Sotheby's Magazine - September

Titus Kaphar

TAKES HIS ART TO THE BIG SCREEN

cd: ROBB AARON GORDON

Svalbard, Norway

PROLOGUE

ACT 1

News from the

Not-to-be-missed exhibition openings in September and

ACT 2

Jordan Schnitzer on how to build a collection to share. By James Haldane

Why do we form emotional attachments to our collections?

By Orna Guralnik and Ruby Guralnik Dawes

Lee Miller could fix her Rolleiflex camera in

On the trail of a de Kooning masterpiece. By Lucas Oliver Mill

An exploration of Santo Sospir, a French villa covered in Jean Cocteau frescoes, which makes a captivating setting for this season’s standout fashion.

Photography by Annemarieke van Drimmelen Styling by Katelyn Gray

The artist has written and directed “Exhibiting Forgiveness,” a semi-autobiographical film about his relationship with his father and his experience with the art world at large. By Roxane Gay

Photography by Zora J Murff

From top: A boardwalk to the beach at Reed and Delphine Krakoff’s Amagansett, New York, home, photographed by Adrian Gaut. Artist Yinka Ilori at his London studio, photographed by Kane Hulse. Lee Miller’s datebook, photographed by Henry Leutwyler.

THE ART OF FASHION ® PHOTOGRAPHY BY TYLER MITCHELL

96 HIDDEN IN THE DUNES

On the shores of Amagansett, collectors Reed and Delphine Krakoff have built an entirely new backdrop for their trove of blue-chip treasures.

By Sarah Medford

Photography by Adrian Gaut

104

THE HOUSE OF TWIGS

Singer, songwriter, dancer, actor and producer FKA twigs debuts “The 11,” an artwork grounded in self-discipline.

By James Haldane

Photography by Jordan Hemingway

108 ICONS, TAKE TWO

Jewelry houses are mining their archives to champion classic designs with staying power.

By Frank Everett

Photography by Robin Broadbent

114

DOROTHY MILLER

An exclusive excerpt from a new book about MoMA profiles the museum’s influential curator.

By Mary Gabriel

118

YOUNG BRITISH ABSTRACTIONISTS

A new cohort of London-based artists is reinvigorating abstract painting for the millennial mind.

By Taylor Dafoe

Photography by Jo Metson Scott

124

RARE FORM

Swiss polymath Jean Arp was at the forefront of dadaism and surrealism.

This fall, Celine renders one of his sculptures as a limited-edition pendant.

By Joshua Levine

EPILOGUE

130 EXTRAORDINARY PROPERTIES

Partner content by Sotheby’s International Realty.

152

GOING, GOING, GONE

A first lady’s faux pearls.

By James Haldane on the cover

Artist Titus Kaphar, photographed by Zora J Murff, with Pearl, his rottweiler, and “Boombox for Malcom,” by Marc Clark (circa 1978). In the background is Kaphar’s painting

“Do you remember Douglas Street?” which features in his film, “Exhibiting Forgiveness,” out October 18. His paintings for the film go on view at Gagosian in Beverly Hills on September 13.

follow @sothebys on all platforms

From top: Titus Kaphar, photographed by Zora J Murff, at his New Haven studio. Bulgari Serpenti necklace in rose gold with pavé diamonds and black onyx, photographed by Robin Broadbent; $82,000; bulgari. com. Sarah Cunningham’s clogs, photographed by Jo Metson Scott, at Cunningham’s London studio.

Sky Rooftop Villa, The Riviera Maya EDITION at Kanai

STAY ICONIC

The Editor’s Letter

René Magritte, “L’incendie,” 1947. €3,000,000-€5,000,000, “Surrealism & Its Legacy,” Sotheby’s Paris, Oct. 18.

Nurturing new growth from old wood

It is an absolute thrill to introduce myself as the new Editor in Chief of Sotheby’s Magazine. As we mark Sotheby’s 280th anniversary, it is an honor to present a new vision, which celebrates our rich heritage while introducing fresh storytelling that resonates with our global audience. This issue emphasizes our commitment to excellence, with features covering creative pioneers from Titus Kaphar to Lee Miller and cultural champions from Dorothy Miller to Reed and Delphine Krakoff. I am delighted to have Lucas

Oliver Mill, Orna Guralink and Ruby Guralink Dawes bring their insights to new columns that will consider collectors as an almost anthropological type, unpacking walls and unpicking minds respectively. We’ve also tapped our very own specialists to share their wisdom on the breadth of art and objects that pass through Sotheby’s salerooms. These articles, among others, showcase the dynamic content you can expect from us.

At Sotheby’s, we celebrate art, culture and luxury, while fostering a platform for dialogue and discovery. Our mission is to bring you closer to the artists, collectors and visionaries shaping our world. We are

not just observers but active participants in the grand conversation of culture.

To celebrate a new chapter, we have borrowed the surreal colors of René Magritte’s “L’incendie” to structure our three editorial acts. My hope is that you will join our community and, from these pages, cultivate new ways of seeing.

I am excited about the journey ahead and look forward to sharing it with you.

Kristina O’Neill, Editor in Chief @kristina_oneill

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The Contributors

Orna Guralnik and Ruby Guralnik Dawes Writers

Zora J Murff is an ICP 2023 Infinity Award winner. His work has been collected by institutions including the Museum of Modern Art, the Studio Museum and the National Gallery of Art. Murff’s latest monograph, “True Colors (Or, Affirmations in a Crisis)” was published by Aperture Foundation in 2022. Cover Story, p100

The Masthead

Editor in Chief Kristina O’Neill

Creative Director Magnus Berger

Editorial Director Julie Coe

Director of Editorial Operations

Rachel Bres Mahar

Executive Editor James Haldane

Visuals Director Jennifer Pastore

Design Director Henrik Zachrisson

Editorial Assistant Olivia Hanley

CONTRIBUTING EDITORS

Akari Endo-Gaut, Frank Everett, Sarah Medford, Lucas Oliver Mill

Entertainment Director

Andrea Oliveri for Special Projects

CULTURESHOCK

Chief Executive Officer Phil Allison

Chief Operating Officer Patrick Kelly

Head of Creative Tess Savina

Production Editor Claire Sibbick

Art Editor Gabriela Matuszyk

Designer Ieva Misiukonytė

Subeditor Helene Chartouni

Orna Guralnik is a psychologist, psychoanalyst and professor at NYU PostDoc, and is the therapist on the show “Couples Therapy.” Her daughter Ruby Guralnik Dawes is an independent writer and curator with a degree in art history.

Collector’s Couch, p70

and photographer

Lucas Oliver Mill is a Londonbased curator and writer. He is the creator of Collector Walls (@collectorwalls), an Instagram account that explores the homes of art collectors. He has worked on multiple museum exhibitions, such as the first survey of American Pop art in Asia and an upcoming Jean-Michel Basquiat show.

Collector Walls, p80

PARTNERSHIPS

Head of Global Partnerships

Eleonore Dethier

PUBLISHING

US (New York, Northeast and Michigan)

Fashion Judi Sanders, LGR Media Plus judi@lgrplus.com

Jewelry & Watches Jill Meltz jill.meltz.consultant@sothebys.com

US (Southeast and West Coast)

Mark Cooper, TL Cooper Media markcooper@tlcoopermedia.com

Italy

Bernard Kedzierski and Paolo Cassano, K. Media bernard.kedzierski@kmedianet.com paolo.cassano@kmedianet.com

Switzerland

Neil Sartori, Media Interlink neil.sartori@mediainterlink.com

UK and France

Charlotte Regan, Cultureshock charlotte@cultureshockmedia.co.uk

Gay Writer

Roxane Gay is the author of the bestsellers “Bad Feminist,” “Hunger,” and “Difficult Women,” as well as “Ayiti” and “An Untamed State.” She is a contributing opinion writer for the “New York Times” and has several books forthcoming. She wrote “World of Wakanda” for Marvel and is at work on television and film projects. She also has a newsletter, The Audacity. Cover Story, p100

Chief Executive Officer Charles F. Stewart

Chief Marketing Officer Gareth Jones

Global Head of Brand Jacqueline King

Global Head of Content Nick Marino

Global Head of Growth Marketing

Tracy Heller

Global Head of Social Media

Anne Johnson

Global Head of Video Production

Rachel Roderman

Head of Events and Preferred, Americas

Richard Drake

Head of Events, UK Lydia Soundy

Head of Procurement Eduardo Guerra

Production Manager Stephen Stanger

GENERAL INQUIRIES sothebysmagazine@sothebys.com

Please note that all lots are being offered for sale subject to Sotheby’s Conditions of Business for Buyers (which include our Authenticity Guarantee), which can be found on the relevant sale page on www.sothebys.com.

Sotheby’s, Inc. License No. 1216058. © Sotheby's, Inc. 2024. Information here within is correct at the time of printing.

SOTHEBY’S

Zora J Murff Photographer

Lucas Oliver Mill Writer

Roxane

From left: Rana Young; Ken Corbett; Oliver Webb; Reginald Cunningham.

The Auction Highlights

PARIS

OCTOBER 17-18

THE PARIS SALES

Presenting works by titans of the 20th and 21st centuries.

Man Ray, “Personnage,” 1939.

€1,000,000-€1,500,000, “Surrealism & Its Legacy.”

LONDON OCTOBER 8-23

ISLAMIC AND MIDDLE EASTERN ART

Sought-after art and objects spanning centuries and continents.

“A Royal Couple Drinking Wine,” circa 1635, by an artist who worked for Prince Dara Shikoh. £40,000£60,000, “Arts of the Islamic World and India.”

NEW YORK SEPTEMBER 27

CONTEMPORARY CURATED

An exceptional array of works from postwar masters to today’s cutting-edge artists.

Sam Gilliam, Cielo, 1972. $600,000-$800,000, “Contemporary Curated.”

NEW YORK SEPTEMBER 24

FANATICS COLLECT

A curated selection of topof-the-market trading cards in partnership with Fanatics.

2005-06 Upper Deck Exquisite Collection Dual trading card, Michael Jordan and Julius Erving, 1 of 1. $1,000,000$1,500,000, “Holy Grails.”

NEW YORK OCTOBER 4-16

CLASSIC DESIGN

Celebrating where history and artistry come together in the decorative arts.

A Danish Silver “Swan” Pitcher, No. 1052, designed by Henning Koppel, Georg Jensen Silversmithy, Copenhagen, mid-20th century. $10,000-$15,000, “Classic Design.”

HONG KONG SEPTEMBER 25-26

THE HONG KONG SALES

Modern and contemporary works from Asian and global masters.

Léonard Tsuguharu Foujita, “Nu dans l’atelier,” 1925. HK$5,800,000HK$8,800,000, “Modern Evening Auction.”

The Auction Highlights

NEW YORK

SEPTEMBER 16-18

ASIAN ART

Offering fine artworks and objects from China, Japan, Korea and beyond.

A gilt-bronze figure of Vajrasattva, mark and period of Yongle. $400,000-$600,000, “Dharma & Tantra.”

HONG KONG

SEPTEMBER 28OCTOBER 9

THE LUXURY SALES

Presenting the finest jewelry and watches, extraordinary handbags, sneakers, wines, and spirits.

PARIS

SEPTEMBER 23-OCTOBER 16

Philippe Dufour, “Simplicity,” a pink gold wristwatch, circa 2002. HK$2,600,000HK$4,000,000, “Important Watches I.”

THE LUXURY SALES

The finest jewelry, watches and handbags and extraordinary wines and whisky.

Fancy Brownish-Greenish Yellow diamond ring. €130,000-€200,000, “Fine

including the Collection of Dame Shirley Bassey, CH, DBE.”

NEW YORK AUGUST 29-SEPTEMBER 13

THE LUXURY SALES

Presenting the finest books and historic manuscripts and extraordinary wine.

The Shem Tov Bible, written in Spain, 1312. $5,000,000-$7,000,000, “The Shem Tov Bible: A Masterpiece From the Golden Age of Spain.”

LONDON SEPTEMBER 18-27

CURRENTS

Bringing together a diverse array of auctions, from contemporary African to South Asian art.

Ben Enwonwu, “Muhammadians of Kano,” 1945-59. £50,000-£70,000, “Modern & Contemporary African Art.”

LONDON OCTOBER 9-10

THE LONDON SALES

LONDON AUGUST 29-SEPTEMBER 12

POPULAR CULTURE

Highlighting 21st-century works by contemporary masters.

Ugo Rondinone, VIERZEHNTEROKTOBERZWEITAUSENDUNDNULL, 2000. £50,000-£70,000, “Contemporary Day Auction.”

Iconic artifacts connected to contemporary culture.

Gibson Flying V Guitar, formerly owned by Johnny Marr and used by Noel Gallagher in the recording of Oasis’ 1994 debut album “Definitely Maybe.” £20,000-£30,000, “Popular Culture.”

HONG KONG OCTOBER 16-NOVEMBER 12

ASIAN ART

Showcasing the finest Chinese works of art, including ceramics, jade, bronzes, furniture and lacquerware.

Junyao purple-splashed zhadou-form flowerpot, Ming dynasty, early 15th century. HK$8,000,000-HK$15,000,000, “Power & Culture: Heirlooms from the Poon Family Collection.”

Jewels

The Auction Specialist

A pilgrimage to a Provencal museum attests to Rembrandt’s enduring influence over self-portraiture.

Duringmytime at Sotheby’s, I have been privileged to work with a number of the pivotal self-portraits of the 20th century— masterworks by Francis Bacon, Andy Warhol and Lucian Freud among others. Rembrandt, for me, however, stands as the greatest self-portraitist of all time. After visiting “Rembrandt by Himself,” the 1999-2000 exhibition at the National Gallery, London, I set out on a quest to try andseehisdozensofpaintedself-portraits

in person, tracking them down over the years in collections from Vienna to New York. Until recently, one had eluded me.

The picture in Musée Granet in Aixen-Provence does not at first appear the greatest of prospects. It is dark, dingy and has slightly discolored varnish. But when you spend time with it, you realize it is magnificent. The paint is layered and textured, and the coloring, while initially seeming somewhat bland and homogenous, is full of variety. By drawing you in, this triumph of the Dutch Golden Age conditions your eye to look in a more focused manner. You cannot help butwonderwhathewasthinking,whathis state of mind was at the time of creation.

BY OLIVER BARKER Executive Vice President, Chairman, Sotheby’s Europe

Unlike many of Rembrandt’s earlier works, which advertised his dexterity in pictures that were also ultimately eminently sellable, this self-meditation was likely not produced for commercial value. It depicts the artist in his early 50s, at the outset of his final decade, as commissions, and thus models, were beginning to dwindle. For these very reasons, it is a staggering example of artistic introspection and was entirely worthy of the pilgrimage. As an auctioneer, it is always tempting to imagine how it would feel to bring any great museum work to the rostrum—but this particular daydream will, rightly, have to remain just that.

The painting possessed the same magnetism for Bacon. He kept a reproduction of it in his studio—can be seen in the wonderful documentary by the late art critic David Sylvester—and he would often visit the original during breaks from losing at the gambling tables of Monaco. The dimensions of the Musée Granet’s jewel are in fact very close to the 14 inch by 12 inch format Bacon came to settle upon as a near standard for his own self-portraits.

I now gather photos on my iPhone, arranged alphabetically by artist, of many of the artworks that I view in person. Looking back at the image of this work in my burgeoning digital scrapbook, I am reminded once again that the camera does not capture what the human eye can. You simply cannot deputize the two—as living artists like David Hockney have articulated—and nothing substitutes the impression of seeing a painting in the flesh.—As told to James Haldane

Rembrandt Harmenszoon van Rijn, “Self-portrait with Beret,” circa 1659. In the collection of the Musée Granet, Aix-en-Provence.

The Sports Memorabilia Specialist

Donned by His Airness for more than a dozen games, this Michael Jordan jersey shows its wear with pride.

