury publisher and collector on prized watches, libraries, and a copy of The Little Prince that got away What draws you to collect design objects, and where did the interest begin for you?

I’m drawn to collecting design objects because of their unique beauty both in craftsmanship and background – each expressing its own individuality. I developed a love for collecting when I was about 10 years old and my parents took me on their shopping excursions through vintage flea markets, including the Paul Bert Serpette market, a hidden gem just outside Paris.

How do you go about selecting a piece? Is there anything in particular that you look for?

I typically lean towards pieces that have a particular history behind them, or perhaps embody the design period in which they were created. This quality adds immense depth to the work. Beyond this, it is also essential that the object evokes a feeling, as I find that’s where the beauty of each piece truly lies. In terms of materials, I am particularly interested in wood-based pieces, rather than porcelain or lacquer.

Is there a purchase that you are particularly proud of?

Yes – my Zenith Allegro Chronomaster Open XXT watch, in rose gold.

(Left) Alexandre Assouline.

Photo: Emilia Brandao (Opposite) The library for 277 Fifth Avenue, curated by Assouline

Tell us about a work that got away.

I had attended the New York International Antiquarian Book Fair at the Armory one year, and was so happy to have come across a rare first edition copy of The Little Prince by Antoine de Saint-Exupéry. Rather than immediately purchasing it, I decided to make the rounds and look at additional books. By the time I circled back, the book had already been bought. It was such a special find.

What draws you to Salon Art + Design every year?

It’s a beautiful curation of eclectic and distinct designers – each providing their own niche expertise and style.

How has the Assouline catalogue informed your eye when it comes to design?

Because each one of our books not only tells a story, but is also intricately made, we translate that same attention to detail into our designs.

Taking pride in our immense focus on aesthetics and the tangible beauty of luxury, it is only natural for us to incorporate this idea into our creations.

Books aside, what are some of your chief sources of inspiration for your work designing library spaces?

I make it a priority to take into account the surrounding space. From there, I curate a library that will enhance the set space using our signature style, while still maintaining the essence of its originality. My aim is to always create beautiful and sophisticated spaces that allow people to unplug and simply enjoy the moment. Our brand upholds the importance of imagery, culture, luxury, and, essentially, style – all of which we utilize as great inspiration in everything we create, including our libraries.

Have you any spaces you are particularly proud of designing?

Yes – our curated space located at 432 Park Avenue, New York.

How have you gone about designing your own home?

In terms of overall interiors, I prefer a conceptual, postmodern style, with strong ethnic influences.

“MY AIM IS TO ALWAYS CREATE BEAUTIFUL AND SOPHISTICATED SPACES”

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The Future Perfect The Future Perfect was founded by David Alhadeff in 2003 and has become one of the world’s foremost contemporary design galleries.

Distinguished by its thoroughly creative and ebullient vision and strong curatorial focus, the gallery showcases studio-created works alongside one-of-a-kind and limited edition pieces.

In its 17-year history, the gallery has introduced some of the seminal design talents of our times, including highly collectible works by Lindsey Adelman, Jason Miller, and Piet Hein Eek. Considered a catalyst as well as an industry authority, The Future Perfect has also forged relationships with some of the world’s most influential artists, designers, and craftspeople.

Laura Young 55 Great Jones Street New York, NY 10012 United States sales@thefutureperfect.com (212) 473-2500 www.thefutureperfect.com

Reinaldo Sanguino, Metallic Square Ceramic Chair 17, ceramic and glaze, 2018 (one of a kind), 18 × 18 × 24 inches, seat height: 19 inches

Salon Art + Design 2020

Rocher au cœur rouge, 1974, painted metal and wire

791 Madison Avenue, New York, NY 10065 | T. + 1 646 707 3299 | nyc@operagallery.com | operagallery.com New York Miami Bal Harbour Aspen London Paris Monaco Geneva Dubai Beirut Hong Kong Singapore Seoul

A BURST OF BESPOKE

Hand-finishing a chain link for Lindsey Adelman's spring 2021 collection.

Photo: Nigel Cox

With more time at home, collectors across the globe are upping orders from their favorite artisans. Caroline Roux asks, is this a new golden age for private commissions?

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Salon Art + Design 2020

This spring, the Brooklyn-based lighting designer Lindsey Adelman went on a ski trip to Utah with her husband and son. They didn’t leave the western state again for many weeks. “Everything turned upside down right after we arrived,” she says of her timing, “so we stayed on and did a lot of hiking.” She also created hundreds of artworks – “I did paintings incessantly; ordered watercolor paper in bulk and used it all up” – after which she decamped to the Hamptons to complete a two-year-long evolution of a lighting collection called Paradise. By midsummer, she had also received one of the biggest private commissions of her career.

In this, she is not alone. Throughout lockdown and after, contemporary design’s standout names have been receiving more requests for one-off pieces than ever before. “I found myself working with new clients in New York, the Hamptons and Berlin,” says Michael Anastassiades, the lighting and furniture designer, based in London, who is also a major player at the Italian company Flos. “It’s been extraordinary; what might have been a quiet time has actually been an exciting one, especially creatively. The New York commission is at a scale I’ve never worked at before – a mobile chandelier but of the sort of dimensions that takes things to a whole new level. Put it this way, it wouldn’t fit in my house.”

Adelman’s commission, likewise, is a room-size installation, which will necessitate 100 feet of chain to complete. While it’s not exactly the size that matters, both stories seem symptomatic of a new set of circumstances that lockdown brought to pass, not least for the wealthy. For those used to incessant travel, the enforced confinement meant more time at home (and in just one home of their several). For those with a schedule previously heaving with appointments, whether work or social, it gave the gift of uninterrupted time (or boredom – take your pick). And many apparently used that time to trawl through social media, and dig deep into designer websites, revealing new levels of unimagined possibilities and a deeper acquaintance with work by designers and artists they might have hitherto brushed past at fairs and in publications.

(Left) Lindsey Adelman, Paradise City Caliper pendant, and a portrait of Lindsey Adelman.

Photos: Nigel Cox and Stephen Kent Johnson (Right, top to bottom) Martino Gamper’s Off-Cut Lino Cabinet, 2020, and Off-Cut Lino Table in 4 Sections, 2019.

Photos: Christian Gufler

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“I think people wanted to regain a sense of control, and for some that meant looking at their immediate surroundings,” says Martino Gamper, an Italian designer based in London and a master of materials, including wood and lino. “They wanted change.” Several of Gamper’s commissions have been for large tables – up to 4.5 meters long. “We love going out, we love restaurants,” he says. “So people started recreating that experience at home instead.”

Another commission came via the interior designer Pamela Shamshiri for a house in the Los Angeles hills designed in the mid-20th century by Modernist architect A Quincy Jones. (Interior designers have been kept extremely busy, too.) With just a basic brief to make a five-meter-long hanging console, Gamper looked to burr elm and his favorite finish of colored lino to pay homage to the 20th-century Californian craft sensibility. The console was then made in the Italian Alps by one of Gamper’s preferred master cabinet makers, initially through remote communication. “But I was there for the final details at the end of July,” says Gamper.

“It’s possible to work by Zoom, but we make physical, tactile pieces, and it’s important to have a direct relationship with the maker and the object.”

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“THERE’S A MUCH STRONGER SENSE OF THE WAY THAT DESIGN ENRICHES THE WAY WE LIVE DAY TO DAY” Anastassiades agrees. “Zoom never really clicked with me. And the thing is, that when I walk into a space, I know exactly what’s needed immediately.” But lockdown led him to find a way to work with architects’ videoed walk-throughs, and the development – finally – of the one skill he’d never previously honed: remote working.

Anastassiades talks, too, about the collapse of old hierarchies of communications. “As people spent more time online, and were on Instagram 24/7, the old barriers got broken down. It has collapsed some of the hierarchical systems and removed some of the intermediate people in a discussion. Now it’s all about direct message and WhatsApp. And actually calling people on the phone. I’m currently curating a small show at the MAK in Vienna; all the pieces are from the biggest private collection of Wiener Werkstätte work.

Once this would have been organized through teams of people, now I just call the director on his mobile.”

“It’s been interesting to work out how to get things done,” says Adelman, who found herself working remotely with glassmakers all over the United States for the creation of the most decorative parts of her lighting products and installations. “But makers have found so many solutions to working differently. Some were working in their living rooms, which is what I did when I was starting out. There were others making it all happen in a kitchen in Harlem, in an old woodshop in Western Massachusetts, mailing me parts from Pennsylvania.”