When it comes to sports artifacts, the level of wear matters. If a piece is worn by a major athlete for a big game, it can tell a great story. But if an item is worn for game after game, it accumulates a multitude of memories. And if those games received a lot of coverage—if they have gone down as moments in history—it embodies those memories. During his legendary 1996-97 season with the Chicago Bulls, Michael Jordan donned this jersey for at least 17 games, making it nothing short of a unicorn.

I felt all this when I held it, even through a pair of gloves. You imagine countless people watching Jordan on TV and in the

arena. This is the jersey he wore in March 1997 when then-rookie Allen Iverson, bravely going head-to-head, crossed over Jordan. These are the snapshots from basketball history that everyone remembers.

The reasons behind the jersey’s heavy wear are a mystery, made more intriguing by the fact that Jordan was at the peak of his powers and fame at the time. He went on to clinch his second three-peat, a trio of championship wins, from 1996 to 1998. People would try anything to get his signature No. 23 jerseys. Years earlier, in one infamous incident, he had to wear the number 12 because someone stole his jersey before the game. So it is extraordinary that this jersey survived on the court for about five months.

Twenty-three is synonymous with Jordan because it is the number he wore at the start of his career. After returning from his first retirement and a stint in minor

BY BRAHM WACHTER Senior Vice President, Head of Modern Collectibles

league baseball from 1993 to 1995, he wore the number 45 for a brief period. Things were not the same. Some fans argued he’d lost his powers, and the new number was blamed. In reality, baseball players’ bodies are different from those of basketball players, and it was taking him time to readjust.

The situation came to a head after the 1995 Eastern Conference semifinals. Orlando’s Nick Anderson stole the ball from Jordan, leading to the game-winning basket. With crushing simplicity, Anderson told the press after the game, “Number 45 is not number 23.” But the toppling was short-lived. At the next game, just before tip-off, Jordan removed his warm-up jacket to reveal that number 23 was back. And it truly was—he went on to score 38 points, driving the Bulls to a 104-94 victory over the Magic.

This iconic red is in fact the Chicago Bulls’ “away” color. At home games the team wears white, but the red uniforms are the most coveted by fans. Many collectors will also appreciate the fact that this jersey dates from the era when Champion manufactured the NBA’s uniforms. Today the league’s jerseys are made by Nike, but there is something very cool, vintage and nostalgic about Champion pieces.

Thisitemisalsoexceptionalforitsdirect Bulls provenance—the team sold it to the private collector bringing it to market now. Very few Jordan items possess such a clear ownership record. Maybe they were given to a ball boy, who then sold them. The chain can be lost with time. Here, though, is a piece that will connect its winning bidder with a living legend and a living memory.—As told to James Haldane

Michael Jordan 1996-97 Game Worn Jersey. Estimate in excess $4,000,000, “Sports Memorabilia,” Oct. 8, Sotheby’s New York.

The Books Specialist

As Renaissance-era precursors to the modern paperback, Aldine editions such as this volume of “The History of Herodotus” revolutionized publishing and have long been coveted by collectors.

The “crown Jewel” of Bibliotheca Brookeriana, a landmark library of more than 1,300 rare books being offered for sale over three years, is an extraordinary assemblage of Renaissance-era volumes published by Aldus Manutius (or Aldo Manuzio). Based in Venice in the late 15th century, Aldus would become one of the most revered book publishers of all time. T. Kimball Brooker began acquiring these works in the mid-1960s, and the breadth of the collection is unparalleled, boasting about 1,000 titles published between the 1490s and the 1590s.

For any bibliophile, Aldine editions represent a touchstone in the history of the

printed word. Over five centuries, they have been coveted for their quality and prized for their essential role in shaping our understanding of the Renaissance. Aldus’s influence in these areas is difficult to overstate, given that his aims were so bound up with notions of accuracy and attainability. Aldines were produced in a smaller format than other books of the period, making them easier to acquire and transport. And there’s something charming about the idea of intellectuals and aspiring scholars strolling through 16th-century Venice with immaculately produced copies of Dante’s or Cicero’s manuscripts tucked in their pockets.

Aldus worked at the intersection of histories and stories, helping to ensure that texts we now regard as seminal to Western thought weren’t lost. In Bibliotheca Brookeriana, there’s a remarkable copy of “Herodiani Historiarum” (or “The History of Herodotus”), printed in Venice in 1524 by “the Heirs of Aldo Manuzio & Andrea Torresano.” Herodotus—sometimes called “the father of history,” at

BY KALIKA SANDS Assistant Vice President, International Specialist, Head of Sale, Books and Manuscripts

least by Cicero—was born around 484 B.C.E. and is regarded as the first author to compose such a systematically arranged narrative of events. In setting down these histories, he hoped “that things done by man not be forgotten in time.”

More extraordinary still is that the Brooker copy once belonged to Jean Grolier (1489/90-1565), the treasurer general of France, renowned bibliophile and great supporter of the Aldine Press. The workwasboundinParisbyJeanPicardfor Grolier and bears Grolier’s personal motto on its lower cover: “Portio mea, Domine, sit in terra viventium” (“Lord, let my portionbeinthelandoftheliving”).Following its residence on his shelves, this volume passed through the hands of the American financier Junius Spencer Morgan (1813-90), father of John Pierpont Morgan; Danish painter Sigurd Wandel (1875-1947) and Gudrun Wandel (1882-1976), his first wife; famed German bookdealer Jacques Rosenthal (1854-1937); Stuttgart engineer and bookbinding expert Ernst Kyriss (1881-1974); Swiss banker Willy Dreyfus (1885-1977), who worked to recover his family’spropertylootedduringWorldWar II; and Belgian bibliophile Michel Wittock (1936-2020). It has even passed through Sotheby’s rooms once or twice.

This copy of “Herodiani Historiarum” is just small enough to fit in a fine Italian vest pocket and speaks to the importance of preserving histories and stories. And with its long and distinguished provenance, it stands as a testament to how objects make meaning, carrying their own unique histories with them.

“The History of Herodotus.” Estimate upon request, “Bibliotheca Brookeriana: A Renaissance Library. The Aldine Collection D-M,” Oct. 18, Sotheby’s New York.

RM 74-02

In-house skeletonised automatic winding tourbillon calibre

50-hour power reserve (±10%)

Baseplate and bridges in 18K 3N and 5N red gold

Variable-geometry rotor

Fast-rotating barrel Case in Gold Carbon TPT® and 5N red gold

A Racing Machine On The Wrist

The Opening Bid, in which we present news from the worlds of art, books, culture, design, fashion, food, philanthropy and travel. Plus, The Global Agenda, which highlights not-to-be-missed exhibition openings in September and October.

The Opening Bid

THE GLOBAL AGENDA

A calendar of museum and gallery openings worldwide.

Edited by Julie Coe

PRIDE OF CRAFT

When Yinka ilori was growing up on an estate in Islington, London, many families he knew from Nigeria or Ghana kept a blue-and-white Wedgwood-style plate in their display cabinets. Mass-produced by British manufacturers since the 18th century, the plates evoked motifs from Chinese ceramics: a willow tree, a pagoda, birds. In addition to their craftsmanship, they were valued by these families as a way of communicating wealth, good taste and belonging in British society. Although Ilori appreciated their decorative forms,hecouldn’thelpbutfeelthattheplateswereout ofplaceinthesehomes,devoidastheywereofspecific connections to their owners’ cultures of origin. He decided to create an alternative—one that takes the form of a ceramic trophy inspired by his own life story. “My mum was a collector,” he says, “so I think she would have been proud to have an object that celebrated her journey and lineage.”

Ilori’s design consists of a bulbous body with two round handles rising to reach a slender neck, which is topped with a dove symbolizing the desire for peace of animmigrantfamilythathasstruggledtoachievecomfort. The geometric pattern is inspired by the detailed designs found on Adire textiles, traditionally made by the Yoruba women of southwestern Nigeria. Most striking is the image wrapped around the body: a photograph by Ed Reeve of the Marquess Estate, the 1960s modernist housing where Ilori was raised. The sculptureisbeingproducedby1882Ltd.,aceramiccompany based in Stoke-on-Trent, the home of Wedgwood itself. “A trophy is something you want to hold up in the air,” Ilori says, “a sign of celebration and joy, acceptance, recognition and pride.”

—Priya Khanchandani

Yinka Ilori, photographed by Kane Hulse for Sotheby’s Magazine, in his London studio. The Marquess Estate Trophy, edition of 25, will be exhibited for sale at the Story Café, Sotheby’s London, throughout September and October

Surréalisme opens at the Centre Pompidou in Paris. Frieze Seoul opens.

The Armory Show opens in New York.

The annual art fair Sydney Contemporary opens. Paris 1874: The Impressionist Movement opens at the National Gallery of Art in Washington, D.C.

STUDIO VISIT

Left: Kane Hulse. Below, from left: Dora Maar,

Flower Power

SvenSkt tenn’S founder Estrid Ericson was so taken with the botanical plates she saw adorning the walls at Hammarby, the summer home of 16th-century scientist Carl Linnaeus, near Uppsala, Sweden, that she decorated her bedroom with similar illustrations. Floral prints became a motif in the designs that she and Josef Frank, the Austrian polymath

who joined Svenskt Tenn in 1934, produced for the brand. For this version of the Flora Cabinet, from 1951, Frank took plates from Carl Lindman’s book on plants of the Nordic region.Inproductionforthefirst time since the ’70s, the cabinet has been reissued for Svenskt Tenn’scentennialthisyear.

Made from a single undulating piece of Canaletto walnut-trimmed metal,Armani/Casa’s Morfeo bed gives the illusion of truly drifting off to dreamland. The version above is upholstered in the Italian brand’s Vienna fabric, an intricately tufted velvet inspired by the complex weaving of Berber textiles.

Morfeo bed, from $66,000; made to order through Armani/Casa showrooms; armani.com

NEW COLLECTIBLES SLEEP ON IT

The multidisciplinary program PST ART opens in California. Life Dances On: Robert Frank in Dialogue opens at MoMA in New York.

Guo Pei: Fashioning Imagination opens at M+ in Hong Kong.

Matisse: Invitation to the Voyage opens at the Fondation Beyeler in Basel, Switzerland.

Louise Bourgeois: I have been to hell and back. And let me tell you, it was wonderful opens at the Mori Art Museum in Tokyo.

YEARS have passed since the Frank Gehrydesigned museum opened in Paris.

1.3 million

VISITORS

attended its most-viewed show, “Icons of Modern Art. The Shchukin Collection.”

35 ARTISTS

feature in this fall’s “Pop Forever, Tom Wesselmann & ...” show.

11 HOURS

was the flight time from Paris to LA, during which Gehry sketched an entire book of plans for the Fondation.

82.5 million

DOLLARS

is the Sotheby’s record for a Rothko painting, “No. 7,” 1951, which was sold in 2021 and appeared in a Fondation retrospective two years later.

The Art of the Steal

as environmental activists continue to target paintings as a way of calling attention to the climate crisis, two books this fall give a full accounting of how wars, political upheaval, organized crime, cat burglars and even crooked museum employees have also taken their toll on the art world. In Susie Hodge’s “Art Heist: 50 Artworks You’ll Never See” ($26; Ivy Press),thestoriesofmanyalostaltarpiece or Nazi-pilfered canvas are presented as unsolved mysteries, while “The Atlas of Art Crime: Thefts,Vandalism,and Forgeries”($35;Prestel),byLauraEvans,offersa globaloverviewoftheproblem,discussing fraudsandflubsaswell.

The Turner Prize 40th-anniversary exhibition opens at the Tate Britain in London.

with its half-rustic, half-industrial mixture of steel, raffia and wood, the new furniture line Interni Venosta winks at the stylings of its putative namesake, Italian designer Carla Venosta, who restored palazzi but also devised medical machinery. Hints of Marcel Breuer and Donald Judd also appear throughout the sevenpiece collection, which is a side project from Emiliano Salci and Britt Moran, cofounders of MilanbasedinteriorsfirmDimorestudio.

Interni Venosta “02 tavolo” table and “01 sedia” chairs; internivenosta.com

in London.

Helen Frankenthaler: Painting without Rules opens at the Palazzo Strozzi in Florence, Italy.

The Silk Roads opens at the British Museum

TALKING SCENTS

The Giardini BoTanici Hanbury, in Mortola, Italy, was founded in the late 1860s by an English businessman, Sir Thomas Hanbury, who had made his fortune in China. Over the next decades, the gardens became a comprehensive catalog of tropical and subtropical plants, which Hanbury procured from across the globe. “It is almost like a Noah’s Ark,” says Nicolas Malleville, co-founder of the Coqui Coqui line of perfumes and boutique hotels. Malleville and his

partner, Francesca Bonato, have spent six years restoring Lord Hanbury’s former carriage house, complete with marble flooring, to create La Remise Hanbury, a boutique and showroom for their fragranceandhomegoodscollections.The region,tuckedbetweentheMediterranean and the Alps, is known as the Riviera dei Fiori, and has also inspired them to createaperfumelineofthesamename.

The Villa Hanbury at the Giardini Botanici Hanbury, in Mortola, Italy; coquicoqui.com

ON THE SCENE

Free Spirits

“What does art mean to me? That’s a hard question,” muses Daniel Humm. “I don’t know if there can be life without art.” The Swiss chef of New York’s Eleven Madison Park (EMP) has garnered countless accolades for his cuisine, which made history when EMP was the first vegan restaurant to receive three Michelin stars. But Humm’s second love has always been art. His upcoming project, Clemente Bar, is the latest testament to that. The bar, named after the Italian neo-expressionist painter Francesco Clemente, a close friend of Humm’s, is a

collaboration between the two. Set to open this October, upstairs from Eleven Madison Park’s dining room, the space will be lined with Clemente’s frescoes.

“Francesco is one of the most important people in my life,” says Humm of their six-year friendship. “Curiosity is what we share, seeing things in a childlike way.” One year, Clemente dined at Eleven Madison Park four times, once each season. “In exchange, he’d make a watercolor painting the next day and send it to me,” says Humm. “He was responding to my language with his language.”

When Humm mentioned he was planning to open a bar, Clemente offered to do a painting for the space. He also said that he’d always wanted a drink named

for him, citing the Bellini, which takes its name from the artist Giovanni Bellini.

“One day I went to him,” Humm recalls, “and I said, ‘What if I named it Clemente Bar?’ And he was like, ‘What? The whole bar?’ And that was it.”

To Humm, Clemente Bar reaffirms the ethosofElevenMadisonPark,itselfgraced with pieces by artists like Rashid Johnson, Rita Ackermann and Olympia Scarry.

As for what to expect from Clemente’s work? “There are a lot of secrets within the paintings, a lot of humor,” Humm says with a smile.—Sophie Mancini

Clockwise from above left: Francesco Clemente in his studio with a canvas he painted for the bar; Clemente with chef Daniel Humm and his work in the background; the pair carrying another Clemente piece.

The inaugural edition of the Atlanta Art Fair opens in Georgia.

Rembrandt - Hoogstraten: Colour and Illusion opens at the Kunsthistorisches Museum Vienna. PAD London opens.

Frieze London and Frieze Masters open in London.

Sotheby’s new Paris headquarters at 83 Rue du Faubourg Saint-Honoré opens.

Francis Bacon: Human Presence opens at London’s National Portrait Gallery.

FEAST FOR THE EYES

Artist Laila Gohar reflects on fantastical food as she prepares to create surrealist-inspired edible installations for the October opening of Sotheby’s new Paris home at 83 Faubourg Saint-Honoré.

What is the artistic appeal of food as a medium?

Everything I do is literally meant to be consumed. My work is heavily documented with photos, but then there’s no trace. I enjoy that ephemerality. I think it’s a big responsibility to leave work behind—it takes up space.

Which artists inspire you?

My biggest inspiration is Louise Bourgeois. I feel a kinship with her work, and I like that it spans different mediums. The same is true of Sonia Delaunay—she is known as a painter, but she made clothing and designed things from fabrics to furniture. Creativity is so pigeonholed now.

Are there any parallels between a tablecloth and a canvas?

I love the appearance of a crisp white tablecloth. It sets the stage. I tried black ones for a recent project but there was this heaviness. That’s when I realized it wasn’t just my preference—I like white for a reason. It creates negative space and gives you a visual rest.

Can you hint at what you’ll be creating for Sotheby’s?

With the surrealist theme, there’s a lot to think about. There’s already such a strong association between food and surrealism. I want to say that I’ve been given the Dalí cookbook at least five times. My food is going to be different. It will be sculptural, play with scale and respond to the new building.—James Haldane

GROWING GAINS

To mosT, The idea of farming in New York City sounds like an impossibility. But to artist and filmmaker Linda Goode Bryant, it felt like a challenge. In 2008, while working on a short film, she came across footage of Haitians eating mud pies due to high food costs, which left her determined to find a way to make fresh food more accessible. This was the genesis of her non-profit, Project EATS, which aims to feed New Yorkers produce grown locally and sustainably. Project EATS now farms wherever there’s space—its largest plot consists of two acres behind a men’s shelter on Randall’s Island.

This fall, in addition to planning Project EATS’ November gala (the honoree will be artist Arthur Jafa), Bryant is embarking on a new food-related venture. She’s taking over the window display at Manuela, a restaurant from gallerists Ivan and Manuela Wirth’s hospitality brand, ArtFarm, opening in Manhattan’s Soho neighborhood. Her installation will tell the story not just of Project EATS but also of Soho’s artistic legacy. “I probably ate at FOOD three times a week,” says Bryant, referring to Gordon Matta-Clark’s 1970s artist-run eatery, which was nearby.

The project will also reference Bryant’s own stint as a gallerist, from 1974 to 1986, when she ran Just Above Midtown, one of the few Black-owned galleries in the city. “It was a place where everybody came to hang out and be themselves in their own wonderful, honest and creative ways,” Bryant, 75, recalls. She hopes Manuela will offer something similar: “What could happen that might open up space to be creative in spontaneous ways, that pushes against our increasing tendency to perform consciously?” It’s a challenging concept for today’s New York City, which is no longer the bohemian mecca it was. But if anyone is up for it, it’s Bryant.—Thessaly La Force

Siena: The Rise of Painting, 1300-1350 opens at the Metropolitan Museum of Art in New York.

Jackson Pollock: Les Premières Années (1934-1947) opens at the Musée Picasso Paris.

Hilma af Klint opens at the Guggenheim Bilbao in Spain. Art Basel Paris opens.

Pop Forever, Tom Wesselmann &... opens at the Fondation Louis Vuitton in Paris.

Linda Goode Bryant, photographed by the Tyler Twins, at a Project EATS rooftop farm in lower Manhattan; projecteats.org

CANDID CAMERA

Urs Fischer’s portrait of Nicolas Berggruen, below, shows the philanthropist standing behind “Omen,” Fischer’s new site-specific work for Berggruen’s Venetian arts space, Palazzo Diedo. The photo is a 20-by24-inch Polaroid, one of a series taken by Fischer and other Palazzo Diedo artists in partnership with the Polaroid Foundation, which is working to revive the iconic large-format camera.

Room to Dream

“inside the homes of Artists: For Art’s Sake” (Rizzoli, $95), by collector Tiqui Atencio Demirdjian, opens the doors to artists’ residences across five continents, from Rashid Johnson and Sheree Hovsepian’s Manhattan town house to Miquel Barceló’s Mallorcan fortress. Jean-Francois Jaussaud’s photographs capture all the intimate details: the crammed bookshelves, the handmade furnishings, the wild color combinations. Some artists fashion true live-work spaces. Guillermo Kuitca’s Buenos Aires abode, for example, reveals a symbiotic relationship between his craft and everyday life. Oth-

ers prefer a clear separation, as in Claire Tabouret’s Mediterranean-inspired LA enclave, which deliberately has no studio space. Tracey Emin’s Georgian manor, shown, in London’s Fitzrovia neighborhood, became her main pandemic project: Her contractors worked through lockdowns to restore the five-story home. At the same time, Emin herself was in treatment for cancer. “I’m sure that buying the house has kept me alive,” she told Atencio Demirdjian.—Olivia Hanley

Above: A sitting room has two Tracey Emin works from 2017, “And There is Love” and “Cecily, Me, My Mum and Jesus.” Also featured in the room: an antique chest and chair and a pair of contemporary armchairs.

FINE PRINT

Mickalene Thomas: All About Love opens at the Barnes Foundation in Philadelphia.

At Whittier Trust, our commitment to cultivating multi-generational relationships with our clients stands the test of time. Just like Peter’s faithful companion, Fenway, we remain steadfast beside our clients, ensuring their financial legacies thrive across generations.

In which we delve into the minds of creators and collectors, discussing the long-sought works that got away, tracking the place art has on our walls, learning from artists’ well-loved tools of the trade and parsing the psychology behind it all.

Jordan Schnitzer on how to build a collection to share.

With one of the largest collections in North America—boasting deep holdings of more than 1,500 artists—Schnitzer, an Oregon-based philanthropist and real estate developer, answers our questions about what and how to collect.

BY JAMES HALDANE

What got you interested in collecting? WhenIenteredfirstgrade,mylatemother, Arlene Schnitzer, enrolled in the Portland Art Museum art school. As she started bringing home her own canvases, she began buying art. Three years later, she opened the Fountain Gallery in Portland. At 14, I bought my first work from the gallery—a small piece called “Sanctuary” by Louis Bunce. It was $75, reduced to $60 with the family discount. I paid five bucks a month from my allowance.

How has your taste changed over time?

My taste is constantly evolving, and my collection looks sort of like a dumbbell. On one side are the major post-WWII artists. They’re virtually all American: Andy Warhol, Frank Stella, Ellsworth Kelly, Jasper Johns, Roy Lichtenstein, James Rosenquist, Jim Dine, Helen Frankenthaler, Louise Bourgeois, Louise Nevelson, Robert Rauschenberg. For decades, I’ve been building a teaching collection to provide free loans of artworks, grouped by artist or theme, to public museums—it is the largest private collection of prints and multiples of virtually all those artists. The other side is the contemporary artists: Hank WillisThomas,JeffreyGibson,AlisonSaar, Vanessa German, Julie Mehretu, Stanley Whitney, Leonardo Drew. We’re focusing

on building up even more pieces—and not all prints—from these newer artists to develop a volume of work by each to loan as a major exhibition.

How would you change the art world?

It is tragic that so many districts throughout the U.S. have had to cut back on art education. If I had a wand to wave, I would spend hundreds of millions of dollars in classrooms employing art students to teach kids about art, making art and our history.

Who is the most unjustly overlooked artist? Judy Chicago was overlooked for decades. She’s brilliant and had guts in the late ’60s and ’70s when it was a boys’ club, and the museums didn’t give wall space to women and other groups. She’s in her 80s now, and I’m delighted that she’s getting the recognition. So many artistsdon’tgetituntilafterthey’regone.

What was your very first collection?

I started collecting postcards at the age of about five. My father would send me them from his business trips. Then I moved to matchbooks. When I was inseventhgrade,Iwantedtostartbuying antique guns, but they were too expensive so I collected antique miniature cannons instead.

Who is the most important historical figure in art?

MichaelGovanatLACMAsuggestedtome that, in every century, two artists break outofthepack.Ithinkthemostimportant artist of the first half of the 20th century was Picasso. The plates, the paintings, the drawings, the prints—he was an artistic genius. In the second half, it was Warhol. He’s the most accessible artist of a generation of greats, and his themes are as fresh andrelevanttodayastheywereinthe’60s.

Favorite art fair and why?

The annual International Fine Print Dealers Association exhibition in New York is heaven. I’m the largest buyer of all the print publishing businesses and many of the print galleries, so it’s very special for me. It’s one-stop shopping.

Favorite city for art and why?

New York. My favorite museum is now MoMA because they broke things up physically and programmatically in the renovation by mixing drawings, paintings and sculpture. And the Met is the most scrumptious, unbelievable museum with somethingforeverybody.Thatsaid,theart world is still too New York-centric. There are such wonderful cultural leaders and museums all over the country. Why don’t we pay a little more attention to them?

Best art gift, given or received?

I gave my daughter a set of lithographs of John Baldessari’s series “Throwing Three Balls in the Air to Get a Straight Line.” Baldessari did things that were at once so wonderfully silly and poignant. The images, captured on Kodak film, show just what the name suggests.

A favorite art book?

It has to be the art books we publish— the latest one we published was on Judy Chicago last year. It showed her career and the depth and breadth of the various art phases better than any other book about her.

Why is philanthropy important?

I grew up with a phrase my parents used all the time: “To those much is given, much is expected.” Each of us can do something for someone else. Theironyisthatthemorewedo,thebetter we feel about ourselves.

What’s the piece that got away?

A work by Cy Twombly called “Roman Notes.” It is a set of nine prints in which he does his scribble stuff. I look at it and my knees just buckle. Years ago, the Susan Sheehan Gallery in New York had one for $36,000, and I couldn’t afford it.Thenanothersetwasgoingfor$60,000.

Then one went to $120,000. Now they’re probably $350,000 to $500,000. Will I ever get it? I assume at some point, I will allocate the money.

What was your best impulse buy?

Last fall, my family foundation had a Hockney show at the Honolulu Museum of Contemporary Art. While there, I found an exhibition by a local artist called Lauren Hana Chai. There was one work—a whimsical, colorful scene with people dancing—that I bought for myself but I planned to put in my sons’ room. When it arrived, I looked more closely. What I thought was just a lot of Hawaiian dancershasalittlemoreromanceinvolved.The little figures are doing things my sevenand eight-year-old boys shouldn’t see yet! Sothey’llhavetowaitafewyears,butIgot something to remind me of the trip.

What was your wildest white-knuckle moment at auction?

It was bidding in 2019 for the most expensive individual print I’ve ever bought—a Jasper Johns “Flags I” for $1,200,000 at Christie’s New York. Bill Goldston, the printer Johns worked with, said it was one of the best examples he’d ever seen. I normally bid on the phone because I am on the West Coast, but that day I sat in the salesroom and raised my paddle.

There is an energy—a competitiveness— that starts. What’s wonderful is having a relationship with an auction house specialist. In the prints department at Sotheby’s, I had this with the late Mary Bartow and now with Molly Steiger. We’ll sitthereandsay,“Well,whatdoyouthink? ShouldIdoonemore?”Thepitter-patteris so much fun. Their job is selling work, and mine is buying it, but they care about the collection and are protective of me.

What was the most recent art addition to your home?

I’m lucky—I have a few houses—but once we put artworks up, I don’t rotate them unless a museum borrows one because they just mean so much to me. We’ve just put up a Hockney, a Polly Apfelbaum, some Keith Harings, a Damien Hirst, an Alex Katz and a big Robert Colescott.

What tips do you have for collectors just starting out?

First, buy some local art. We all need to support our local artists and local galleries. They’re in every community. Don’t be intimidated;justaskquestions.Whoisthis artist? Why do you have them? Just listen. Second, I’m a great believer in quality. By buying prints or multiples, you can get some of the leading artists of our time for a few hundred or a few thousand dollars.

Schnitzer with Robert Colescott’s “Homage to Delacroix: Liberty Leading the People,” 1976.

What is the best compliment someone has paid to your collection?

Last year, our Kara Walker show started touring again. It went to the Virginia Museum of Contemporary Art, which is three miles from the 1619 site where the first enslaved people came to the U.S. With each of these museum loans, we talk in advance about outreach programs, and I like to fund transport to bring in visitors from underrepresented groups. For this show, we called up the NAACP, reached out to other key leaders, and the museum created two advisory boards. After the exhibition closed, I received a letter from one of the curators, Heather Hakimzadeh, saying, “Your exhibition did more to integrate our museum into the broader community than any exhibition in its history.” How does that not warm my heart?

Which collectors, past or present, do you admire?

It’s interesting. In the real estate business, I’m not jealous of anyone. When I see someone do some deal that I didn’t think of, I say, “Wow, what can I learn from that?” I must admit, though, that I admire and am a little envious of the Broads, the Nashers and the Meyerhoffs. Five or six of these collecting couples got to a lot of these postwar artists’ studios, folks like Frank Stella and Ellsworth Kelly, because they were contemporaries.

Do you have artist friends?

I was always worried about meeting big artists because I’d heard some were temperamental. And I’m not a stargazer person—I don’t make a big effort to meet Hollywood stars or whoever—but how lucky I feel now because there are a half-dozen current artists with whom the personal relationship is as important as the art relationship. I talk to Hank Willis Thomas every week. This summer, we had our exhibition of his works at the Henry Art Gallery at the University of Washington. They used 97 of our 165 pieces, and he came out with his wife and parents. The work itself is spectacular, but seeing the joy of his walking in, and then his parents being there, seeing their son, was one of those special art memories I’ll have forever. •

From top: John Baldessari, “Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts),” (detail), 1973; “Judy Chicago: The Inside Story: From the Collections of Jordan D. Schnitzer and His Family Foundation”; Cy Twombly, “Roman Notes,” 1970; Jeffrey Gibson, “I feel real when you hold me,” 2024.

Why do we form emotional attachments to our collections?

BY ORNA GURALNIK AND RUBY GURALNIK DAWES

Henri Matisse, “Odalisque in red culottes,” 1924-25 (oil on canvas)

Bridgeman Images, © 2024

H. Matisse/Artists Rights Society (ARS), New York.

“To collect is to rescue things, valuable things, from neglect, from oblivion, or simply from the ignoble destiny of being in someone else’s collection rather than one’s own.”

Susan Sontag

In an ongoing column, a psychologist and a curator delve into the various meanings behind the act of collecting, exploring its significance both for individuals and society as a whole.

The figure of The collector carries a certain mystique, existing somewhere between a cultivator of taste—well-versed in what qualifies as “good art”—and an eccentric. Yet the act of collecting, whether of blue-chip or everyday objects, is surprisingly ubiquitous. Many of us over the years have built some form of collection: dolls, stamps, seashells, watches, maps, records, snow globes, cars, clothes, postcards, buttons. Writer Vladimir Nabokov was a connoisseur of butterflies. Musician Neil Young collects model trains. Artist Damien Hirst’s acts of collecting are at the core of his practice. Sociologist Jean Baudrillard wrote that, in collecting, “the everyday prose of objects is transformed into poetry, into a triumphant unconscious discourse.”

Collections are frequently measured by their refinement, cultural capital and cogent worldview. But what is the psychological function of collecting itself? In broad strokes, collecting can be seen as a formofself-expression,awayofconstructing one’s identity, piece by piece—this yes and this no, this is me and this is not me.

Yet it is not always clear where the wish to gather, accumulate and possess comes from: Anxiety or desire? Nostalgia or mania? Conservatism or creativity? Mastery or surrender? Obsession or passion? Contemporary French collector François Pinault once said that in collect-

ing, “Je ne regrette jamais. [I never regret.] I have no sense of nostalgia. Tomorrow is what interests me.”

Is the collector following an unconscious need to build some illusion of logic out of the chaos of lived experience, the shadows of past trauma? Or is collecting a declaration of having reached a judicious conclusion about world order?

Ourmindshaveanextraordinarycapacity to imbue the world around us with meaning we generate from within. American writer and critic Susan Sontag once argued that, “To collect is to rescue things, valuable things, from neglect, from oblivion, or simply from the ignoble destiny of being in someone else’s collection rather than one’s own.” It is a way to recover and reanimate objects, breathing new life into them with the collector’s personal idiom.