So did it really take a pandemic to make us appreciate where we live and what we live with? It’s not completely unreasonable to think so. “Some of the 0.0001% are actually downsizing,” says Adelman, referring to some recent conversations she’s had over the past months. “Where they had four houses, they’re talking about unloading two of them, and making the remaining ones exactly what they want. They seem to be more geared to a dream place, and with a greater sense of completeness.”

The founders of London’s Gallery FUMI, Sam Pratt and Valerio Capo, have even framed their latest exhibition around the importance of home. “We’ve been through the sort of changes this year,”

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say Capo and Pratt, “that make people take many things less for granted. On a domestic level, that can include a much stronger sense of the way that design enriches the way they live day to day.”

Capo and Pratt have also noticed that some of their most dedicated clients have finally made decisions that have been years in the making. “A private client in Los Angeles had been thinking about a Rowan Mersh piece for the longest time,” says Capo, about commissioning the London artist who conjures natural elements including shells and feathers into large-scale 3D wall works that create delicate shadow play. “They finally took the plunge during lockdown.”

Another London gallerist, Sarah Myerscough, also mentions “a few good commissions from our friends in the US”. After hosting a show called The Natural Room, she received requests for 10 baskets by the artist Alison Dickens (mostly from the US), while a number of commissions came through for major pieces by Peter Marigold, a London-based designer who works remotely with the master woodworker Tadanori Tazawa Kogei, who is based just north of Tokyo. One is a five-meter-long cabinet in natural wood containing shelves and a writing desk stained black; another is for a huge wardrobe, with doors made of single split logs. “They have to come in parts from Japan,” says Marigold, “because at some point they may have to go in an elevator.”

While Marigold also spent time helping out at his local restaurant, helping it move its operation successfully out onto the street, and eventually doing the odd shift, artists have coped with lockdown and

(Above) Barnaby Barford, Love over Fear (Blue), 2020.

Courtesy: David Gill Gallery (Opposite) Barnaby Barford, Land of Hope & Glory, 2019.

Courtesy: David Gill Gallery

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its aftermath in various ways. Barnaby Barford, who works across a range of media from film to large-scale sculpture, says, “I took my studio home with me to where I live on the outskirts of London and did lots of work on canvas and paper.” An online exhibition with his gallery, David Gill, of “word drawings” from Barford’s Truth and Lies series then translated into a surprising number of sales. “All we did was to make a very simple web page for the new work on paper,” he says, “and that seems to have encouraged people to look at my past work.” As part of this trickle-up effect, a major commission came through for one of his outsized apple sculptures for a private collection in the South of France, from an entirely new client.

Zizipho Poswa, a ceramist in Cape Town whose work takes inspiration from her own situation as a Xhosa woman in contemporary South Africa, found herself back at home too, but with no access to her studio. “We were seriously confined to our homes and I really missed the smell of clay,” she says. “I’d fired a piece just before the lockdown was declared and had left it to cool down in the kiln. Those weeks at home, wondering how it turned out, were torture. I was so tempted to go and take a peep. Returning to the studio was like a homecoming, but once we were back though, the challenge was having to complete work before the curfew started.”

“It’s true,” says her gallerist Trevyn McGowan of Southern Guild, “our government was very proactive. But we reacted swiftly at the gallery, organizing ourselves to work remotely. It allowed us to shift to a richer kind of storytelling through video and digital content, and it has meant more outreach and interaction with our clients.”

One outcome was a call from Georgina Jaffe, a local collector who is developing a collection of contemporary works celebrating the symbolic, and material, properties of southern African hair and hairstyling. Jaffe had learned about Poswa’s work from a video and has since acquired a major piece from her Magodi series. “She wanted the one named after my grandmother, Mampinga,” says Poswa. “She visits me in my dreams.”

“I feel like I’m part of an emerging community of people who have realized they don’t want to live their life in a completely exhausting way, but want to stay in touch, and to have experiences,” says Adelman. “We’re just doing it in different ways.” Ways which, it turns out, are extremely, unexpectedly, successful.

Caroline Roux is an arts writer

Salon Art + Design 2020

©Hélène Binet - Lingering A, Suzhou Gardens, China, 2018

office@ammann-gallery.com | teutoburgerstr. 27 | d-50678 cologne | t +49 221 932 88 03 www.ammann-gallery.com | @ammann_gallery

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“I THINK DESIGN CURATORS HAVE ALL THE FUN”

By Design

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GLENN ADAMSON The curator and author speaks about his favorite chair, and the first time he held a Tang Dynasty pot What drew you in the first place to looking – and writing about – design objects? Where did it all begin for you?

The moment for me was when I was in college and I had the good fortune to be in a class held in a museum where we were able to handle historic objects. I had very randomly taken a course on the history of Chinese ceramics, and this professor put a Tang Dynasty pot in my hands. It was the first time I’d ever held anything like that, and it’s like the lights went on – I just thought, “My God, this is so powerful, this historical ceramic, compared to all the slides I’d been looking at.”

Since then you’ve written extensively on quite a broad spectrum of design history. Why do you think it’s such an important subject for society?

You scarcely need to frame the argument for why design is important socially, because everything around us is designed. Fine art, although it is wonderful, can be quite rarefied, and I think a lot of people don’t actually encounter it on a day-to-day basis except maybe in reproduction. Whereas design, from the minute you get up, you wake up in a designed object, you put on designed clothes, you eat from a designed plate. It touches every single thing. And so I think of it really as the imprint of human intention on the built environment.

Is there a piece that you own that you are particularly proud of?

The most important thing for me, which I actually mentioned in my first book, is my Art Carpenter chair. It sounds like a joke, but Arthur Carpenter was a California-based, kind of counterculture woodworker. And I have this wishbone chair that he made in 1969, which I got for like $500 when I was in grad school.

And I have sat in it to write every book I’ve ever written and work in it all day, every day. So it’s almost like a piece of clothing at this point.

When it comes to curating an exhibition on design, is there anything, in particular, you need to keep in mind?

I maybe have a little bit of an unusual position on this, which is that I think design curators have all the fun. Because fine art objects, you have to treat them very carefully: there’s a reason that the white gallery has been so enduring as a way of showing fine art. Whereas design actually doesn’t want to be treated like that. Design lives in our spaces. Design objects are quite comparable in a rough and tumble visual atmosphere and they really respond to it well and benefit from that, which means that you have a much freer hand as a curator.

What draws you to Salon Art + Design every year?

I think the international mix is great, so I feel it’s a good alternative to traveling to France, Germany, and England and seeing all the galleries. And the Salons that I’ve attended have been pretty ambitious in terms of their scenography and presentation as well. I think the galleries tend to do justice by the work that they’re showing – they do just that thing that I was talking about earlier: they use the objects in conjunction with the design of the booth to create a real sense of atmosphere.

(Opposite) Glenn Adamson in his Art Carpenter wishbone chair.

Courtesy: Glenn Adamson (Left) Glenn Adamson, Fewer, Better Things: The Hidden Wisdom of Objects, 2018 (Bloomsbury Publishing); Glenn Adamson, Objects: USA 2020, 2020 (The Monacelli Press). Courtesy: Glenn Adamson

To our Dear Collectors, We love opening night at Salon Art + Design and every year we smile as our booth fills with collectors and friends. We are enthusiastic luddites who have successfully avoided social media and enjoy nothing more than sharing our knowledge and love of Italian glass, in person and over time.

We founded Glass Past New York in 1995 and since then have immersed ourselves in the field of historical Italian glass from 1870 to 1970. Acting as private dealers, consultants and curators, we have had the great pleasure of contributing to some of the most important private and public collections in the world. We have curated over a dozen Important Italian Glass auctions for Wright and have achieved numerous world record results, but the pleasure of these curatorial efforts extends far beyond record prices. These sales have given us the opportunity to meet collectors, enthusiasts and scholars throughout the world and handle thousands of pieces, exponentially increasing both our expertise and passion for the material.

Ercole Barovier Rare Mosaico Vase c.1925

While we may be relatively invisible online, we are always available to assist with questions and collections both large and small and may be contacted by email or phone.

Until next year, we remain, Sara and Jim

S A R A B LU M B E R G

JIM OLIVEIRA

917 797 5468 by appointment glasspast @ earthlink.net glasspast.com

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Peter Fetterman Gallery Peter Fetterman Gallery has one of the largest inventories of classic 20th-century photography in the country, particularly in Humanist photography. Diverse holdings include work by Henri Cartier-Bresson, Sebastião Salgado, Steve McCurry, Ansel Adams, Paul Caponigro, Willy Ronis, André Kertész, Manuel Álvarez Bravo, Lillian Bassman, Pentti Sammallahti, Sarah Moon, and Jeffrey Conley.

Peter Fetterman 2525 Michigan Avenue, Suite A1 Santa Monica, CA 90404 United States info@peterfetterman.com (310) 453-6463 www.peterfetterman.com

Henri Cartier-Bresson, Queen Charlotte’s Ball, London, signed in ink with photographer's embossed stamp on recto, gelatin silver print, 1959 (printed later). © Fondation Henri CartierBresson/Magnum Photos

Les Ateliers Courbet

(Above) Odile Decq, Desk, Editions Domeau & Pérès, stainless steel mirror polished legs, wood top, 2020, 94.5 × 31.5 × 29.3 inches.

Edition of 8, signed and numbered (Opposite) Raphael Navot, Moon Sofa, Editions Domeau & Pérès, wood structure, high resilience foam, 2017, 118.11 × 47.25 × 30.7 inches.

Photo: Joe Kramm

Les Ateliers Courbet unveils Paris-based design publishing atelier Domeau & Pérès’ latest editions by Martin Szekely, Raphael Navot, Odile Decq, and Marc Newson. On view by appointment at Les Ateliers Courbet’s Chelsea gallery, the unveiling exhibition highlights Domeau & Pérès’ significant and ongoing legacy of contemporary designs resulting from the atelier’s revered master craftsmen, Philippe Pérès and Bruno Domeau’s expertise, passion, and longstanding collaboration with contemporary design luminaries.

Melanie Courbet 134 10th Avenue New York, NY 10011 United States gallery@ateliercourbet.com (212) 226-7378 www.ateliercourbet.com

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Salon Art + Design 2020

By Design

WENDY GOODMAN The design editor of New York magazine on bold choices and her magpie eye You have a lot of design objects in your home.

Would you call yourself a collector?

I wouldn’t, only because to me a collector signifies a quite disciplined person who really zeroes in on a certain thing. I’m like a magpie feathering their nest, and I collect anything that interests me. It’s usually books, paintings, or ceramics. I’ve got an amazing wood chain with an anchor hanging on my bulletin board that is made from one piece of wood. I look at it over and over again and think, “How did that artisan do that?”

Is there anything you are particularly proud of in your collection?

When Murray Moss had his eponymous store, Moss, down in Soho, I would go in and say, “OK, who’s the new designer we’ve never heard of that we have to know?” One day he introduced me to the work of Job, that incredible team, and a ceramic candelabra. I thought, “This is the most beautiful, unusual thing I’ve ever seen. I must have it.” I spent way too much money, but today I’m so glad I got it because it was number one of a limited edition; I got the first piece. I was right to invest in something I loved, you can never go wrong if you do.

Tell me about a work that got away.

New York City used to have a wonderful, giant flea market in a Chelsea parking lot. One day I saw these black and white prints of court ladies – it looked like Louis XIV, let’s say – with amazing hair and all with different pearl necklaces. I thought about it, and then I went back and they were gone. To this date, it tortures me, because I’ve never seen anything like them again, ever.

It just shows you that if you see something, do not hesitate. Be bold.

What trends do you see coming up? What will come to define design of the future?

Because we’re so starved right now and because this digital world is our only world, I think the appetite for actual objects – for beauty, for tactility, and color – will increase. I don’t have a crystal ball to see into the future, but this is the genius of artists and designers; they provide things that we didn’t know we wanted, and we’ll go, “Oh, thank God I can sit in that, or hang that on my wall, or put my fruit in that kind of a bowl with that new material that I didn't know we had.” So it will be a series of revelations.

What draws you to Salon Art + Design every year?

It is just a constant wonderland for me. There are so many beautiful, riveting, inspiring designs and designers. It’s a bouquet of so much that is so wonderful, and we need it more than ever these days. I think the solution of a magazine is fantastic… and also to have it online, perhaps more accessible for a bigger public, is a terrific thing.

Is there one design object that you look back on and think, that was the best work I've ever seen?

There's this wonderful gallerist, Cristina Grajales, here in New York. She introduced me to the work of Alexandre Noll and I became obsessed by his work. I bought a tiny little Noll box in Paris at Gallerie Pierre Passebon. I was obsessed to the point where I went and I actually found Nol’s daughter, Odile, and I went and visited their house outside of Paris and his studio. I think he’s one of the most extraordinary and important woodworkers, if you can even call him that. He is, to me, a sort of a magical spirit who just happened to work in that medium.

“IF YOU SEE SOMETHING, DO NOT HESITATE. BE BOLD” (Opposite) Wendy Goodman.

Photo: Patrick Demarchelier (Left to right) A wooden box by Alexandre Noll.

Courtesy: Wendy Goodman; a Candelabra by Nynke & Job, # 1 of 8, 2006, signed on the bottom. Courtesy: Wendy Goodman

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Salon Art + Design 2020

GARRIDO Founded by Damian Garrido in 1940, GARRIDO has a world-renowned reputation for cultivating exceptional craftsmanship and superlative design. GARRIDO’s highly specialized workshop employs the most skilled silversmiths, creating limited edition furniture and objects of art that find their way into art foundations, galleries, and private collections. Inspired by architecture and natural forms, GARRIDO uses precious metals and traditional techniques to create extraordinary contemporary design pieces which are considered to be jewels on a monumental scale.

Juan Garrido, Paloma Garrido Serrano Anguita 7 28004 Madrid, Spain info@damiangarrido.com +34 9 18 71 45 56 www.garridogallery.com

GARRIDO, A set of Quartz tables, Quartz Collection, hand-embossed, nickel-plated brass, 2019.

Limited edition of 6 + 2AP

Heller Gallery Established in 1973, Heller Gallery is the leading New York dealer specializing in contemporary glass sculpture and design.

Heller provides private and institutional clients with a curated platform for artists and designers whose practice incorporates glass and whose work broadens the critical understanding of the material. We identify, nurture, and represent emerging artists as well as prominent international masters. Works from our exhibition program have entered prestigious public collections in the United States, Australia, Europe, and the Middle East.

Katya Heller 303 10th Avenue New York, NY 10001 United States info@hellergallery.com (212) 414-4014 www.hellergallery.com

(Left to right) Mel Douglas, downfold/leftfold/ rightfold/upfold, 2019; Toots Zynsky, RAGGIANA BIRD OF PARADISE, 2020; Luciano Vistosi, MONUMENTAL BLOWN GLASS SCULPTURE, 1972; Matthew Day Perez, GRADE, 2017

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Patrick Parrish Gallery Patrick Parrish opened his eponymous gallery in New York’s Tribeca neighborhood in 2014.

He exhibits the unusual, new, and sometimes overlooked Modernist designers and artists of the 20th and 21st centuries.

The gallery produces six to eight special exhibitions each year on its gallery floor, while also showing its collection of works by American, Italian, French, and European designers, artists, and craftspeople on the lower level.

Patrick Parrish 50 Lispenard Street New York, NY 10013 United States info@patrickparrish.com (212) 219-9244 www.patrickparrish.com

Carl AubĂśck, Assorted objects, brass, leather, wood, horn, and steel, c.1950s.

Photo: Clemens Kois

(Opposite) Robert Stilin.

84 Photo: Richard Phibbs

Salon Art + Design 2020

(Right) A living room of a duplex on Manhattan’s Upper East Side, designed by Robert Stilin, featuring chairs by Giò Ponti and Giulio Minoletti; a François-Xavier Lalanne sheep; a Mattia Bonetti coffee table; a Max Ingrand mirror; and an Émile-Jacques Ruhlmann mantelpiece.

Photo: Stephen Kent Johnson

By Design

ROBERT STILIN The renowned New York designer reflects on 30 years of collecting and creating interiors that stand the test of time Where did your interest in design begin, and what led your career in interiors?

I got involved in design in the late 1980s. I was raised by an entrepreneur and ended up opening a lifestyle store in Palm Beach that, at the time, I thought would be a prototype for a national store in every major market. People would come in and say they liked the store and then ask if I could help them do their house.

The bridging of old and new seem important in your work. Can you talk about that?

If you go back historically and look at a lot of furniture from different periods that we collect today, it’s too much all together. I love Scandinavian furniture, but if I go back and look at a 1960s Scandinavian interior, it’s not appealing. I take things out of it; I pick what I like from the past and mix it up with a new perspective to create something that’s fresh for today.

How do contemporary art and design work together for you?