German philosopher and cultural critic Walter Benjamin, himself an avid collector of books, claimed that for “a true collector theacquisitionofan[object]isitsrebirth.” By transfiguring their newly possessed objects, collectors embed themselves within their collections, laying claim not only in life, but after death as well. Boston arts patron Isabella Stewart Gardner, a bona fide arbiter of 19th- and early 20th-century taste, amassed artworks not only to share her appreciation for art and signal her elevated social status, but to immortalize her carefully constructed

image, leaving clear instructions in her will not to alter the content or display of her collection after her death.

In contrast to understanding collecting as a generative project à la Benjamin, one can see it as fulfilling a desperate wish to repeat and make predictable. Collecting thus becomes an act of preservation, on the spectrum with other rigid or compulsive inclinations that often reveal a need to hold on to and control each and every bit of slippery memory. In other cases, as Benjamin aptly observed, collectors erect “adamagainstthespringtideofmemories [that] surges toward any collector as he contemplates his possessions.”

Collecting can also be a symptom of a compulsion to enact experiences that have been disavowed, repressed or not fully processed—in the case of unmetabolized grief, holding on to any scrap of the lost loved one as if they had not left or died. From this perspective, rather than a creative act, collecting is a reaction to the underlying dread of failure or loss, including of one’s body, for example, castration anxiety or the death drive.

As these different interpretations show, collecting is a practice torn between the clinical concepts of conservancy and conversion (either as displacement or substitution), between antiquity and modernity. The collector is always grappling not just with larger questions of value and history, but also with personal issues of identity, memory and experience. Being a social practice, collecting deserves closer analysis as a symptom of our relationships not just with possessions but also with material culture as a whole. •

Lee Miller could fix her Rolleiflex camera in the dark.

Pioneering photojournalist Lee Miller chronicled World War II in pictures and prose as an official war correspondent for Vogue. Her son, Antony Penrose, cofounder of the Lee Miller Archives, shares his memories of some of the most poignant objects in the collection ahead of the theatrical release of “Lee,” a wartime biopic produced by and starring Kate Winslet.

BY ANTONY PENROSE (AS TOLD TO JAMES HALDANE) PHOTOGRAPHY BY HENRY LEUTWYLER

I remember Lee usingthisparticularcamera.Sheboughtitaround 1937, in the period when she was visiting Europe and met my father, Roland.ShehadtwoRolleiflexcamerasandpracticallyallofherwar work—from 1939 to 1945—was captured on it or its sister.

The way she worked with it was quite loving. She knew exactly what to do with every part. Her dad was an engineer and she had assimilated mechanics and engineering from him, so the maintenance was not difficult for her. David E. Scherman, her photojournalist colleague, told me that she could take the thing down to the last nut and bolt and put it back together again through the night in some crummy billet. And she had the fearlessness to do it.

The Miller archive began, at least unofficially, about two weeks after my mother died in 1977. My late wife, Suzanna, came down from the attic having discovered Lee’s manuscripts from the siege of Saint-Malo. I read them with astonishment because, for most of the time that I had known her, she had been an alcoholic and a depressive. Suddenly, I had to reevaluate everything because the journalism was absolutely incredible.

We dragged out a huge pile of cardboard boxes neatly tied up with parcel string. They contained something like 60,000 negatives, 20,000 pages of manuscripts, and 20,000 original vintageprints.Ithinktheexplanationforthisneglectedstashwas post-traumatic stress disorder. She just didn’t want to go near it. There were letters to and from Lee’s editor, military orders and

maps still splattered with mud from Alsace. There were fabulous photographs too—from her Paris studio, from her New York studio and from Man Ray.

The time I liked her best was when she was photographing. She became a different person, and she was so good at explaining the technicalities to me. Why with a Rolleiflex do things seem left to right when they should be right to left? Why is the image in the viewfinder in color but the photograph is in black and white?

When you’re a small child, these things are important.

When she was using a camera, it was like an extension of her. Kate Winslet picks this up beautifully in “Lee” because the camerabecomesapersonalityinitself,awitnesstohistory.Katefound one of the last Rolleiflex technicians in the world, an amazing guy named Claude Samaran, to create an exact replica of this camera, down to the last detail. She took the trouble to really learn how to use that camera and spent a lot of time at the archive sitting alone with the stuff, just contemplating it.

I know Lee did recognize her work’s historic value. At the end of the war, she was furious with poor Audrey Withers at British VoguebecauseithadnotpublishedmoreofherHolocaustimages. She flew into a rage and started snipping up her negatives. Lee said, “I don’t want anybody else to have to see what I witnessed, but I’m going to leave enough of these so that people know what really happened.”—As told to James Haldane

Away from her wartime work, Lee was once using her Rolleiflex at a wedding and somebody chucked a handful of rice over her when she had the back of it open. It took her days to get the rice out—it had gone in everywhere and jammed all the works—but she was very adroit at that sort of thing.

“Your passport is the most important book in your life. Never lose it. Never let anybody else have it.” It is one of the first things I remember her saying, and I understand why. She watched thousands of refugees trying to get out of Europe. One of the things that she always had at the back of her mind was to never be

trapped.

Her baby brother couldn’t say “Elizabeth” so he called her “Lily,” and it became “Lee.” She loved it, particularly when she had her own studio in New York because there was a huge prejudice against women photographers. The androgynous name got her jobs and, by the time her clients arrived at the studio, it was a bit late to kick up a fuss.

On long assignments, Lee transported her gear—such as her light meter, flashgun, and countless single-use flashbulbs—in huge suitcases. Her car would be overloaded with supplies. The soldiers made wisecracks—“Oh, isn’t it just like a dame to have so much luggage”—but probably the only clothes she brought were the ones she stood up in. We believe she had this name tag made to wear on these trips.

On the trail of a de Kooning masterpiece.

Following the artist’s 1957 painting “Ruth’s Zowie” through the different homes it has lived in.

BY LUCAS OLIVER MILL

One afternOOn in 1957, artist Ruth Kligman arrived at Willem de Kooning’s New York studio, where a new blue-and-yellow painting hung on a main wall. Upon seeing the striking work, she reacted with a single word: “Zowie!”

At the time, Kligman was de Kooning’s newest love interest. The affair, which began the same year de Kooning separated from his wife, Elaine, caused quite a stir in New York social circles. Just the previous year, Kligman had been in a tumultuous relationship with another stalwart of the Abstract Expressionist movement, Jackson Pollock. She was the sole survivor of the tragic 1956 car crash that took the lives of Pollock and their friend Edith Metzger.

De Kooning, clearly struck by Kligman’s response, named the canvas “Ruth’s Zowie.”

The painting was unveiled to the public on May 4, 1959, as part of a solo de Kooning outing at the Sidney Janis Gallery in New York. The show was a triumph—a much-needed boost for the Dutch American artist, who had divided the art world six years prior with his controversial “Woman” paintings, which some condemned as grotesque and degrading toward women.

The first owner of “Ruth’s Zowie” was the art critic and magazine editor Thomas Hess. An early advocate of de Kooning’s work, Hess wrote often and admiringly about his paintings, solidifying the artist’s role as a leader of the postwar American scene.

“Ruth’s Zowie” occupied a prized place in Hess’s New York home, where he lived with his wife, Audrey Stern. It hung in the living room, flanked by two other important de Koonings: “Pastorale,” from 1963, and “Souvenir de Toulouse,” from 1958. Hess embraced a maximalist and eclectic approach to his interiors— the room was overrun with flowers, tended to by Stern; oddities such as ostrich eggs displayed in silver cups; and sculptures gathered from his travels around the world. The space opened directly onto their garden with views of the East River.

After Hess’s death, “Ruth’s Zowie” was auctioned at Sotheby’s in 1985, where it sold for $1.54 million. The anonymous buyer took the painting to Chicago, where it remained for a decade before traveling to the West Coast, where it now resides with its current owner, Creative Artists Agency cofounder Michael Ovitz.

Ovitz acquired the de Kooning in 1997, adding it to his already expansive collection of Abstract Expressionist masterpieces, which includes works by Mark Rothko and Franz Kline, among others.

The collector shares his vast, museum-like Los Angeles residence with his partner, fashion entrepreneur Tamara Mellon. Designed by architect Michael Maltzan, the home offers a completely different atmosphere for “Ruth’s Zowie” to exist in, far from the living room-turned-conservatory of Hess’s Manhattan abode. The de Kooning is no longer surrounded by its sister paintings and instead has ample room to breathe. On either side, Ovitz has placed a single Ming Dynasty chair. (He has a keen eye for Chinese antiquities.) A mobile by American sculptor Alexander Calder hovers above. •

Willem de Kooning with, from left, “Ruth’s Zowie” (1957) and “Yellow River” (1958), at the Sidney Janis Gallery, New York, 1959

The New York home of Thomas B. Hess, photographed by Horst P. Horst for Vogue, February 1, 1968.

The Los Angeles home of Michael Ovitz and Tamara Mellon, photographed by Lucas Oliver Mill for Sotheby’s Magazine, 2024.

This advertisement has been approved for issue by Bank Pictet & Cie (Europe) AG, London Branch, which is authorised and regulated by the German Federal Financial Supervisory Authority, BaFin. It is also authorised by the Prudential Regulation Authority, subject to regulation by the Financial Conduct Authority and limited regulation by the Prudential Regulation Authority. The value of an investment can go down as well as up, and investors may not get back the full amount invested. Further, this advertisement is not intended for US citizens or residents, nor would such services be offered or solicited inside the United States.

In which we enter a Cocteau fantasy in the south of France, talk to artist Titus Kaphar about his directorial debut, tour a designforward hideaway in the Hamptons, hang out at the studio with FKA twigs and more.

The Dutch photographer explores Santo Sospir, a villa in Saint-Jean-Cap-Ferrat, France, where socialite and patron Francine Weisweiller famously invited Jean Cocteau to “tattoo” the white walls with frescoes depicting mythological scenes, providing a captivating setting to blend with this season’s standout fashion.

STYLING

BY

KATELYN GRAY

TheArtist Portfolio by Annemarieke van Drimmelen

artistic aura

Model Aivita Mūze wears an Issey Miyake knit dress; Falke socks and stylist’s own shoes (both worn throughout).

Opposite, clockwise from top left: Schiaparelli earrings; one of Cocteau’s monochrome mosaics; morning meditation; a mural of the myth of Apollo amplifies the villa’s Mediterranean ambiance; stairs connecting the hairpin bends of Cap Ferrat.

notes on elegance Proenza Schouler top and skirt.

Opposite: One of Cocteau’s final additions to the villa—an Aubusson tapestry portraying the story of Judith and Holofernes overlooks the dining room. In 2016, property developer and Francophile Ilia Melia acquired the villa and has undertaken a restoration program to preserve the historic structure and grounds.

mythic motifs

Left: Proenza Schouler top. Below right: Chanel jacket and vintage beaded necklace from The Society Archive. Opposite: Ferragamo dress.

visual poetry

Akris jacket, shirt and trousers. Opposite: Bottega Veneta top and skirt.

creative brief

Giorgio Armani vest and trousers; Sophie Buhai choker and pendant necklace.

Opposite: Vintage beaded necklace from The Society Archive.

symbolic style

Myth and memory connect; a quick dip. Opposite: A winged angel holds a single poppy—the only mural in the villa executed in oil paint. Prada dress and shorts, necklace from New York Vintage and vintage necklace from The Society Archive.

cocteau’s canvas Chanel jacket and trousers; vintage necklace from The Society Archive; and Ann Demeulemeester belt from Artifact New York.

Opposite: Bronze breast covers from New York Vintage. Model, Aivita Mūze at Viva London; hair, Diego Da Silva; makeup, Irena Ruben; production, Purview and 360PM.

Titus Kaphar is Taking his Art to the Big Screen

BY ROXANE GAY PHOTOGRAPHY BY ZORA J MURFF

The artist and founder of New Haven, Connecticut, arts space NXTHVN has written and directed “Exhibiting Forgiveness,” a semi-autobiographical film about his childhood, his relationship with his father and his experience with the art world at large.

When a grievous harm has been done, there is a cultural impulse to demand forgiveness. It is a tidy and convenient notion, that all sins, no matter how grave, can and should be forgiven, that there can be closure to suffering. It also allows us to believe absolution might be possible for the wrongs we, ourselves, commit.

Artist Titus Kaphar’s extraordinary new film “Exhibiting Forgiveness,” in theaters on October 18, is a nuanced interrogation of forgiveness and to whom it is owed. In the film, visual artist Tarrell Rodin (André Holland) returns to his hometown with his wife, Aisha (Andra Day), and child to visit his mother, Joyce (Aunjanue Ellis-Taylor). While he is there, Tarrell unexpectedly runs into his father, La’Ron (JohnEarlJelks),whostruggledwithcrack addiction throughout Tarrell’s childhood. Joyce plaintively encourages Tarrell to speak with La’Ron, to try and forge some kind of peaceable way forward. Tarrell is reluctant. There is, he makes clear, far too much scar tissue enveloping his fraught relationship with La’Ron.

laid bare. And it is all taken directly from Kaphar’s life, one of a series of moments comprising the genesis of the project.

In a fit of anger, Tarrell brings a camera into the basement where La’Ron lives, wanting to interrogate his father about his choices and their repercussions. It is a haunting scene, where bitter truths are

A few years ago, Kaphar returned to Kalamazoo, Michigan, where he grew up, to visit his maternal grandmother, with whom he is very close. As he walked up to her house, he saw his father, Jerome, sitting on the stoop. They hadn’t seen each other or spoken in 15 years. Kaphar’s wife, Julianne, a nutritionist, didn’t even know who Kaphar’s father was. Immediately, Kaphar was upset and uninterested, but his grandmother insisted. And when you are close with your grandmother, you do what she says. Kaphar relented, but he had a condition—he wanted to film their conversation. He expected Jerome would say no and that would be that. Instead, Jerome agreed. Kaphar set up

his camera and started asking Jerome the difficult questions that a child who has been failed by a parent needs to ask.

To Kaphar’s surprise, Jerome was initially repentant for his mistakes. But his son wasn’t open to receiving any repentance. “I was angry at myself for even contemplating…,” Kaphar says. “It really threw me off because I hadn’t dealt with my father in that way before.”

That footage inspired one of Kaphar’s bestknown works, “The Jerome Project,” where he searched through prison records and found 97 men who shared his father’s name. He made portraits of the men, in the style of devotional icons, concealing parts of their faces with tar. The men are seen but also obscured—an apt metaphor for the ills of incarceration.

And still, Kaphar felt there was more work to be explored from the footage he shot of his father. Kaphar’s two young sons, now teenagers, had no relationship with their grandfather. They had questions about why Kaphar called his father by his first name. They wanted to know about Kaphar’s childhood, and the stories he shared about having a job at eight and nine years old. He turned to art to try and answer those questions, sketching and painting memories. And

Artist Titus Kaphar with his 1964 Mercedes-Benz 280 SEb Coupe. An identical model appears in his upcoming film, “Exhibiting Forgiveness,” a narrative that switches between the present and the past of a successful artist named Tarrell Rodin. Opposite: A chair from Tarrell’s studio. Previous spread: Kaphar at his New Haven studio with his painting “I hear you in my head,” which features in “Exhibiting Forgiveness.” The paintings that Kaphar created for the film go on view at Gagosian’s Beverly Hills gallery on September 13.

then, because he is a storyteller regardless of the medium with which he is working, Kaphar also started writing, piecing together his past and making it into something new.

“The memories induced the writing, and the writing induced the paintings. Ultimately, my primary audience for my film was my family,” Kaphar says.

Kaphar,48,isprimarilya visual artist. His paintings, sculptures, mixed-media works and installations can be found in the Metropolitan Museum of Art, the Museum of Modern Art, the Seattle Art Museum, the Brooklyn Museum, the Studio Museum in Harlem, the National Gallery of Victoria in Australia and others. In 2018, he was named a MacArthur fellow in recognition of his work.Kaphardeconstructs U.S. history, art history, the canon and AfricanAmerican representation. He decenters the white gaze and recenters Black figuration. His first foray into moving pictures was the documentary “Shut Up and Paint,” in which he grappled with racism and an aversion to activism in the art world. The concerns he articulates in the film linger.