I’ve been collecting for 30 years and I can’t imagine living in a space without art. I’m not so much an academic acquirer of art, I’m more like a visceral acquirer; I just buy what speaks to me. And so when I’m doing interiors for other

people, I try to get into their heads and figure out who they are and what they like so that I can surround them with things that make them happy and comfortable and all those things that you want to feel in your house.

You recently published a book about your work covering 25 years of practice. How does it feel to have that out there?

It is very exciting – a career highlight. It was gratifying to go back to projects that have been around for a while which not only photographed great, but they looked better than ever. I’m still of the mindset that I’m creating things that I expect to last and not only last but get better with time, and so doing the book was a testament to that.

What draws you to Salon Art + Design every year?

I am a fan of fairs, though almost anyone that you speak to agrees there are too many. But Salon happens to be one that, 100%, should stay around. It is the best design fair in New York, and one of the best in the world. To be able to see that amount of design and art under one roof, and also the creativity of all the different dealers: for my business and for myself, it’s an incredible luxury.

Running head

“I CAN’T IMAGINE LIVING IN A SPACE WITHOUT ART”

Darien Sconce

Simon Stewart for Charles Burnand, 2020 Cast Bronze and Murano glass

Table Basse Metamorphosis Collection 7PLYYL )VUULÄSSL Mixed media, resin, patinated brass Edition of 8 + 4 AP

Bronze Painting 153

7PLYYL )VUULÄSSL Mixed media and bronze powder on metallic mesh

By 88 Design

Salon Art + Design 2020

JULIE HILLMAN One of New York’s most sought-after interior decorators is driven by the thrill of the hunt How did you get into interior design?

It happened organically. I was a fashion designer, then when my kids were young I had a stay-at-home-mom moment and started working on my own home. I realized I have a great sense of proportion and understanding of space and it just started unfolding. I also travel a lot, so my husband and I pick things up from all over the world and out of that came my love of collectible design. The hunt is a big part of it for me.

What designers, past or present, have had the biggest influence on you?

Eileen Gray was so ahead of her time. I love her form, her finishes, and how she could go from the most beautiful lacquer pieces to raw wood. I still look at her for inspiration when we’re building cabinetry. Then later, people that started dealing with collectible design, like Jed Johnson and Jacques Grange.

How does New York inspire you and what characterizes your work for spaces there?

It has an edge, which is different from any other place, but at the same time a very sophisticated, old-world feeling, much like the great cities in Europe. The energy and culture is very inspiring and anything goes. You can bring anything new in, and it will sit well.

What brings you to Salon Art + Design every year?

When I walk in with my clients, their mouths drop. Traveling is also a big part of how I find wonderful pieces, and much of that is on my own. But at the fair, my clients can also meet the best dealers in the world and really get the tone of what the galleries represent. Then it can become part of our vocabulary.

Is there a purchase that you’re particularly proud of?

At the 2018 Salon, I was with a European client, for whom I’m doing a New York pied-à-terre, and saw the most beautiful things I’ve ever purchased. One was a Eugène Printz dessert cart at Galerie Chastel Maréchal; a unique piece that the client really wouldn’t have understood on paper. At Yves Macaux we saw these wonderful Viennese shoe boxes, in painted

wood, from an old hotel around 1903. If I were to explain, “I want to put shoe boxes in your living room as side tables,” that would never have worked, but in that context it did.

Is there anything that you would really love for your own home?

A piece by Pierre Legrain. It’s a really rare, Art Deco work – the majority were unique commissions and mostly go to museums. The forms are African inspired and he used very exotic, expensive materials like ebony and ivory.

I once saw a pair of his stools in a famous Jed Johnson home and they’ve always stayed in my mind.

What new artists or designers have caught your eye?

Misha Kahn’s work is amazing. His shows at Friedman Benda were some of the most fun I’ve ever had, and I just used his Rasta Mirror in a home; it references hair, though it’s in gold, formed metal, and also looks like fabric.

Nacho Carbonell does gorgeous lighting and had an installation in a palazzo with Carpenters Workshop Gallery at the Venice Biennale last year. He’s a genius.

What’s inspiring your work at the moment?

I’m always trying more and more exotic places, but without being able to travel, and spending a lot of time in the countryside, I’ve been looking at things I’ve never noticed before. Like nature, for form and lines and colors and textures.

Rather than feeling, “I’m not seeing anything,” I think I’ve actually seen things differently.

Running head

Julie Hillman.

Photo: Manolo Yllera (Left) A Julie Hillman interior featuring Franck Evennou bronze Lotus tables and a Polar Bear armchair and Boule sofa by Jean Royère.

Photo: Manolo Yllera

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“I’VE BEEN LOOKING AT THINGS I’VE NEVER NOTICED BEFORE”

CAROLE DAVENPORT NEW YORK CITY BY APPOINTMENT 646.249.8500 CAROLE@CAROLEDAVENPORT.COM WWW.CAROLEDAVENPORT.COM SEASONS – PAIR OF SCREENS

BY KINSUI GOI, KOKUSUI, 1905

MINERAL PIGMENT ON SILVER LEAF

170CM BY 365CM EACH

EX. MARION HAMMER 1986

HOLE IN SPACE & TIME

BY HIROYUKI ASANO 2010

PINK GRANITE 130CM HIGH

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Maison Rapin True to its Baroque Modern style, Maison Rapin presents a wide selection of furniture and art objects from the 20th and 21st centuries: historical pieces, such as the Crown of Wheat mirror created by Robert Goossens for Mademoiselle Chanel, or decorative folies, as the feather-inlaid cabinet designed by Serkan Cura for KAM TIN, the jewelry furniture brand.

25 Quai Voltaire Paris 75007, France 3 rue de Beaune Paris 75007, France contact@maison-rapin.com Instagram: @maisonrapin + 33 1 42 61 24 21 www.maison-rapin.com

(Right) Robert Goossens, Crown of Wheat mirror, gilded bronze, gilded brass, and convex mirrored glass, 1973 (Below and opposite) Serkan Cura for KAM TIN, Feather cabinet, wood and brass cabinet covered with feather fans, 2020 (Opposite) J. & D. Ruelland, Set of vases, glazed ceramic, c.1960

Salon Art + Design 2020

“OUR PHILOSOPHY, AS ARCHITECTS AND INTERIOR DESIGNERS, IS TO KEEP THE SPIRIT OF THE PLACE”

By Design

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CHARLES ZANA The Paris-based architect and designer on discoveries in New York and what Bach has in common with Ettore Sottsass What brings you to Salon Art + Design every year?

First, I love the place. This huge armory on Park Avenue is a brilliant example of New York architecture – the Old England style of the beginning of the 20th century. Then, also the date, because you have the art sales in November, and last year I also had projects in New York so it was very easy for me to go to Salon to see Marc Benda and all of these brilliant dealers. It is a good mix.

What do you remember most about past Salon visits?

At my first we bought an Art Carpenter piece with clients at Friedman Benda. Once, it was very funny because I bought an Ettore Sottsass cabinet at a Belgian gallery at Salon. Even if a lot of the dealers are coming from Europe – if you saw the guys in Paris a week ago – they reserve something for the fair so there’ll still be a discovery.

Can you describe your design philosophy?

It’s classic design with a modern twist, which is, for me, the French way to design houses.

And our philosophy, as architects and interior designers, is to keep the spirit of the place and the country where we are doing the project.

What role does fine art play in your design work?

It’s very important. I curate my own art exhibitions every two years. We also have a lot of art collectors as clients, so we style art in their house or advise when they want to buy.

And when you have an art collector as a client, you have to think about the decoration in a very different way; you have to serve the art pieces and not over-decorate rooms.

Your exhibition Utopia at Tornabuoni Art in Paris last year paired design pieces with artworks.

What were your highlights of that project?

I think it was the dialogue between Carlo Mollino – we had two chairs by him from an Italian museum – and a red painting by Lucio Fontana.

This was the most challenging combination; I

(Opposite) Charles Zana.

Photo: Noel Manalili

had to convince really everybody that there was a link between them. And when we installed it, the owner of the gallery and all the collectors said that they’d never seen beyond and behind the pieces like that.

What is your favorite object or space in your own home?

The kitchen. We work there, we cook there – for me it is really the future of the house. I also just bought a fantastic light by Sottsass, so today that’s my favorite piece.

I know you have a real love of Italian designers.

What is it about their work that makes them so special?

I love early Sottsass, from the 1950s to the 1980s. As an architect, he was the first to move the frontier between art and design and to have brought an art feeling into his houses and interiors, with ceramics and painting. This speaks to me. And I think that even if he was very sad himself, there is a kind of happiness in his creations. I like the color and his brilliant sense of volume and proportion. Everybody wants to copy him but you always recognize Sottsass. My favorite music is Bach’s Goldberg Variations, because it’s an elementary language and it’s very simple, but there’s variation.

Sottsass, for me, is the same.

Are there any young designers who you would like to own work by?

I love Studio Formafantasma, the Italian duo.

They are very clever and were some of the first to talk about sustainability in regards to, “Can we still make furniture with wood?”

Can you tell me what your next project is?

Hopefully, if Covid does not delay it any further, it’s a Kimpton Hotel in Paris’s Saint-Honoré district. We’re working with the art director of Kimpton, and the design inspiration comes from the idea of a modern Paris, or, in French, Le Chic Parisienne. There’s a link to classic Paris architecture, but always with something crazy too.

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Morentz Gallery Based in an historic Art Deco building in the Netherlands, Morentz is home to multiple gallery spaces, a full restoration atelier, and an upholstery studio. Since its conception in 2006, Morentz has slowly built an extensive collection of 20th-century collectible design. The collection, which includes pieces from all over the world, is meticulously curated and backed by art historical research. The gallery hopes to inspire by creating immersive and eclectic presentations in which design by 20th-century masters, makers and architects are placed together.

Sarah Vanwelden Hoogeinde 37 5142GB Waalwijk, the Netherlands sarah@morentz.com +31 6 14320562 www.morentz.com

(Right) Egon Eiermann for Otto Judersleben, Lounge chair, oak and canvas, 1940, 71 × 100 × 73.5 centimeters; Lisa Johansson Pape for Orno, Floor lamp, brass and leather, 1950, 31.5 × 55 × 144.5 centimeters (Below) José Zanine Caldas, Pilao chair (unique piece), handsculpted, oiticica preta wood, 1977, 75 × 72 centimeters

“MY ADVICE IS TO LOOK, LOOK, LOOK, AND NOT BE INTIMIDATED” 98

Salon Art + Design 2020

By Design

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BETH RUDIN DEWOODY The collector and curator on creating an artwork from her collection of pots, and how Barbra Streisand was part of her design awakening Do you remember your first-ever design purchase?

I don’t, but I was always aware of design. I used to collect Beatles memorabilia and baseball cards and magazines when I was young. Aged about 15, I went to see Funny Girl with Barbra Streisand and got to go backstage. Her dressing room was in an orange and paisley design and I thought it was so cool. A few years later, my mother was redoing a bedroom in our apartment and asked me what I wanted and I said, “Paisley, like Barbra Streisand.”

Is there an object that you are particularly proud of?

That’s a really hard question. I guess I’m proud of this little bamboo recorder that I made at [Rudolph] Steiner school. I don’t remember the age I was when I made it, but probably 58 years ago. I just keep certain things – I love all that.

You opened a private art space, the Bunker, in 2017. How much of a role does design play in what you show there?

A little bit. Of course it’s changed now, but we had a great Ron Arad chair when you entered, and a Fornasetti piece, and a great chandelier there. It depends who’s curating, but we’ve always loved to combine art and design. I like to create it as I do in my home.

Do you think there’s an increase of interest in the blurring of the lines between design, functionality, and fine art?

I’ve always felt that there was a connection there. Right now, I think I own around 10% of the pieces that are in the Whitney’s craft show

(Opposite) Beth Rubin DeWoody sitting in Ron Arad’s London Pappardelle chair, 1992, with Sylvie Fleury’s wastebasket sculpture Yes to All, 2004, and John Copeland's painting I Only Have Eyes For You, 2008.

Courtesy: Beth Rudin Dewoody

[Making Knowing: Craft in Art, 1950–2019], which shows this blurring of the lines. Liza Lou and Jeffrey Gibson are people who use objects that could be considered craft, but in an artistic way.

I think the Whitney borrowed so much because over the years it never collected that kind of work as it was “too crafty”. Now, all of a sudden, there’s an interest in it.

To give you an example of reusing design to create art in my own collecting, when I had a house in Southampton, New York, I had a big collection of white, kitschy 1930s, 40s, and 50s pottery. When I sold the house I thought, “What am I going to do with this?” Joel Otterson, an LA-based artist, showed me a piece of his called The Wall of China, which was a big installation of lots of green pottery. He ended up making a wall in three parts for me, using all my pottery and making things for the pottery to fit into.

And it looks amazing; it’s kind of a divider in my apartment.

What would you say to a design collector starting out today?

My advice is to look, look, look, and not be intimidated. There are a lot of people who think everything is a million dollars because they see the headlines. But there is a lot of great art for very little money. When you go into a gallery, ask questions, tell the people that you’re really interested to learn more, or ask what they have in their back room. Go to fairs and look at what people are designing, and plunge in and see what you can afford. And start building a collection. Be creative – go to flea markets and you might find great design objects there, great little vases or pottery. Start developing your eye.

Jeff Lincoln Art + Design Jeff Lincoln Art + Design is a gallery exhibiting collectible and important historical design in context with Modern and contemporary art.

200 North Sea Road, Southampton New York, NY 11968 United States (631) 353-3445 www.collectiveartdesign.com

(Left to right) Caleb Woodard, Maelstrom chest of drawers, 2019; Alex Hagentorn, Serket sculpture, 2019; Peter Lane, Cabochon ring table, 2020; Peter Lane, Viewpoint cabinet, 2020; Shizue Imai, Mitzu vases, 2020; William Coggin, Pseudopodia standing lamp, 2019; Jose Zanine Caldas, Namoradeira tete a tete, 1970s; Chapter & Verse, Sarcomera side table/pedestal, 2020; Peter Lane, Darkroom, showroom, 2015

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Lebreton Lebreton was established in 1999, with locations in San Francisco and Provence.

Alain Lebreton and Karim Mehanna founded Lebreton to realize their combined ambition of promoting and preserving the works of major post-war French and European artists. Lebreton presents a distinguished and unique selection of artist-designed furniture and 20th-century ceramics, sculptures, and paintings by major European Modern and post-war artists.

Works by the following artists are included in the collection of Lebreton: Suzanne RamiÊ, François Raty, Juliette Derel, Roger Capron, Jean Derval, and Jean Touret.

Chateau La Granegone 2459, Avenue Frederic Henri Manhes 83300 Draguignan, France info@lebretongallery.com +33 6 15 20 75 33 www.lebretongallery.com

Roger Capron, Lampe Taureau, black glazed ceramic table lamp, signed, c.1950, 14 inches high.

Courtesy: Lebreton Gallery

LEBRETON

Nathalie de Gunzburg (right) with Jessica Morgan and George Condo. Photo: Benjamin Lozovsky / BFA.com

By Design

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NATHALIE DE GUNZBURG The major collector and Chair of the Board of Trustees at Dia Art Foundation on the stories that our homes should tell What draws you to Salon Art + Design?

I’ve lived in New York for 22 years and have been coming to this fair since it started. I go every year, and the quality of everything is great. It’s very well curated compared to other design shows, and when a booth is beautiful, you look at things in it in a very different way.

What is the experience about for you?

Discovery. That’s what is exciting in fairs. I go to

out and everything mixes perfectly, and it tells a beautiful story too. Not only your story, but a story about the object itself, because you put it in your own context.

Do you remember the first object you collected?

I first bought something at auction when I was 18, so I had the disease very young. I was collecting nice 19th-century furniture and pictures of flowers; then slowly my taste

“A HOME HAS TO TELL YOUR HISTORY; YOUR BAD AND YOUR GOOD TASTE” see all the galleries, especially those that are not from New York, to be surprised and to learn and to be excited. With design, it’s beauty that I’m looking for, and I love buying for my home.

So it’s quite visceral and emotional for you?

Totally. I’m not the kind of collector that says, “OK, I need that piece by that designer.” If I love it, I’ll buy it. I’m into materiality – I’m very much into wood now – but I don’t have a precise taste.

It’s very eclectic and I don’t want restrictions.

What I love about collecting is every day you discover something else, enter a different road, and decide whether to go deeper or not.

How do you balance art and design in your own home?

I don't. A home, for me, is the witness of your life, so it has to tell your history; your bad and your good taste. When I find an object or piece of furniture that I like, I say, “OK, I’ll buy it, where should I put it?” And I really believe that when you function like that your personality comes

shifted, I was attracted by abstract art, and when I moved to the US, I fell totally in love with minimalist art, which I was not very exposed to in Paris growing up. I love the purity of it. But also, you get lost in a minimalist or a conceptual object. You’re not tied by an image so you can put everything you have in your mind in it.

Is there a purchase that you’ve made over the years that you’re particularly proud of?