“At its core, fiction can get us to a truth that the data sometimes cannot,” says Kaphar. Opposite: Andra Day, who plays Tarrell’s wife, Aisha, and André Holland, who stars as Tarrell, in a still from “Exhibiting Forgiveness.” Kaphar’s paintings in the background are, from left, “Do you want it back?,” “Some things can’t be worked out on canvas” and “Do you remember Douglas Street?”

When I visit Kaphar in his studio in New Haven, Connecticut, the large, colorsaturated canvases featured in “Exhibiting Forgiveness” are all on display. Soon, they will be part of an exhibition opening September 13 at Gagosian, Kaphar’s gallery, in LA. As we sit down to talk, Kaphar is skeptical. He asks why the magazine has chosen me to interview him. I understand the question he is really asking. Oftentimes, editors will simply pick any Black person to talk to another Black person, assuming that racial affinity is more than enough to create a connection. It is exhausting and condescending and often insulting, but this is not that. I offer my bona fides and share that I am not only a writer but also an art collector, and onward we go.

“Exhibiting Forgiveness” is a film that is both meditative and turbulent. The cast is uniformly outstanding, and John Earl Jelks’ performance as La’Ron is particularly vivid. Every time he is on screen, he becomes the film’s center of gravity, making it impossible to look away. And it’s clear that Kaphar has put his whole self into the movie, not only drawing from his own life, but taking real care in his creative choices. Because Kaphar has seen too many terrible movies about artists, he taught André Holland how to paint. “When you spend your life studying a craft and you are good at that thing, you are able to discern when another person is not,” Kaphar explains. He had Holland come to his studio and learn how to properly hold a paint brush. He encouraged Holland to engage the canvas with confidence. “‘You are God in this world,’” Kaphar says he told Holland. “‘You control everything, the light, the dark.’”

One of the most striking aspects of the film is that we never see active drug use. Though there is clearly domestic violence, we never directly see a Black woman being harmed or violated. And as with all the artistic choices in the film, this was deliberate. “I saw too much of it,” Kaphar explains. “I saw shit I can’t get out of my head. I didn’t want to put my actors through that. It was a struggle because you want to tell the truth, but it forced me to be more creative. Ultimately, I used abstraction as a tool.” Kaphar wields that tool deftly. There is no ambiguity in the depictions of addiction or violence, but there is no exploitation in those depictions, either.

The compassion Kaphar was able to show his cast andhisaudienceisnotnecessarily something he has always been able to extend to himself. During a scene, also drawn from real life, La’Ron tells Tarrell that he looks like he wants to hit his father and Tarrell says, “I do, but I got way too much to lose. That’s not what this is about.” When he watched the scene back, Kaphar couldn’t stop sobbing. He heard his father’s voice in his head urging him to stop crying and still the tears came. He had to step away from set to gather himself. “Watching what André did as an artist, to be able to embody someone else’s feelings so wholly, that made me have a sympathy for Tarrell I never really had for myself. I made this movie because I had to make this movie,” Kaphar says.

Forpeopleoutsideofmajorcities,access to art is limited. Rarely are art spaces, and particularly galleries, welcoming. Kaphar also hopes his film will bridge the gap between his community and the art world. “The community I grew up in couldn’t give a shit about the art world,” he says. When hescreenedthefilmthisJulyattheEssence Festival of Culture in New Orleans, the audience responded enthusiastically,

actively engaging with the film, which Kapharfoundincrediblysatisfying.“When you show it in a context with all Black people, everything is felt differently,” he says. “There’s a lot less translation.”

During the talkback after the screening, when Kaphar shared that he both directed the film and painted the artwork seen throughout, the audience responded with surprise. They simply didn’t know. Kaphar hopes to continue to bridge that gap but first, he says, he wants to know “we are going to be treated right in those spaces. Not until I know my folks aren’t goingtogotothegallerytopickupapainting and have some foul shit happen.”

“Exhibiting Forgiveness” explores the sometimes fraught relationship between Black artists and white collectors, suggesting that some collectors assume they can take certain liberties when they own an artist’s work. In one scene, a collector wants to take a photo with Tarrell, who declines because he is in the middle of something else. Infuriated, the collector blusters about what he believes he is owed. Kaphar hasn’t necessarily reconciled that tension, of making work for his community, knowing his community isn’t always welcomeintheartworld,andalsoknowing that most of his work is sold to white collectors—but his mother offered him some clarity. “‘Our stories need to be told,’” he recalls her saying. “‘And how those people spend their money is their business. That has nothing to do with you. Your business is how you spend your money. What are you going to do?’”

To answer that question, in 2018, Kaphar co-founded NXTHVN, a nonprofit art incubator and community space, with investor Jason Price, who serves as the chairman of the board. The campus resides in the predominantly Black New Haven neighborhood of Dixwell. NXTHVN offers competitive fellowships, studio space, art exhibitions and more. During the pandemic, it offered vaccinations to the community. “We have an amazing Black community in New Haven. [NXTHVN] needed to be

something that was for us, by us,” Kaphar says. He recalls a Black woman who, as she waited to be vaccinated, didn’t believe it was a Black-owned space. “It took some time to convince her that this wasn’t a secretYaleproject,”hesays.Inmanyways, New Haven is a company town. Kaphar, who received his MFA from Yale, does work with the university when he can and is open to more collaboration. “There is a cultural shift among the deans who are no longer willing to accept that Yale is just this mammoth of an entity inside the city but disconnected from it,” he says.

Running a nonprofit has been invigorating, but it has also come with a steep learning curve. “It’s very difficult to stay focused on the mission, the vision, the values of the organization,” he says. And still, Kaphar has grand ambitions. He and Price have also purchased properties around New Haven that they’ve fixed up and rented at reasonable prices. Instead of being satisfied with all he has accomplished, Kaphar wishes he could do more.

Like most wildly successful people, Kaphar has a lot going on. He makes art and films. He is a parent and a partner. He runs a nonprofit with a little property management on the side. His output makes you wonder if he has extra hours in his day not available to the rest of us. “This is a confession: I don’t know how to rest,”Kapharsays.“Forsomuchofmylife, I took pride in that, this inability to rest. All I know how to do is work. If it needs

to get done, I’m going to do it. I’m almost 50 now, and I can’t keep doing that.”

One of the recurring themes in “Exhibiting Forgiveness” is that of labor. La’Ron, for all his faults, is a hard worker. And in the way that fathers do to their sons what was done to them, he instills that relentless work ethic in Tarrell. There is a scene, which is also rendered in a painting, of a boy pushing a lawnmower up a steep hill, desperate for help his father refuses to give. “Every single time my father and I interact, he tells that story,” Kaphar says. “It’stheproudestmomentofhisparenting. ‘I put steel in you.’” La’Ron tells Tarrell the same thing in the film. “The issue for me,” Kaphar says, “is I still hear my father’s voice in my head. When I get tired, I get mad at myself. My father is so proud of me. There is no doubt in my mind—never has there ever been, even with all the shit that went on—that my father loves me deeply and the only way he knows how, and the legacy he gave me is work.”

As a father himself, Kaphar is trying to give his sons a different legacy. “I have to believe kindness is better. I have to believe I live in a universe where love is better than the alternative. I would rather make mistakes in my practice as a father rooted in love.”

“I made this movie because I had to make this movie.”

—Titus Kaphar

Which brings us back to forgiveness. There are no neatly resolved threads in “Exhibiting Forgiveness.” At the end of the movie, La’Ron goes to see Tarrell’s new art show and Tarrell gives his father a portrait he has made of La’Ron. It makes the ending something of a tabula rasa. Seen one way, Tarrell has forgiven his father, and the promise of a better, stronger relationship lingers. Seen another way, Tarrell has not forgiven La’Ron. Instead, there is ambiguity. We don’t know what will happen next between them. “At its core, fiction can get us to a truth that the data sometimes cannot. It was very important to me that Tarrell’s experience in the film reflect my truth, which is that the situation is complicated,” Kaphar says. “It’s called ‘Exhibiting Forgiveness’ for a reason.” •

Hidden in the Dunes

BY SARAH MEDFORD PHOTOGRAPHY BY ADRIAN GAUT

On the shores of Amagansett, collectors Reed and Delphine Krakoff have built an entirely new backdrop for their trove of blue-chip treasures.

Reed and delphine Krakoff have lived in some enviable houses in their 25 years together. They have shared a seven-story town house on Manhattan’s Upper East Side; a Connecticut estate built by copper heiress Huguette Clark; a Parisian hôtel particulier; and Lasata, once the East Hampton, New York, summer home of the young Jacqueline Bouvier, which they sold in 2018. (It is now owned by fashion designer and filmmaker Tom Ford.)

How, then, have the couple and their four children ended up in a set of bunkers just down the beach from Ford, buffered from the elements by several tons of sand and reinforced concrete?

“It’s not a midlife crisis,” says Delphine Krakoff. “It’s not like, ‘We’re in our 50s and we need a contemporary house.’”

The Krakoffs’ new corner of Long Island has a wild, precarious beauty. East of Amagansett, the land pinches down to a narrow fold between Napeague Bay and the Atlantic Ocean, and seafood shacks line the two-lane highway. Modest houses, mostly wood-framed, dot the shoreline. The giddy architectural experimenta-

tion that has transformed so much of the Hamptons has barely made a mark here.

After buying a few acres of land on the ocean side, in 2018 the couple began working with New York architects Thomas Phifer and Partners, who designed a house that the pair then finished on their own five years later. The Krakoffs—she is an interior designer, he is a fashion designer and creative director—had a clear idea of what they wanted, and the surroundings dictated many of their decisions. In the changing coastal light, the result of their efforts can look like a mirage: a pale-concrete platform embedded among the dunes, with three transparent boxes rising from it. In the manner of a space station or an Apple store, these boxes serve as viewing rooms and also portals, connecting belowground to a network of other living areas, in this case bedrooms for the couple’s children and guests. A wall installation by French conceptualist Daniel Buren runs the length of a concrete passageway.

Perry Guillot, a landscape architect who has worked with the couple many times,

admires the way “the muted colors of the interior blend so seamlessly with that vast presentation of real nature all around.” Though Guillot wasn’t involved here—the Krakoffs did their own landscaping—he thinks the native pine, bayberry and beach plum they’ve planted suggest that the structure has just slipped down into the dunes, leaving nature undisturbed.

“The house is very controlled and very hardinthemiddleofanenvironmentthat’s completely the opposite,” says Reed. “The tension between the two was the idea.”

He is sitting beside his wife on a sofa in the living room, the largest of the three boxes. (The others hold the couple’s bedroom and a library.) Behind him is a free-edge table by George Nakashima, a translucent resin chair by Joris Laarman and, on the wall, a site-specific painting made with drips and smears of mud by the British artist Richard Long. There is not a straight line among them.

“Everything is essentially a counterpoint to the glass and steel and concrete,” Reed says of the couple’s intentions. “We had in mind things that were organic,

artisanal, textural,” he explains, a bridge back to the unencumbered landscape. He points out the imperfections in a cast glass table by Martin Szekely and the hand-carved Shaker chairs around a Pierre Jeanneret dining table. (“It took a few years to find 10,” he says of the chairs. “They didn’t make sets.”)

The kind of collecting the Krakoffs do has a noble lineage, that of tasteful amateurs who brought wealth, scholarship and the thrill of the hunt to furnishing their own houses. For the Krakoffs, a growing obsession with living comfortably among their possessions has been shaking up their longtime buying habits.

“The most difficult thing to do with aninterioristocreatesomethingthat’sspecial, that has important things, but where you can lie down on a sofa and read a newspaper,” Reed says, his coffee cup balanced on a Georges Jouve low table with a terracotta top, a new purchase. “It shouldn’t be still-life. It’s not sculpture. It’s a home.”

The Krakoffs have invested in several multi-ton sculptures over the years, but by far the biggest pieces they have collected

have been houses. Aside from their architectural escapade in the dunes, the couple have sought out houses that, in their view, haven’t been living up to their potential. A down-to-the-studs restoration typically comes next, which they insist is the fun part. (One of their previous Manhattan town houses, built in 1910 as a single family home, was delivered to them as 11 individual apartments.)

Anewhouseoffersthemafreshperspective on their possessions. Buying Lasata, Delphine says, became an opportunity for them to open the book on Americana; they amassed Boston and Philadelphia Queen Anne furniture, folding it in with pieces they already owned by Diego Giacometti, Karl Springer and Adolf Loos, among others. “Design is how you approach things, how you process things like color, shape, tension, juxtaposition,” says Reed. “It’s not about, ‘Oh, I just saw this brooch and I want to do something like that.’”

“Every time we move something, it becomes new again, because it is never in a similar situation,” Delphine observes. Serendipitously for the Krakoffs, this

process has led to an ongoing chickenand-egg debate. Should the collection accrueforthehouses,orshouldthehouses accrue for the collection?

Over a 35-year career in fashion, first at Anne Klein, Ralph Lauren and Tommy Hilfiger, and later at Coach and Tiffany & Co., Reed has achieved the kind of success that reshapes companies into global luxury brands. In 2022, he joined the private equity firm L Catterton as a Strategic Advisor and the Creative Chairman of John Hardy, the group’s luxury jewelry brand.

He has been collecting since his school days, as has Delphine, who heads the firm Pamplemousse Design. Though the couple have an eclectic buying history, their contributionshavebeenespeciallymeaningful tothemarketsoflivingdesigners.Describing a common thread among those they support, Reed says, “They’re doing somethingthatischangingthewaypeoplethink about art or design. It always comes down to that. Take Marc Newson—his Lockheed Lounge chair changed the way people

Above left: Delphine and Reed Krakoff at their home in Amagansett, New York. The table is by George Nakashima and the rug is Barbro Nilsson’s Salerno design for Märta Måås-Fjetterström. The artwork in the background, “River Avon Mudline,” 2020, was made on site by Richard Long.

Above right: A Joris Laarman Bone Chaise catches the light. Opposite: The exterior of one of the house’s three pavilions, supported by concrete legs.

Clockwise from top left: A Pol Chambost lamp sits next to a series of Jacques and Dani Ruelland ceramics; René Gabriel armchairs face out to sea; a pavilion that houses the gym; a Joris Laarman Cumulus table topped with a Harry Bertoia “Bush” sculpture; the poolside view; an Axel Einar Hjorth Uto table holds two apples Claude Lalanne made for the couple using casts of their lips.

“The house is very controlled and very hard in the middle of an environment that’s completely the opposite. The tension between the two was the idea.”

—Reed Krakoff

Clockwise from top: An untitled Joel Shapiro work from 1986; a Ronan & Erwan Bouroullec Lighthouse lamp; a Marc Newson Zenith chair next to a bookshelf of Delphine Krakoff’s design; Ronan & Erwan Bouroullec Triple Chains sculptural lighting; Reed Krakoff’s own ceramic work.

Another angle on the house, showing the lower level where Daniel Buren’s “25 Enamel Plates,” from “Wall Works,” 1993, is visible through the window. “We have no fads in our collecting,” says Delphine.

look at design. Ron Arad, Mattia Bonetti, Les Lalanne, Jean Prouvé, obviously—all iconoclasts,movingthedialogueforward.”

No surprise, then, when Delphine maintains, “We have no fads in our collecting.”

They do, however, have one rule.

“Buy what you love,” Reed says. “Buy what you love,” Delphine seconds.

Who gets veto power? If they disagree— which happens, though rarely—they pass.

“Delphine is the voice of reason,” Reed says. His unearthing of a Marc Newson Orgone chair at a spectacular price might elicit a muted, “Yes, darling, but the four we already have are so much better.”

By now they operate with something of a shared aesthetic. A geometric simplicity that feels both modern and timeless creeps into many of their houses, as do mirrors, serpentine staircases, a lambent shade of white and a staggering range of textures— animal, vegetable and mineral. The style gadflyandauthorSimonDoonanhascalled their approach “Krakoff-izing: Improbable juxtapositions are the order of the day.”