So many. I’m terrible; you cannot even put a needle in my house in New York, it’s so packed.

So you haven’t gone for the minimalist approach at home?

Yes, I have a minimal approach, but at the same time, I’m like a little animal; I need mess around me. We built a very contemporary house in the country, but the inside is all about texture and wood and warmth, including a huge table by Zanine Caldas, the designer from Brazil. It’s very raw, in beautiful wood, and I’m crazy in love with it.

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+1 202 904 5005 Salon Art + Design 2020 dinergallery.com

We are a premier resource for museums and individual collectors seeking to place or acquire exceptional works of art + design.

Rare + Unique Game Table Casa MT Turin Franco Campo + Carlo Graffi, 1951

“OBSESSION IS A VIRTUE”

Marcel Breuer, wood-slat Lattenstuhl armchair, 1922–24

Two legends of the design market tell Melissa Feldman how they began collecting, and where it has taken them since

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“It turns out I love figurative things,” claims Murray Moss, when describing his first acquisition, a Royal Copenhagen porcelain statue of Leda and the Swan purchased from dealer Barry Friedman. “I’m pretty sure it was $324,” he says, adding, “I smoked an entire pack of cigarettes before I went inside to buy it.” Friedman concurs: “Moss was a very good client, would always buy something, and had good taste for someone so young.”

It’s worth noting that since that exchange over 50 years ago, both men have remained fixated on the quest, presentation, and sale of 20th- and 21st-century art, furniture, and design. Friedman opened several galleries showcasing his eclectic picks, highlighting multiple movements including Art Nouveau glass by Émile Gallé, Tiffany, and Loetz, as well as Art Deco and Art Nouveau furniture, photography, and Symbolist and Pre-Raphaelite painting. Moss landed a career in fashion with Ronaldus Shamask before honing his merchant skills with the launch of his eponymous store in SoHo in 1994. Moss insists, “I think that collecting is obsessing. That’s its main characteristic and virtue.”

Other finds scooped up from Friedman include a rare bear vase by Charles Catteau from the Belgian manufacturer Boch Frères Keramis. In 1976, Moss was hired by Macklowe Gallery, run by husband-and-wife dealers Barbara and Lloyd. There he got a crash course in antiques while purchasing pieces with provenance for more than his weekly wage, including an Armand-Albert Rateau Deco table designed for fashion designer Jeanne Lanvin. “I would say to Barbara Macklowe, ‘Can you get this for me?’ And she would say yes and I would own a Rateau table.” Moss also laments a Jean Dunand vase he purchased from dealer Martin Cohen for $10,000, which sold years later for a whopping $225,000 that became the down payment on his retail store.

While Moss the shop was conceived as a retail destination, it also functioned as a de facto museum, design lab, and hub. Stocked with the most exquisite yet outré objects – from porcelain figurines manufactured by Nymphenburg, to Tord Boontje’s 2002 Blossom crystal chandelier for Swarovski – international curators, critics, dealers, and makers stopped by when traveling to New York. After Moss and his longtime life and business partner Franklin Getchell closed the boutique in 2012, they launched Moss Bureau; a design consultancy that they’ve since relocated into a Colonial Revival home in Connecticut. The pair now advises museums on how to build retail businesses, including product direction and store design.

(Above) This vase by Deco master Jean Dunand played a key role in Moss’s retail career. Courtesy: Murray Moss (Opposite) Murray Moss in New York City, 2014.

Photo: Billy Farrell/BFA.com © BFA 2020

“Obsession is a Virtue”

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“TAKE THE RIDE. LET THE OBJECTS TOTALLY POSSESS YOU” Looking back on his retail days, Moss, now 71, says: “I understood I was on a conveyor belt, which is why I called the store Moss. Once you call it ‘20th-century design’, you can’t ever sell anything else.

To be on brand, it simply needed to be in my head. Barry [Friedman] was very much like that. I took courage from him.”

“I’ve always been a collector,” says Friedman, whose passion was sparked by a purchase he made in 1966 – a vase by Loetz, a Bohemian glass manufacturer from Austria that flourished in the early 1900s. That exchange revealed the thrill of buying and selling, and the young accumulator was hooked. “I usually collected first, then studied it. Collecting gives you knowledge. I seldom took things on consignment,” Friedman adds.

The Loetz transaction inspired Friedman to continue with his new obsession by renting a booth at a New York antiques center on the Upper East Side. In 1970, he was prompted, along with two partners, to open Primavera Gallery on Madison Avenue, specializing in Art Deco furniture, jewelry, and decorative arts. Several iterations followed, including Barry Friedman Ltd, which opened in 1975, staged in his apartment-cum-showroom and installed with stunning, soon-to-be-discovered treasures. An early adopter, Friedman helped establish a market for iconic 20th-century designers such as Émile-Jacques Ruhlmann, Wiener Werkstätte disciple Josef Hoffmann, and architect Jean Prouvé, to name a few.

In the mid-1980s, Friedman partnered with photo dealer Edwynn Houk to exhibit vintage images by Man Ray and László Moholy-Nagy

(Above) Gerrit Thomas Rietveld, Red, blue, and yellow Schelling high chair, 1918, executed in the early 1920s (Opposite) Barry Friedman.

Photo: Erwin Olaf

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“I’VE ALWAYS BEEN A COLLECTOR”

(Left to right) Joris Laarman, Bone armchair, cast marble resin, 2008; Ron Arad, Solid rocker, stainless steel rods, 2010

mixed with more avant-garde photography by Sally Mann. Since 2007, Friedman’s oeuvre has expanded with Friedman Benda Gallery, which he operates with Marc Benda and where he’s embraced more future-forward works by London-based designer Ron Arad and Dutch artist Joris Laarman. “I am still collecting after almost 60 years,” says Friedman, who in 2014 auctioned off 1,000 works from his vast collection, including art glass, photography, and 21st-century furniture. The 77-year-old has once again changed course, pivoting to antiquities from Southeast Asia, Cambodia, Tibet, Thailand, China, and Japan, between 1BC and 1AD. Moss maintains there’s something to be learned from all this trading. “Take the ride. Let the objects totally possess you. Because you should know, it will take you like a river to the next place. It’s not about the thing. It’s about, ‘Why are you so obsessed with a thing?’

Go for the high note. Then you can move on.”

Melissa Feldman is a writer and editor

Photo: derossistudio

w w w . u n i c a . b i z

PALAZZO NICOLACI - NOTO (ITALY)

FIORITURE COLLECTION R O S A

R O S A E

R O S A E

FIORITURE TAKES SHAPE FROM THE DESIRE TO CREATE MAGICAL ENVIRONMENTS IN WHICH ENERGY FLOWS AS IT WOULD IN A SECRET GARDEN

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Legado Arte Founded in 2003, Legado Arte has always set out to discuss furniture as art objects that transcend form and function, whether it be in a piece’s historical value, its relevance in establishing a school or style – a case in point being Brazilian Modern furniture – or in contemporary creations by new designers working with concepts that conflate art and design, with items produced in limited quantities.

Beth Santos Alameda Gabriel Monteiro da Silva, 500 Sao Paulo, 01442 000 Brazil info@legadoarte.com.br +55 11 2936 9702 www.legadoarte.com.br

(Right) Sergio Rodrigues, Itamaraty Desk, jacaranda and chromed metal, 1960 (Below) Maximiliano Crovato, Centipede Bench, painted leather and polished brass, 2019.

Photo: Romulo Fialdini

Guy

Regal

NYC

Greytak Expectations Experience The Universe Collection by Studio Greytak.

Show opening November 17, 2020 at Guy Regal NYC.

Impact Wall Piece Studio Greytak, 2020 Himalayan quartz with hand-mirrored glass 26.5” x 31.5” x 5”

Erosion Wall Luminaires Studio Greytak, 2020 Fluorite with patinaed cast bronze 13.5” x 11” x 7”

Rosewood Game Table Émile-Jacques Ruhlmann, circa 1927 Rosewood and bronze 30” x 34” x 34”

Guy

Regal

NYC

guyregalnyc.com | 212.447.7717 | info@guyregalnyc.com | NYDC 200 Lexington Avenue, Suite 806 New York, NY 10016

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Clockwise From Top Christopher Boots Pythagoras Twin Sconces Paolo Ferrari Ame Lounge Videre Licet Lumalight + Offset Cube Bench Matt Gagnon Light Stack No.11 Erick Ifergan Untitled Ceramic Julian Mayor Traxler Pendants + Scoop Chair Vincent Pocsik Torso 5 Light Opposite Tom Price Counterpart Benches

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los angeles

www.twentieth.net

MILLIONS OF YEARS IN THE MAKING

IMPACT INTERIOR SIDE TABLE

Guy Regal NYC presents the Universe Collection By Studio Greytak.