Their individual contributions to a project tend to break down along alphabetical lines. Reed does the research, Delphine does the development. “I’m usually the one whomakesthingshappen,”shesays,meaning restoration, shipping and installation.

For both of them, the overlap between their personal and professional lives keeps collecting new. A decorating client might ownapiecethatopensadoorforDelphine.

Recently, it was textile art: “Reed and I had not really looked at it until my interest was piqued by a client’s collection.”

In Reed’s case, objects he already owns can inform his design thinking. During his time at Tiffany, he found the work of mid-century industrial designer Van Day Truex relevant for its prosaic twist on luxury—the kind of unexpected, oppositional stance he adores. “Tiffany had always been about that juxtaposition of American utilitarianism and elevated refinement,” Reed says. Truex himself had worked for the company; with his invention of bamboo-handled flatware and woven-silver berry baskets, Reed says, Truex matched the throwaway glamor of Audrey Hepburn in “Breakfast at Tiffany,” dining out of a paperbaginherGivenchygownandpearls.

In 2010, Reed griped to Vogue that the design market “has become like the stock market.” Today, he estimates that the value of the Lalanne sheep the couple bought two decades ago has increased

by a factor of 20. They’ve held onto them partly for sentimental reasons, having published a book on Les Lalanne’s work and become friends with Claude Lalanne before she died in 2019. The Jean Royère Ours Polaire sofa they purchased 15 years ago isn’t something they’d buy again, he admits, given its inflated price. “Being so ubiquitous, a piece just becomes a commodity,” he says.

In Amagansett, the couple have created new opportunities. As construction came together, Delphine took on the design of hardware and fences and well-lit steps. Reed took up ceramics during the slow, uneventful days of the pandemic, working inastudioattheirConnecticuthouse.Now Amagansett is stocked with wheel-thrown plates and bowls—brown for the living

area, ivory for their bedroom. “He’s the artist,”Delphinejokes.“I’mthepatroness.”

When the house was finally nearing completion,RichardLongshowedupatthe beach to make his painting. “He came with his mud and his scaffold,” recalls Reed, who found the artist’s literal hands-on process entrancing. Reed was surprised to learn that the slurry spilling onto the drop cloths like so much chocolate milk came not from England, but from Mississippi. “I think it’s the color he likes,” Reed says.

Long’s work only lasted a day: After staying overnight and walking the beach, he was back on a plane the next afternoon.

“He was super easy,” Reed says, a high compliment in his book. “He let me film him. He was really a pleasure. And it felt right. The whole thing just felt right.” •

The Krakoffs’ homes over the years. Clockwise from top left: The couple’s Parisian hôtel particulier, with Allan McCollum’s “144 Plaster Surrogates,” 1989; a 1902 Adolf Loos Elephant Trunk table; and a 2013 André Dubreuil clock in the far room; the sculpture is anonymous. The exterior of their 1937 house, known as Le Beau Château, in New Canaan, Connecticut. A grouping of Les Lalanne sheep from 1968 at Lasata, the couple’s former East Hampton residence; on the mantle is an Alfred-Auguste Janniot “Tête Idéale” bust, from before 1920, and above it is a Torsade mirror, circa 1960, by Line Vautrin. A stairwell at their Upper East Side town house, with the same Daniel Buren work shown in their Amagansett home.

The House of Twigs

BY

Singer, songwriter, dancer, actor and producer FKA twigs adds a new string to her bow with the debut of “The 11,” a new durational artwork grounded in self-discipline, at Sotheby’s London.

JAMES HALDANE PHOTOGRAPHY BY JORDAN HEMINGWAY

“It’s about exploring these feelings until you feel exhausted and then pushing through and finding a new point of view.”

—FKA twigs

Contracts are really important.” It is one of the points that FKA twigs makes most emphatically when we meet in the brick-built, canalside warehouse in east London that she has made her studio. Despite earning critical acclaim for her music since signing her first record deal more than a decade ago, and this summer starring opposite Bill Skarsgård in a remake of “The Crow,” the British multihyphenate isn’t referring to royalties or merchandize agreements. She has spent recent years distilling an internal contract she calls “The 11”—a manifesto of conceptual pillars for artistic and personal elevation.

Expressed in its fullest form, the method generates a durational artwork composed of a set of 11 physical movements. Each is repeatedfor11minutesbyagroupofupto11 people before they shift to the next. Twigs, born Tahliah Debrett Barnett, is adamant, however, that it should not be mistaken for a dance piece. “It’s a self-contracting system,” she reiterates. “The movements are really just a kind of self check-in.”

The method’s overarching goal is to tune out external distractions to allow

you to exist for as much time as possible in a state of “eusexua”—a mental state that twigs, 36, has come to recognize is essential to producing her best work. It is “a feeling that I don’t believe there’s a word for in the English language,” she says. “It’s a moment of clarity. It’s a feeling you’ve been out dancing all night. It’s a feeling just beforeyouhaveareallygoodidea.”Shehas coined terms for each of the 11 principles, too, such as the “Art of Sol,” a form of minimalism that aims to resist the temptations of consumerism, and “Primal Revelation,” which dictates spending time in nature to resync our bodies to its rhythms.

Performers meditate on each pillar with the aid of a “movement mantra”—twigs springs up and across to her dance studio to demonstrate them one by one. There’s a spectrum of intensity to the motions, from static, balletic balances to mantras imbued with the energy of krumping, a dance form that emerged out of Los Angeles in the early2000s.“Icollectdifferentmovements that inspire me,” says twigs, who grew up in Cheltenham, England, where she participated in local choreography competitions. As you likely couldn’t break out into most

of the full mantra movements in daily life, she has also devised a small “physical cue” for each. These gestures are as simple as clasping your hands to remind yourself of the pillar of “keychaining”—preserving emotional energies for your inner circle.

Whileperhapsnebulousinitsnomenclature, “The 11” seeks to address real harms that are being discussed by psychologists, educators and policymakers, with many linked to our ballooning consumption of social media. Too much screen time comes at a cost to intellectual exploration and meaningful personal connections, twigs explains, before painting a vivid picture of “Croning.” The name, she says, is “from the director David Cronenberg, whose films have lots of fleshy, technologymelding situations, like tubes going into spines and hands that are phones … I believe that is what we are doing now. We have doomscrolling—we know what that is—but Croning is one step further. Croning is when you start to unwillingly lose your opinion to your algorithm.”

The mode of twigs’ response—creating a method akin to yogic practice—arguably reflects her personal experiences as much

as it resonates with movement as a universal restorative. She has spoken previously of the burdens her body and mind have endured in recent years, including surgery to remove uterine fibroids and racist attacks against her on social media while in a three-year relationship with the actor Robert Pattinson. As we speak, she is still fighting a legal battle against the actor Shia LaBeouf for alleged abuse that twigs has said altered her nervous system. Healing is a priority for her: “We’re just given these bodies once, aren’t we?” she says.

While twigs built her reputation oninnovative,genre-breakingmusic and avant-garde fashion, she is concerned about the false promises of progress when it comes to artificial intelligence. This past April, she testified before a U.S. Senate subcommittee during a hearing on intellectual property, calling for regulation and arguing that the technology “cannot replicate the depth of my life journey, yet those who control it hold the power to mimic the likeness of my art, to replicate it and falsely claim my identity and intellectual property.”

Given this strong defense of artists’ agency, it’s interesting that she seems nonplussed about which artistic subcategory “The 11” should be understood to sit within: “That’s for all the people who don’t make art to sit around and discuss,” she says, adding that they can “ponder which bit is the meat and the bone.” Her track record in visual art shows an openness to remixing. Last year, she created a self-portrait referencing Diego Velázquez’s “Rokeby Venus” and an 1880s painted lacquer folding screen by Japanese artist Shibata Zeshin.

And there are parallels to be struck with other performance artists, especially those who have explored duration— time—as a key element. With a full cycle of “The 11” running for just over two hours, “as exhaustion kicks in, the movements will look different,” says twigs. “It’s about exploring these feelings until you feel exhausted and then pushing through and finding a new point of view.” This interest in consuming energetic potential echoes Martin Creed’s 2008 commission for Tate Britain, “Work No. 850,” in which runners sprinted through the 282-foot-long

“The 11” seeks to reconnect participants with an authentic inner self. On this page and previous page: Artist FKA twigs spent months in her east London studio workshopping a method to nurture creativity and self-healing.

enfilade sequence of Duveen Galleries every 30 seconds for four-hour shifts.

I mention Marina Abramovic as I’ve heard there’s a connection between the artists. “I know Marina, and she has been so generous to me,” says twigs, telling a story of how the Serbian conceptual artist toured her around her takeover of the Southbank Centre, London, in October last year. But twigs won’t be drawn too far, perhaps again to avoid the categorization that disinterests her. “Many artists can be inspiredbyMarina’swork,butwhatI’mthe most inspired by is her tenacity, her generosity and her energy for other artists.”

It seems that generosity is what she wants to pass on. This repurposed warehouse is a crucible for projects conceived between twigs, her partner Jordan Hemingway, the photographer and director, and the collective of artists and creative friends with whom she collaborates. It’s also been the place where twigs has given inwardly. Shereflects:“Isn’tthebeautifulthingabout this method that it’s incredibly rewarding because only you can do it for yourself?” •

cultural exchange

Weekly visits to the Metropolitan Museum of Art inspired American jewelry designer David Webb to incorporate global themes into his work. This resulted in creations like the Osiris cuff, first made in 1970 as a hand-hammered gold piece with diamonds. This new version adds coral, lapis lazuli, turquoise and platinum.

David Webb cuff, price on request, davidwebb.com

Icons, Take Two

SET

Jewelry houses are mining their archives to champion classic designs with staying power. Sotheby’s jewelry expert Frank Everett selects six pieces worth the investment.

PHOTOGRAPHY BY ROBIN BROADBENT

DESIGN BY EVA BABIERADZKI

cool as ice

Of the house’s many signature designs, Van Cleef & Arpels’ Snowflake motif stands out for its timeless wearability. A simple diamond cluster refined, perfected and rearranged in infinite iterations, including this 18-karat white gold necklace.

Van Cleef & Arpels necklace, $860,000, vancleefarpels.com

talent show French jewelry designer Suzanne Belperron created sculptural jewels of striking modernity that continue to inspire. She was first drawn to the form of the wave in her teens and revisited the motif after World War II. The Wave cuff here features yellow and green beryl, morganite and Belperron’s signature 22-karat “virgin gold.” Belperron cuff, $49,500, belperron.com

curve appeal

The serpent is one of jewelry’s most enduring subjects, from ancient times through the 19th century, art deco, the 1970s and beyond. Bulgari’s Serpenti line, which turned 75 last year, is a classic of the genre, featuring pieces such as this rose-gold ring with pavé diamonds and black onyx. Bulgari ring, $18,100, bulgari.com

French designer Jean Schlumberger was an artist whose medium happened to be precious metals and gemstones. He joined Tiffany & Co. in 1956 and changed high jewelry forever. The house has renewed focus on Schlumberger’s influence. This 18-karat yellow gold necklace, with platinum-diamond accents, traces its history back to Schlumberger’s debut year.

Tiffany & Co. necklace, price on request, tiffany.com

coffee run

Cartier’s Grain de Café theme, first envisioned by creative director Jeanne Toussaint in 1938, elevated the coffee bean with wit and elegance. Reintroduced in 2023, the design remains as charming as when Grace Kelly wore it in the ’50s. This new ring is made of 18-karat yellow gold, platinum and diamonds. Cartier ring, price on request, cartier.com

In early summer 1934, Dorothy C. Miller called the Museum of Modern Art’s director,Alfred H. Barr

Jr., and asked, “Remember me?” Without doubt

he did.

In an exclusive excerpt from “Inventing the Modern: Untold Stories of the Women Who Shaped the Museum of Modern Art,” writer Mary Gabriel profiles the influential curator Dorothy Miller.

miller had briefly workedpart-timeattheMuseumofModern Art while Barr was away in Europe on sabbatical, and in the past year, the director had offered her a job—twice. Both times, though it pained her to do so, she had been forced to decline because of prior commitments. Finally free in June 1934, she phoned Barr and asked rather timidly if “maybe there might be a job for me?” It was his turn to say no, but he told her to come to his office anyway. “So I got dressed up in my best hat—we wore hats then— and I went to see him,” she recalled some 40 years later.

At 30, Miller was an unusual blend of “lady” in the most traditional sense and “villager” in the most bohemian. Intelligent, well-spoken, elegant and “sensationally beautiful,” she mingled easily in acceptably cultured circles, though she often found them “deadly.”Shefeltmostathomeinthestudioswhereartistsworked and the cheap dives where they drank and ate, but mostly argued. She loved art, and she admired deeply the people who made it.

Barr needed help with just that lot. It was the height of the Depression, and artists desperate for assistance besieged him daily, carrying their work to the museum for him to look at while they regaled him with tales of their troubles. An orderly man, Barr found himself engulfed in chaos. What he required was an assistant to manage the asylum while he attended to running a five-year-old museum that was already the most prominent modern art institution in the country. He knew that Miller, who by then had ample experience behind her, could do this.

But at that first meeting in his office, Barr was noncommittal, and Miller grew “petrified.” She told him, “I have to have a job and I’ll have to look around in other museums very quickly unless you think there’s some chance. This is the only place I want to work.” While she made her appeal, Barr appeared distracted, almost as if he had forgotten her. “I sat there feeling I should get up and run,” she recalled. Finally, returning her gaze from behind his small round spectacles, he explained that the question of a job was not his decision to make. It was up to MoMA’s board of trustees. She left the museum feeling “totally hopeless.”

Barr kept Miller waiting weeks before sending her a letter saying that the trustees had indeed agreed to hire her as his assistant. She was to begin in September, in time to help Barr prepare the museum’s fifth-anniversary exhibition. Miller accepted immediately, eagerly, with an enthusiasm that would not wane for the 35 years she worked at MoMA. Over the course of her career she assumed all the myriad roles of a museum curator presiding over a growing collection: making acquisitions, choreographing gallery

displays and juggling an endless parade of responsibilities ranging from conservation and framing decisions to judgments on loan requests. At the same time, she organized numerous temporary exhibitions and oversaw the publications that accompanied them.

Miller’s renown, however, rests most of all on her seven groundbreaking “Americans” exhibitions, presented between 1942 and 1963, which collectively introduced more than 100 contemporary artists to the public. And while not every artist achieved lasting success,manydid,andMillerbecameknownforher“uncannyeye for quality.” Years later the art historian Irving Sandler acknowledged her importance: “Dorothy was really second in command, next to Alfred Barr, and in many ways, she was in advance of him.”

The museum staff was tiny: likely fewer than 20 people, including the crew and guards. Miller was thus, by necessity, involved in everything. “[Barr] said, ‘There are dozens of things Iwantyoutodotohelpme,butthefirstoneistointerviewallthese artists that are on my neck. I can’t get any work done because they’re coming in droves.’” Miller recalled that few galleries at the time would even look at the work of unknown artists; there was simply no market for new American artists. In that context the museum assumed significance as a place where artists could share their work and receive feedback, though there were almost no funds available for purchases. Miller described her “terribly sad job of seeing all these artists who were starving. ... There’d be the occasional crazy one and I’d have to run screaming, ‘Help.’” Miller was rescued—the art community was rescued—the next year by the intervention of the federal government. President Franklin D. Roosevelt agreed to extend Works Progress Administration benefits to artists under the auspices of the Federal Art Project. “The WPA really saved art in this country,” Miller said. “Suddenly all these artists who could qualify as professional artists were on relief. And it was a magnificent thing.”