Guy Regal NYC | NYDC | 200 Lexington Avenue, Suite 806 | New York, NY 10016

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Peter Lane Studio Peter Lane is a New York-based ceramic artist who specializes in large-scale architectural installations, monumental furniture, and decorative objects. Raw and refined, brutal and elegant, his practice is based in hand carving techniques inspired by the material itself.

This photograph taken in Peter’s studio showroom shows the full-scale maquette he created for the Hotel de Crillon Pool commission in Paris.

Peter Lane Studio 302 Scholes Street Brooklyn, NY 11206 United States peter@peterlaneclay.com (347) 891-2822 www.peterlaneclay.com

Peter Lane, Crillon maquette, jade-glazed stoneware with 24-carat gold-leaf cabochons, 2016, 95 × 104 inches Peter Lane, Trumpet vases, glazed stoneware, 2019, 22 × 60 inches each Peter Lane, Starburst lamp base, glazed stoneware, 2018, 12 × 22 inches Peter Lane, Dining table, solid sandblasted white oak on ceramic pedestals (not shown), 2019, 120 × 48 × 3 inches

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Chapter & Verse Established in 2016 by Joseph Cleghorn and Connor Moxam, Brooklyn-based Chapter & Verse is a panoptic practice rooted in the art of furniture making and design.

Wielding an undefined kaleidoscope of style ranging from thoughtfully restrained classical works to experimental, material-based design, Chapter & Verse offers distinct artistry to both traditional and modern residences in the United States and worldwide.

141 Flushing Avenue, Building 77, Suite 509 Brooklyn, NY 11205 United States info@chapterandversenyc.com (347) 591-8785

Sarcomere planters, cardboard, resin, asphaltum, 2020 Split walnut dresser, acid etched and patinated steel, American black walnut, 2020

www.chapterandversenyc.com

Nimerology Nimerology is a luxury homeware label born from wanderlust and cultivated by a passion for design and the culinary arts. Made in the UK and founded by Nour al Nimer, Nimerology is a medley of cultures viewed through Nour’s lens, and translated into elegant pieces of tableware that use the finest bone china.

Nimerology’s limited-edition

collections celebrate the discovery of rich cultures around the globe, and bring the personal experiences of Nour’s travel expeditions to any table. info@nimerology.com www.nimerology.com

Charabati Bizzarri, Untangled, ceramic, 2019

Charabati Bizzarri Ceramic Art | Mexico City With textiles of the world as muse, artists Raquel Charabati and Monica Bizzarri believe in challenging clay and taking it to new extremes. Using all-natural materials, each unique element contributes to the thoughtful composition of this work. Previously rigid elements are stretched, sewn, and woven into large, textural, and dynamic installations.

By pushing boundaries and breaking paradigms, Charabati

Bizzarri have given clay a new voice and created a new narrative for ceramics.

Desanne Martin 19 Roosevelt Avenue, Mill Valley, CA 94941 United States desannemartin@gmail.com (415) 265-7338 www.charabatibizzarri.com

Nathan Litera Nathan Litera architecture and interior design was founded in 2015 in Paris by Nathan Litera and Lyatt Samama. The firm has a comprehensive portfolio of projects in the United States, France, England, and the Middle East.

Nathan Litera is currently leading high-end residential and commercial projects, and most recently completed Spring Place restaurant in New York and the full renovation of an 18th-century castle in Belgium.

Nathan Litera will debut a new line of furniture and objects later this year following the opening of his new showroom in Paris.

Nathan Litera 94 boulevard de Courcelles 75017 Paris, France nathan@nathanlitera.com  +33 6 20 80 02 04 www.nathanlitera.com

Altana furniture collection

by Nathan Litera, featuring an Italian Medicis Breccia marble console, a patinated bronze and alabaster pendant light, an Italian Rosso Levanto marble box, and an ivory chenille velvet and mesh oak stool

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At Home with Salon Galleries and partners highlight what they would have exhibited at this year’s fair

ABA Gallery

Adrian Sassoon

Mikhail Larionov, Lady with Umbrella,

Michael Eden, Dido Monstrance, additive manufacturing

oil on canvas, double-sided, 1910

from high-quality nylon material, 2018

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ammann // gallery Hélène Binet, Levitation 03 - Ponte Sant’Angelo, Rome, hand-printed black and white, silver gelatin, 2019

Carole Davenport Hiroyuki Asano, LaGoccia, Italian red and black marble, 1992

Bernard Goldberg Fine Arts Edgar Brandt, Modernist table lamp (detail), c.1931

Chahan Gallery Chahan Design, Pair of Waterfall gold mica marquetry tables, structure in limestone, unique pieces

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Charles Burnand Darien Sconce, Simon Stewart for Charles Burnand, 2020

Cristina Grajales Gallery Aaron Poritz, Coffee table, whitewashed ash, 2020

Chastel MarÊchal Jean Royère, Ruban coffee table, c.1955

David Gill Gallery Mattia Bonetti, Console Grate, Murano glass, wood structure, gold metal finish, 2020

At Home with Salon

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Geoffrey Diner Gallery Märta Blomstedt, Lounge chair for Hotel Aulanko, Finland, 1938

Friedman Benda John Mason, Folded Spear, Cobalt, ceramic, 2015.

Courtesy: Friedman Benda and the artist

Donzella Philip and Kelvin LaVerne, Dance of the Fauves low table, c.1970

Galerie BSL Pia-Maria Raeder, Stardust standing mirror, 50,000 beechwood half pearls, straw, beech rods, silver-based metallized coating

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Garrido Gallery Folds console table, Folds Collection, 2020

Heller Gallery Joanna Manousis, Chrysalis (Morpho Eugenia), mold-blown glass, mirror, stainless steel, aluminum, 2020

Glass Past Giuseppe Barovier for Artisti Barovier, Rare Murrine vase with floral motif (detail), presented in 1914 at the Mostre dei Fiori in Venice, signed with AMF murrine, 1914

Hostler Burrows Jasmin Anoschkin, The Golden Stardust and Lion Wannabe a Unicorn, ceramic and 24-carat gold, stoneware sculptures, 2017

At Home with Salon

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J. Lohmann Gallery Jongjin Park, Artistic Stratum III, porcelain, 2020

Karl Kemp Gallery Carlo Hauner and Martin Eisler, Brazilian mid-century sideboard, 1950s

Jeff Lincoln Caleb Woodard, Maelstrom hand-carved commode in ash, 2019

Lebreton Lynn Chadwick, Set of three bronze candlesticks, signed, numbered, c.1983, edition of 350

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Legado Arte Sergio Rodrigues, Itamaraty Desk, jacaranda and chromed metal, 1960

Liz O’Brien Gallery John Dickinson, Unique bar domes for the Firehouse (detail), enameled steel domes with brass branches and marble egg on top, American, c.1974

Les Ateliers Courbet Bodo Sperlein, Contour console, 2020, open edition, stamped with artist’s signature

Lobel Modern Jacques Duval-Brasseur, Hand-welded floor lamp (detail), brass and mounted agate, 1970s

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At Home with Salon

Lost City Arts Axel Salto Sung Glaze, Sprouting Vase for Royal Copenhagen, Denmark, 1965

Maison Rapin KAM TIN, Pyrite lamp, pyrite marquetry, polished brass, 2018

Maison Gerard Niamh Barry, Vertical Stacked, hand-formed bronze with lighting hardware, blue patina, 2020

Moderne Gallery L Brent Kington, Weathervane, forged corten steel, 1975

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Modernity Paavo Tynell for Taito Oy, Ceiling light model K2-33, Finland, pierced brass, 1950s

Galerie Negropontes Perrin & Perrin, Perpetual, “Build in glass” glass sculptures, 2017, series of nine one-offs.

Photo: Stephane Briolant

Morentz Wharton H Esherick, Captain’s Chair, walnut, leather, USA, 1951

Nilufar Objects of Common Interest, Daydream freestanding shelving, chromed and painted metal, magnetic surfaces, Nilufar edition, 2020, 69.6 × 21.6 × 46 inches.