By late 1935, Miller had been appointed assistant curator of painting and sculpture. The first show she organized on her own was “New Horizons in American Art,” a fall 1936 exhibition of works by artists associated with the Federal Art Project. The previous year, curator Edgar Holger Cahill, Miller’s boyfriend, had been named national head of the project, which entailed his traveling across the country visiting artists in their studios. Miller’s show gave her the opportunity to travel with him. “In each city every good artist would be on the Project, and a great many new, young artists were being discovered,” she later recalled.

Those studio visits became the next phase of Miller’s education. “I mean, doesn’t one learn everything one knows about art from artists?” she once asked an interviewer rhetorically.

After their marriage in 1938, she and Cahill eventually took up residence in a two-room apartment in the heart of the Village on East 8th Street, , down the block from Washington Square Park. They filled their home with work they bought from friends who needed money to eat. At the height of the Depression, Miller and Cahill took painting lessons from Arshile Gorky “as an excuse to pass a few dollars” his way. And in spring 1941, when Gorky was to have his first solo museum exhibition, at the San Francisco Museum of Art, Miller bought a painting so that he could afford to drive there. “I did everything I could for the people that I thought were the best artists,” she later said.

In 1939, the Museum of Modern Art moved to its newly built home on West 53rd Street. “Art in Our Time,” an exhibition organized to celebrate MoMA’s 10th anniversary, heralded the new building’s inauguration. The opening party attracted 7,000 people. Just hours before the viewing started, three small sculpture galleries had yet to be installed. Barr left to change into a dinner jacket, while Miller continued to work until guests began arriving. She was so tired by the end of the installation that instead of going home to change her clothes, she went home and collapsed. She missed the party.

In January 1942, Miller, now associate curator, mounted the firstofher“Americans”shows,“Americans1942:18Artistsfrom9 States.” The exhibition included only artists living outside of New York. It meant that Miller spent much of summer 1941 on the road

visiting studios. It was a job she relished: “There’s nothing more excitingtomethanlookingatalltheartactivitiesinthiscountry.”

“Americans 1942” included a variety of approaches, such as the social realist paintings of Jack Levine, of Boston, and the Surrealist-inspired work of Helen Lundeberg, of Los Angeles. Miller closed her catalog introduction with a nod to the war raging in Europe, Asia and Africa, associating the diversity of styles on view with American freedom. “All this is possible only in the liberty which our democracy gives to the artist. No regimentations, no compulsions or restrictions could call forth such richly variousexpressionsofapeople’screativespirit.”Miller’sequation of political and artistic freedom, developed during the Depression, remained a core conviction throughout her career.

U.S. involvement in the war brought drastic change to the New York art scene. Americans went off to fight, and European artists fleeing the Nazis sought shelter in Manhattan. Very much in parallel with the sensibilities of the many European Surrealists who had arrived in New York, Miller conceived of a show called “Americans 1943: Realists and Magic Realists.”

In addition to 26 contemporary artists, Miller selected 16 19th-century predecessors, including William M. Harnett, known for his trompe l’oeil still lifes, and folk artist Edward Hicks. She devised a third category for Edward Hopper and Charles Sheeler, whom she labeled 20th-century pioneers.

Over time, Miller began to take on the role of MoMA’s expert in Americanartbothcontemporaryandhistorical.Shedirectedsolo exhibitions and group shows like “Romantic Painting in Amer-

Dorothy Miller in 1967, directing the installation of Alexander Calder’s “Black Widow,” 1959, in MoMA’s Abby Aldrich Rockefeller Sculpture Garden.

ica,” in 1943, which included works by members of the Hudson River School, and contemporary artists such as Georgia O’Keeffe.

Right before “Romantic Painting in America” opened, Stephen C. Clark, who in 1939 had become the museum’s chairman of the board, ousted Barr from the directorship. Without consulting his fellow board members, Clark sent Barr a letter in October 1943 informing him of his demotion to a role titled “advisory director.” Clark disliked many of Barr’s artistic choices, in particular those involving folk and self-taught artists; he also thought Barr was a terrible administrator.

“We were afraid it was going to kill Alfred Barr,” Miller later saidofhisdismissal.“Themuseumwashisentirelife.…Hestayed in his bedroom for 30 days, 32 days ... and finally he pulled himself together.” With Barr relegated to a desk in the library at half his previous salary, the museum was initially run by a committee of trustees. But gradually officials realized that they were, in Miller’s words, “simply wasting [Barr], and they needed him very badly.”

Slowly Barr regained increasing responsibility and, in March 1947, was appointed director of Museum Collections. At the same time, Miller was appointed curator of Museum Collections. In these roles they would oversee all acquisitions and would be directly involved with paintings, sculptures, drawings and prints. Miller also held the title of acting director of painting and sculpture from October 1946 through 1949.

Each Saturday, in search of new work, Miller and Barr roamed the city’s few galleries. “Somehow, when the two appeared,” the art critic John Gruen recalled, “the temperature of a gallery would mysteriously change. A magic circumference of silence surrounded them, and no one dared approach either.” Miller and Barr played a game of noting what they liked and why, and later comparing their remarks. When an artist was selected by Barr and Miller for collection or exhibition, Gruen continued, “the art world knew of it within 24 hours, for in those years, to be shown at the Museum of Modern Art was tantamount to having achieved international success.”

Miller seldom wrote more than a short foreword for her “Americans” catalogs. Instead she asked the artists to contribute statements, claiming that their insights “prove the best introduction.” This practice of emphasizing the artist’s perspective over her own often resulted in others failing to recognize Miller’s curatorialvoice.Moreover,becauseherworkingrelationshipwith Barr was so close, her work was sometimes assumed to be his. Philip Johnson, director of the museum’s department of architecture, later said Miller was Barr’s “alter ego.” Inevitably there were rumors that the museum director and his beautiful colleague were lovers, although this has never been substantiated. Miller did nothing to dispel the gossip, telling an interviewer who asked in the mid-1980s, “It’s not anybody’s business. Lots of women were in love with Alfred.”

It was not until 1952, six years after her previous installment, that Miller was given the opportunity to present “Fifteen Americans.” By this point the Abstract Expressionist scene had exploded, and social life in the Village intensified in tandem. In 1948, the Club opened on East 8th Street, near Miller’s apartment. It was a shabby, invitation-only salon where artists and their circle met to talk, dance and drink whiskey from paper cups. Miller never missed the chance to go there. The pivotal exhibition that originated with the Club crowd would be called the “Ninth Street Show.” Held in spring 1951, it was an answer to all the galleries, museums and critics who, unlike Miller, ignored the New York artists’ work. The message: We don’t need you.

“I mean, doesn’t one learn everything one knows about art from artists?”

–Dorothy Miller

In 1943, Miller had proposed an exhibition for the following year titled “Americans 1944: The American Artist and the War.” It was not accepted by the exhibition committee; and so it happened that the third installment of her series became “Fourteen Americans,” which after two postponements would not open until September 1946. Miller’s selections ran the gamut from the playful abstraction of Robert Motherwell’s collages to the biting wit of Saul Steinberg’s ink drawings. She selected a number of artists whom she had known for years, such as Gorky (whose 1941 painting “Garden in Sochi” was owned by the museum), Isamu Noguchi, Mark Tobey and Loren MacIver. But there were others she was uncertain about, among them the future Abstract Expressionist Jackson Pollock. The museum had purchased his 1943 painting “The She-Wolf” through Peggy Guggenheim’s gallery. But Miller felt it was too soon for him to appear in an “Americans” exhibition.

The show, held in an abandoned furniture store on East 9th Street, had a tremendous impact. Its strength lay in the realization that the72artistsintheexhibitionweren’t moving in a new direction; they had already arrived there. It was an unequivocal artistic statement written in a new abstract language.

That language would be very much at the heart of what would become “Fifteen Americans.” Early on in the process, Miller was faced with the difficult task of winnowing down the list she had assembled of about 40 artists. “I couldn’t listen to anybody’s suggestions,” she recalled. “I just had to feel it.” Word that Miller was putting together another show shot through studios. And yet the artists Miller wanted seemed strangely reticent.

Willem de Kooning had agreed to be in it and allowed Miller to visithisstudiotoselectwork.Sometimelater,hetoldherabruptly and without explanation that he wanted out. The architect and artist Frederick Kiesler agreed to participate but proved exhausting. Miller wanted one large sculpture, “Galaxy,” to be the only work in his gallery. Kiesler wanted the room filled with his art. “He’d call me six times a day. At 10 o’clock at night when I was trying to get out of the museum and go home, he would call me and insist that I come to his studio.” Miller’s normal 10-hour day stretched into the morning as she attended to Kiesler’s demands.

ButMarkRothkowastheworst.Millerconsideredhimafriend, which was why his behavior during the 1952 show was completely

unexpected. He objected to the way she wanted to hang his work (he wanted the paintings two inches apart), and “he also wanted a special great floodlight so that the place would be blazing.” This decision would have canceled out the work of artists in adjoining galleries. She later remembered telling Barr, “This is my show. I invited him to be in it and I want it to look the way I want it to look. If his demands were reasonable, OK, but they’re just not.” Eventually they reached a compromise.

Jackson Pollock was, by contrast, unconditionally agreeable. Miller wanted, among other works, his 17-foot-long 1950 painting “Autumn Rhythm: Number 30,” his 18-foot-long 1948 painting “Summertime: Number 9A” and a painting on glass that he had done for a film about him by Hans Namuth. Pollock agreed to all Miller’s requests and said that he didn’t need to be involved in the hanging. “You go right ahead,” she remembered him telling her. “I’m not going to interfere with you.”

“Fifteen Americans” opened on April 9, 1952, and featured more than 100 works of art, many of them exceptionally large. Critics almost universally panned the exhibition. “Everybody said, ‘Congratulations Dorothy! You’ve done it again. They hate it.’” Letters poured into the museum. A painting by Clyfford Still was vandalized. But before the show even opened, the trustees, whom Miller had worried about, bought a number of works for their personal collections. Miller’s role as a cultural arbiter was now firmly established.

In 1956, Miller’s “Twelve Americans” introduced second-generation Abstract Expressionists to audiences who were still recovering from her 1952 show. Alongside by then well-established figures like Franz Kline and Philip Guston, she included younger artists such as Grace Hartigan and Larry Rivers. Both wereoffspringoftheAbstractExpressionists,andbothhadbegun to allow figures, interiors, even urban scenes into their work.

For a change, reviews were good. People outside the museum were starting to take notice. Even before “Twelve Americans” opened in May, members of Chicago’s art community reached out to Miller to ask her to visit, offering to provide a car and driver. The art dealer John Bernard Myers later said that by then the consensus was that the “Museum of Modern Art was the only, only thing in America that had any sense of ... what was up.” And that was largely due to Miller’s shows. Her exhibitions made lasting impressions on people.

Even with this growing recognition, the period of working on “Twelve Americans” would one of Miller’s most difficult. Her parents were ill, and Cahill’s precarious health took a turn for the worse. By summer 1956, he was out of the hospital and “Twelve Americans” was finally hung. Miller, Cahill and Hartigan went to Miller’s family home in Stockbridge, Mass., to rest. It was there that they heard shocking news: Pollock was dead. They rushed to Long Island for his funeral. With his death there was a new sense of urgency: Contemporary artists were recognized as mortal, and serious attention to their work suddenly seemed essential.

Even before Pollock’s death there was growing interest outside of the U.S. in the work of the New York School. With the monumentality of the previous decade becoming clear, MoMA was approached about preparing an exhibition of recent work to send to European capitals. “It was one of those impossibly hard jobs that one loves to do,” Miller later recalled. She was assisted by the

young poet Frank O’Hara, who was working for the International Program at the time. The show, called “The New American Painting,” would feature works by 17 artists, 12 of whom had already been featured in Miller’s “Americans” shows.

On March 28, 1958, dozens of crates containing paintings set sailforEuropeontheS.S.America.“TheNewAmericanPainting” traveled to eight countries, sparking furious debate and setting attendancerecordsalongtheway.Itsimpactcannotbeoverstated. The collector Ben Heller, who lent work to the show, called it “the equivalentoftheArmoryShowinreverse,”becauseitrattledEuropean audiences as much as the 1913 show had upset Americans.

In selecting the artists for her 1959 exhibition “Sixteen Americans,” Miller faced a new dilemma: how could she continue to pay tribute to those she had championed while also showing a new generation she found thrilling. Among the artists she featured, only two of them, Louise Nevelson and Landès Lewitin, had been on the scene since the 1940s. The others, such as Frank Stella, Jasper Johns, Robert Rauschenberg, Ellsworth Kelly, Jay DeFeo, Robert Mallary and Alfred Leslie, were relative newcomers. The artists included in the exhibition understood the effect it would have on their careers. Years later Stella observed that Miller’s “‘Americans’ shows set the tone for my time. You were either in or you were not. They were exhibitions of what was going on, pointing to the future, and they were definitive. Or if they weren’t definitive, they were certainly exciting.”

Miller’s next and last “Americans” show, “Americans 1963,” reflected the changing visual sensibility of the new decade. The work of artists like James Rosenquist, Robert Indiana and Claes Oldenburg embodied the emerging Pop sensibility with their attention to daily life, the urban scene and American culture. There were four women (out of 15 artists), the most to appear in an “Americans” show: Sally Hazelet Drummond, Lee Bontecou, Chryssa and Marisol (Marisol Escobar). It is remarkable for the time that Miller included at least one or two in all of the “Americans” exhibitions except for that of 1952.

In 1969, Miller retired. But not before mounting one more show. She and Barr had known Nelson Rockefeller since he was in his early 20s visiting galleries with his mother, MoMA cofounder Abby Aldrich Rockefeller, as he developed an eye for art. Barr and Miller often provided collecting advice to Nelson, who served in various leadership roles as a museum trustee for over 30 years. By 1969, Governor Rockefeller’s collection was vast and included works spanning continents, decades, mediums, and styles. “Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection,” Miller’s “final fling” at the museum, opened in May of that year. The exhibition was the largest of her career and amajortriumph.ThomasB.Hess,editorofArtNews,wroteinthe summer of 1969: “In July, Miss Miller will retire from her post as Senior Curator; the Rockefeller show and catalogue thus become her farewell achievements and they appropriately epitomize her deep sympathy with and detailed knowledge of modern art—in its established as well as still-radical phases. If ‘Alfred Barr’ could be a term for the ethos of the Museum, ‘Dorothy Miller’ has stood for its heart.” •

From “Inventing the Modern: Untold Stories of the Women Who Shaped the Museum of Modern Art,” “Dorothy Miller” chapter by Mary Gabriel, published by the Museum of Modern Art. © 2024 The Museum of Modern Art, New York.

Young British Abstractionists

BY TAYLOR DAFOE PHOTOGRAPHY BY JO METSON SCOTT

A new cohort of London-based artists is reinvigorating abstract painting for the millennial mind. Linked by overlapping years spent at the city’s leading art schools, they are erupting onto the scene and raising questions once again about the capital’s creative magic. Step inside the studios of four fresh painterly powerhouses.

Sarah Cunningham creates expressive visions of land and plants. “I don’t want a painting to be decipherable or conquerable at all. Then it becomes a dead thing,” she argues. “With nature, [there’s] so much mystery.”

In February 2023, an abstract painting by Michaela Yearwood-Dan titled “Love menots”hittheauctionblockatChristie’s London, where it was expected to fetch as much as £60,000. It sold for £730,800. Threemonthslater,“Shine,”anotherwork by the painter, appeared at Sotheby’s New York with a high estimate of $80,000. Itsoldfor$457,200.

Just five years prior, in 2018, when the London-based artist made “Shine,” those numbers would have seemed outrageous. Stark, identity-centered figuration was the norm back then, and the work— with its competing swaths of color and Cy Twombly-esque squiggles—seemed out of step. But by 2023, something had changed. More than a dozen art-

works by Yearwood-Dan appeared at auction that year and almost all of them sold for several multiples oftheirpre-saleestimates.Onething has become clear: No longer is her abstract work the exception. Now, suddenly,itistherule.