Photo: Mattia Iotti; Curation and Creative Direction: Studio Vedèt; Courtesy: Nilufar gallery, Milan

At Home with Salon

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Opera Gallery Yayoi Kusama, Infinity Nets (KSUZL), acrylic on canvas, 2017

Peter Blake Gallery Rick Owens, Stag Stool, ebonized plywood, antlers, 2009

Patrick Parrish Gallery Carl AubĂśck, Assorted objects, brass, leather, wood, horn, and glass, Vienna, Austria, c.1950s

Peter Fetterman Gallery George Tice, Petit’s Mobil Station, Cherry Hill, NJ (detail), gelatin silver print, 1974

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Phoenix Ancient Art Oinochoe, terracotta, Greek, Proto-Corinthian, c.710–700 BC

Priveekollektie David Dessens, Beyond (detail), software, hardware landscape, 2019

Portuondo Serge Manzon, Modernist table lamp, Serge Manzon for Pierre Cardin, France, c.1970

R & Company Serban Ionescu, Kipsy II bench, powder-coated steel, wood, and laminate, 2019

At Home with Salon

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Todd Merrill Studio Paul Evans, Argente Disc Bar, 1968.

Courtesy: Todd Merrill Studio

Twenty First Gallery Jean de PiĂŠpape, Crater Low Table, bronze prototype, 2020

The Future Perfect Floris Wubben, Wave Table, ceramic, 2020

Vallois Jean-Michel Frank, Set of three black, varnished wood chairs, pair of blackened iron pedestal tables and plaster table lamp; Pierre Chareau, Walnut burr and metal cabinet, blackened metal mirror and alabaster sconce; Jeanneney, Stoneware sculpture.

Photo: Arnaud Carpentier, Galerie Vallois, Paris

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PARTNERS

Wexler Gallery Reynold Rodriguez, Sometimes an Elephant / Chaise, charred hand-carved mahogany and almendro wood, 2020

Apparatus Interlude hand-embroidered sconce, edition of 20 pairs, hand-dyed silk, bullion, beaded embroidery on brass mesh, alabaster, patinated brass mirror, and bronze mirror

Artistic Tile Geotzzo brings modern rhythm and updated style to an eternal classic. A feature of outstanding design for centuries, terrazzo uses marble chips in a cementitious mix, traditionally poured and ground in place. The floors of monumental homes and palaces around the world are of poured terrazzo – it has a style that suits the most elegant spaces and truly spans the ages. Geotzzo takes classic terrazzo and spins it, using modern cutting technology to embed larger marble shapes into squares.

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Chapter & Verse Sarcomere pedestals, cardboard, ash, resin, and silver nitrate, 2020

FrenchCALIFORNIA FrenchCALIFORNIA’s model residence at 100 Franklin for DDG with The Future Perfect. Photo: Robert Granoff

Charabati Bizzarri Azul De Mar, 2019. Individually handmade ceramic pieces strung together in an ombrĂŠ of white to dark blue. Between the ceramic pieces is hip-woven organic cotton netting.

Studio Greytak Impact wall mount, kyanite and slumped smoky glass with hand-mirrored finish

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Nathan Litera Console I, grand antique marble and patinated bronze, 2017, 55 × 15 × 30 inches

Roche Bobois BOMBOM Collection designed by Joana Vasconcelos for Roche Bobois

Nimerology I'm Off to Join the Circus Collection

Peter Lane Astrolabe installation: Peter Lane, Monumental ceramic wall sculpture with palladium leaf cabochons and églomisé “sorciere” convex mirror in bronze frame; Peter Lane and Chapter & Verse, Sandblasted white oak cabinet collaboration with turquoise ceramic reliefs; FACE Design, Custom steel armature with drop ceiling. Additional lighting by Aurora Lampworks and Achille Salvagni chairs courtesy of Maison Gerard.

frenchCALIFORNIA frenchCALIFORNIA is a globally recognized marketing and branding agency focused on innovation and design. Founded

by Paris-born Guillaume Couthellias, frenchCALIFORNIA forges connections between top real-estate developers, architects, interior designers, galleries, and leaders, cultivating distinctive, luxury experiences. frenchCALIFORNIA curates and designs luxury model residences, partnering with galleries, artists, and real-estate developers to

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create groundbreaking design exhibitions that drive sales for both the gallery and real-estate partners. info@frenchca.com www.frenchca.com

frenchCALIFORNIA’s landmark penthouse at 111 West 57th by JDS and with Gabriel&Guillaume and Cueto Art Advisory.

Photo: Robert Granoff

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Welcome back to our New York sites and locations Dia Beacon

by advance reservation only Friday–Monday, 11 am–6 pm

Dia Bridgehampton

Saturday–Sunday, 12–6 pm

Joseph Beuys, 7000 Oaks always open

Walter De Maria, The Broken Kilometer by advance reservation only Wednesday–Sunday, 12–6 pm

Walter De Maria, The New York Earth Room by advance reservation only Saturday, 12–6 pm

Max Neuhaus, Times Square always open

diaart.org

DIRECTORY ABA Gallery

GARRIDO

www.abagallery.com

www.garridogallery.com

Adrian Sassoon

Geoffrey Diner Gallery

www.adriansassoon.com

www.dinergallery.com

ammann // gallery

Glass Past

www.ammann-gallery.com

www.glasspast.com

Apparatus

Guy Regal

www.apparatusstudio.com

www.guyregalnyc.com

Artistic Tile

Heller Gallery

www.artistictile.com

www.hellergallery.com

Bernard Goldberg Fine Arts, LLC

J. Lohmann Gallery

www.bgfa.com Carole Davenport www.caroledavenport.com Chahan Gallery www.chahan.com Chapter & Verse www.chapterandversenyc.com Charabati Bizzarri www.charabatibizzarri.com Charles Burnand www.charlesburnand.com David Gill www.davidgillgallery.com Donzella www.donzella.com frenchCALIFORNIA www.frenchca.com Friedman Benda www.friedmanbenda.com Galerie BSL www.galeriebsl.com Galerie Negropontes www.negropontes-galerie.com

www.jlohmanngallery.com Jeff Lincoln Art + Design www.collectiveartdesign.com Karl Kemp www.karlkemp.com Lebreton www.lebretongallery.com Legado Arte www.legadoarte.com.br Les Ateliers Courbet www.ateliercourbet.com Liz O’Brien www.lizobrien.com Lobel Modern www.lobelmodern.com Lost City Arts www.lostcityarts.com Maison Gerard www.maisongerard.com Maison Rapin www.maison-rapin.com Moderne Gallery www.modernegallery.com

Modernity

Twenty First Gallery

www.modernity.se

www.21stgallery.com

Morentz Gallery

Unica

www.morentz.com

www.unica.biz

Nathan Litera

Wexler Gallery

www.nathanlitera.com

www.wexlergallery.com

Nilufar Gallery www.nilufar.com Nimerology www.nimerology.com Opera Gallery www.operagallery.com Patrick Parrish Gallery www.patrickparrish.com Peter Fetterman Gallery www.peterfetterman.com Peter Lane Studio www.peterlaneclay.com Phoenix Ancient Art www.phoenixancientart.com Portuondo www.portuondo.com R & Company www.r-and-company.com Roche Bobois www.rochebobois.com Studio Greytak www.studiogreytak.com The Future Perfect www.thefutureperfect.com Todd Merrill Studio www.toddmerrillstudio.com Twentieth www.twentieth.net

Zephyr by

CALIFORNIA

ILLINOIS

NEW JERSEY

N E W YO R K

TEX AS

S H OWR O O M S N ATI O NWID E | N J S L A B G A L L E RY | (8 4 4) 8 8 8 - 59 02 | ar tistic tile.com/salon

David Gill Gallery’s dynamic contemporary program features exhibitions and collaborations with leading international artists, architects, and designers including Barnaby Barford, Mattia Bonetti, the Campana Brothers, Sir David Chipperfield, Michele Oka Doner, Sebastian Brajkovic, the late Dame Zaha Hadid, Jorge Pardo, Garouste & Bonetti, Daniel Libeskind, Sebastian Errazuriz, Milena Muzquiz, José Yaque, Lena Peters, and Fredrikson Stallard.

Since its establishment, the gallery has presented historically important exhibitions and works can be found in esteemed private and public museum collections.

David Gill 2–4 King Street London SW1Y 6QP, United Kingdom info@davidgillgallery.com +44 20 3195 6600 www.davidgillgallery.com

(Left) Sebastian Brajkovic, Taotie Woman, white patinated bronze, velvet upholstery, 2019, 37.4 × 47.2 × 35.4 inches.

Limited to 14 + 1P + 1AP (Right) Daniel Libeskind, Skytrap armchair, stainless steel, carbon fibre, 2018, 28 × 35.8 × 38.2 inches.

Limited to 8 + 2P + 2AP

SALON The Intersection of Art + Design

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