Yearwood-Dan is not the only young Londoner for whom this is true; nor is she the most prominent example within the market. In recent years, painters such as Jadé Fadojutimi, Rachel Jones and Flora Yukhnovich have each become true-blue art stars—the kind whose work can fetch seven figures at auction—while like-minded painters such as Sarah Cunningham, Li Hei Di, Pam Evelyn, Francesca Mollett and Sophia Loeb appear poisedtofollowasimilartrajectory.

These 1990s-born millennials hail from across the world—England, China, Brazil—but their careers convergedattheRoyalCollegeofArt (RCA) and other top-tier London art schools.Theyhavesharedcritclasses andgroupshowwalls,butwhatunites them now is a budding language of abstraction that is earthly, emotive and sensual. Their work brims with gestures and textures—tricks cherry-picked from modernist masters. It may feel familiar at first, but it will leave you feeling hit by somethingurgentandnew.

“I truly feel that this is a new shift in the history of art,” says advisor-turned-dealer Louis BlancFrancard, who organized an exhibitioncalled“NewBritishAbstraction” at the Center of International Contemporary Art Vancouver last year. (The show featured eight of the artists mentioned above.) “This is the new YBA movement,” he continues, referring to the wave of “Young British Artists”—Tracey Emin, Damien Hirst, Sarah Lucas— who shot to fame in post-Thatcher London more than four decades ago. It is a lofty comparison from someone who, it is worth pointing out, owns works by these artists and therefore has a stake in their success. But he is not the first to make it. Indeed, it seems like the only people not rushing to ascribe bigger significance to these artists are theartiststhemselves.

“It is inevitable that I am a part of a generation of young artists that are exploring abstraction, but at the same time, I feel that my work is very unique,” says Loeb, 26. The Brazilian-born painter overlapped at the RCA with Evelyn, Li and co., but she’s quick to dispel the notion of an ongoing dialogue between them. “I don’t look at their work, we’re not all goingouttogetherandtalkingaboutthings or visiting each others’ studios.” For Loeb,

the connection is more circumstantial. “We’re all just working through this wave of consciousness that’s happening.”

With a battery of brush techniques and a fauvist’s love of color, Loeb paints messy, magical landscapes—think Matisse on mushrooms. Her style feels fresh partly because it is just a few years old. She even knows the exact moment it was born.

That came during a flustered studio session in 2022, as the artist was prepar-

Michaela Yearwood-Dan says of her impasto surfaces: “I’ve always been told that I use too much paint … but I never really liked a smooth, airbrushed, perfect finish.” The artist deliberately retraces her brushstrokes so that “past movements are visible in the final form.”

ing to leave her hometown of São Paulo, where she spent the pandemic, and return to London for the second year of her master’s degree. After two tedious semesters of remote work, the prospect of commencing study back on campus was a welcome relief. But as she stared at a stack of recent paintings, her excitement was undercut by a crisis of confidence. All the details she had labored over in previous months now felt flat and manicured—strange children of an addled quarantine mind. Eventually, Loeb’s attention turned toanabandonedcanvas.“Iwasreally frustrated that I hadn’t finished that work,” the artist recalls with a soft, insouciant tone that completely belies the actions she describes next.

“So I just put it on the floor and made this crazy abstract painting that had nothing to do with my work. I threw pigments on top and I painted with my hands and I used all of these oil sticks.” The name of that painting? “Eureka.” For Loeb, “that’s when something burst through.”

This kitchen sink approach is common among painters in her orbit. These artists’ techniques tend to be unconventional—some apply paint with brooms, others smush it on with palms, then scrape it away. They’re not precious about process, just its more mysterious effects.

Many of them work “beyond strategy, even if they have a plan,” says Franck Gautherot, founder of Le Consortium, an art space in Dijon where he co-organized an exhibition called “Abstraction (re)creation – 20 under40”earlierthisyear.“Thegood thing is they won’t tell you about it.”

Compared to the politically charged portraiture that was so prominent in the tempestuous years of Trump’s presidency, Brexit negotiations and the early pandemic, the work of these young art school alums almost feels like a guilty pleasure. But just because their art is ambiguous doesn’t mean it is hollow.

Born in Shenyang, China, Li, 27, moved to the U.S. for college, then transferred to London’s Chelsea College of Arts to complete their degree. By the time the artist enrolled in the RCA’s postgraduate program in 2020, Li, who uses they/them pronouns,

Li Hei Di used to lean towards figuration when younger. “I didn’t understand abstract expressionism,” they explain, “but you develop these feelings that cannot be told through language or realistic imagery. Then I understood.”

had grown tired of the work they felt they had been conditioned to make. Within these systems, “you feel this need to play a role that the Chinese painter has always played,” the artist says. “You feel like you have to show your cultural heritage to get a ticket into the ring or something.”

Like Loeb, Li ultimately found freedom in abstraction. Their work today is dense and caliginous, full of chemical colors and smoky apparitions, like a night sky lit up by fireworks. “I slowly realized [my culture] is not something that I have to include,” they continue. “If I’m honest with the painting, something about me will show through.”

“It sometimes pisses me off to be compared to other artists,” acknowledges Yearwood-Dan, 30, in her London studio. “I am a Black, queer woman making this work. And when I’m compared to other people who don’t sit within those intersectionalities, I get a bit like, ‘Are people seeing what I’ve been doing?’”

Yearwood-Dan is probably also exhausted from entertaining the art historical associations so often projected onto her work. She wouldn’t be the only one. Though it’s easy to see echoes of impressionism, abstract expressionism and other canonical genres in the DNA of these artists, they are not nearly as

obsessed with the past as the rest of us. For them, art history is a free resource— perhaps just another thing on the internet—from which Yearwood-Dan chooses to “sample the best bits.” And why not? “Abstraction was dominated by American men for so long,” says the South London-born artist, whose swirling compositions have featured glitter, Drake lyrics and texts from an ex. “That British women are now doing it is so fab.”

Surprisingly, one of the most contemporary-feeling aspects of Yearwood-Dan’s world is also one of the most traditional. Flowers and leaves are favorite motifs, as they are for Mollett, Yukhnovich and

others. These subjects are as old as painting itself, but now, against the backdrop of a climate crisis, they feel fraught. Maybe that’s why the botanical symbols of Yearwood-Dan’s generation often appear like they’re in motion. It’s as if these artists are attempting to capture something exactly as it disappears before them.

The natural world has been central to the work of Cunningham, 31, originally from Nottingham, England, since 2018, when she participated in a residency in Panama. Thanks to an airline error, the artist arrived in the country without her paints (or clothes), so she began working with natural pigments derived from the landshewasdepicting.Itwasahappy marriage of material and subject, but eventually, Cunningham explains, “I started to feel that these paintings were meditations on a place that was not my own.”

Her own “eureka” moment came years later when she, too, was working remotely on the RCA program. Isolated from her cohort, the artist developed an intense relationship with her art. “I just stripped everything back, and I started to think about imperfection and surface and emotion,” she recalls. “I was reacting to how the paint hit the surface as opposed to projecting my own view on what it will be. I sort of let the painting find me.”

Cunningham works slowly and intuitively. She almost exclusively paints in the dead of night and never with music or other background sounds. “I like to listen to my breath,” she says. “I need that focus, I need to feel my presence in front of the painting because it’s like a channel.” This method is sui generis, but its logic tells us a lot about why she and her contemporaries have turned to abstraction at this strange moment in time. Art advisor Amanda Schmitt puts it well: This kind of work, she explains, is “about a gestural expression of the subject, rather than a subject that belongs to a particular group. In other words, it’s about the self, rather than identity.”

When discussing her practice, Cunningham refers to crystals and cosmologies, “shamanistic ideas,”

and something called “soul flying.” Hers is a refreshingly novel perspective, which is why it is surprising to hear her openly embrace the idea that she could be a part of a rather textbook trend. “I’ve always looked at it as though we amplify one another. I really hope that’s the sort of energy that we can share,” she says. “Painting is a very humanizing and powerful art form right now.”

“I feel like everyone’s really different, what they’re trying to say,” adds Li. “But for me, being given a voice at this time, at this age, it’s really valuable. And I want to say a lot of things through my painting … but I don’t want to be so literal about it.” The artist pauses. “It is about inventing a language and then trying my best to make sure this language is right, and that it represents what I believe.” •

Sophia Loeb places tactility at the center of her practice. “I feel very connected to the work when I paint with my hands,” says Loeb. “I feel I can be more organic, and it is easier to create a certain roughness in parts.”

In Rare Form

Swiss polymath Jean Arp, who came to his art through poetry, was at the forefront of dadaism and surrealism and developed a deeply collaborative artistic partnership with his wife, Sophie Taueber-Arp. This fall, Celine celebrates Arp’s creative spirit by rendering one of his sculptures as a limited-edition pendant.

BY JOSHUA LEVINE

Jean Arp playfully leans his head through one of his “Ptolomée” statues at the 1954 Venice Biennale. Opposite: Celine has adapted Arp’s “Ptolomée II” to create limited-edition pendant necklaces in two finishes, sterling silver and vermeil (silver with 24-karat gold coating, pictured), $6,100-$6,900; celine.com

Inthegarden of what was once Sophie Taeuber-Arp and Jean Arp’s house and workshop in Clamart, France, near Paris, stands an oblate sphere in bronze, maybe a meter high, that coils in and around itself in a graceful interplay of solid form and emptiness. It is both heavy and light, and there’s an undercurrent of movement like the motion of celestial bodies. Arp called this piece “Ptolémée,” for the Greek astronomer Claudius Ptolemy, who modeled the universe in the second century. Arp made three sculptures in this series, the one in the garden being “Ptolémée II.”

“Ptolemy was the first to identify the currents of constellations—how the movements of stars are woven together. That’s the idea that stuck in Arp’s head,” said Sébastien Tardy, the curator of the Fondation Arp’s collection, now housed in the artist’s former workshop.

Once he saw Arp’s sculpture, it stuck in designer Hedi Slimane’s head, too. Since he was named creative director of

Celine in 2018, Slimane has aligned the fashion brand with the world of fine art. Soon after joining, he launched the Celine Art Project, which now displays some 200artworks—somecommissioned,some bought—in Celine boutiques around the world.Slimanefollowedupwithaprogram called Bijoux d’Artistes, which reproduces masterpieces of sculpture in miniature as limited-edition jewelry. The first two bijoux were works by César and Louise Nevelson. Now, a small hanging pendant of Arp’s “Ptolémée II” makes three.

It is a fascinating choice. Arp is well known and yet not so well known, just as he was in his lifetime. Arp conceived “Ptolémée II” in 1958, in a late blast of creativity, eight years before his death in 1966. He only started sculpting when he was in his 40s, but from the very beginning he had consecrated his life wholly and utterly to art—poetry first and always, and then anything else that came to hand. His friends and colleagues

and Jean

were the great names of 20th-century art’s early flowering; his influence permeated the wild movements that shaped modernism—dadaism, which he helped found, then surrealism.

Butwhileotherssoughtfame’sspotlight, Arp worked mostly in the shadows, where he was perfectly content. He was never a brash self-promoter like his friends Salvador Dalí and André Breton. His avatars, he said, were the unsung artists of the Middle Ages who toiled in communal anonymity for the greater glory of their creations. It was an unusual attitude for Arp’s riotous times, and it feels positively wacky in ours. What Arp enjoyed that few of his peers had was the happy congruence of a true aesthetic and conjugal partnership. It is impossible to talk about Jean Arp without talking about Sophie Taeuber, even though fate took her from Arp’s side midway through their journey. Arp met Taeuber in 1915 in Zurich, where he had fled to avoid the German draft—he was born

Sophie Taeuber-Arp

Arp in Ascona, Switzerland, in 1925. Opposite: Arp, circa 1960, in the garden at the house and studio Taeuber-Arp designed for them in Clamart, France, now home to the Fondation Arp.

“[Arp] had a poet’s spirit, always letting inspiration guide him. You can see it in his sculptural process. He never took an established path, following a sketch.”

—Sébastien Tardy

“With rectangles and squares we built radiant monuments to deepest sorrow and loftiest joy. We wanted our work to simplify and transmute the world and make it beautiful.’”

—Jean Arp

Hans Arp in 1886 in Strasbourg, when the city was still part of Germany. Zurich’s raucous Cabaret Voltaire was the delivery-room for Dada, and Arp was among its midwives, writing poems and making collages and illustrations for various Dada magazines. Taeuber was making avant-garde textiles and woodcuts, not to mention dancing—artistically, mind you—at the cabaret. It was a time when everybody did pretty much everything, and no one questioned your right to do it. (Arp had spent some time in art schools but found them stiff and uninspiring and dropped his formal training.)

Before long, Arp and Taeuber were an inseparable pair, joined at the hip in art and life. According to Arp, in their joint works, including embroideries, weavings, paintings and collages, “we humbly tried to approach the pure radiance of reality. I would like to call these works the art of silence. It rejects the exterior world and turns toward stillness, inner being and reality. With rectangles and squares we built radiant monuments to deepest sorrow and loftiest joy. We wanted our work to simplify and transmute the world and make it beautiful.” Nothing less.

It wasn’t that they always worked together on the same pieces. Each was

busy with his or her own projects, in whatever form they took. But whoever’s hands executed a task, that task was animated by their twin spirits. “Even if Arp and Taeuber had distinct styles, you can always see the imprint of one on the other’s work,” Tardy says. “It’s a perpetual piece for four-hand piano.”

They married in 1922, after which she was known as Sophie Taeuber-Arp. Neither of them made much money, although Taeuber-Arp was the more employable of the two of them, thanks to her training in applied skills such as weaving, graphics and architecture. This last skill won Taeuber-Arp a commission to reimagine L’Aubette, a center for cultural and leisure activities in an old Strasbourg municipal building. Of course, she brought her husband in on the job, along with a Dutch architect named Theo van Doesburg.

The Arps didn’t make a fortune from the Aubette job, but it still managed to pay for a plot of land in Clamart, a suburb west of Paris, and the small maison-atelier that Taeuber-Arp designed for it. By 1929, they had completed the building, a kind of tabernacle for their mystic-artistic communion. It is a handsome house, built from the traditional pockmarked stone called meulière but transformed here

intoatidyBauhausianboxthatsetsitapart in its bourgeois French neighborhood.

Arp was transformed here as well. In the couple’s rectangular bubble, where all boundaries between art and life dissolved, he started working in plaster, exploring the sinewy, biomorphic shapes that stand as his artistic legacy. In sculpture, as in all his other endeavors, he avoided following a pre-conceived blueprint. He preferred to let his work shape itself as it emerged under his hands, to the point where he sometimes worked with his eyes closed to let happenstance guide him. A line in bronze or stone will appear and then, quite suddenly, disappear, as if it had decided on its own to just stop. Arp does this all this time.

“He had a poet’s spirit, always letting inspiration guide him,” Tardy says. “You can see it in his sculptural process. He never took an established path, following a sketch. Sophie was different—very determined. They had very different ways of working.”

It is well worth visiting the Arp-Taeuber house if you’re in Paris, which is something the Fondation Arp would very much like you to do. It is a small place on several tight levels. The walls are covered with her drawings and sketches, his paper cutouts,

Rashid Johnson x LizWorks

“Anxious Men” ring, 2020 wearable art For some artists, jewelry-making has served as an extension of their sculptural or surrealist practice. For others, translating their art into jewelry allows them to explore new materials and reach new collectors.

Cindy Sherman x LizWorks “Pensive Earrings,” 2019

Max Ernst “Tête à Cornes” pendant, conceived 1959

Anish Kapoor “Tear Ring, Form II,” 2003

From left: © Rashid Johnson. Courtesy the artist and Hauser & Wirth; © 2024 Artists Rights Society (ARS), New York/ADAGP, Paris; BORN XDS; © Anish Kapoor. All Rights Reserved, DACS, London/ARS, NY 2024; Pensive (2019) by LizWorks x Cindy Sherman. Courtesy of LizWorks.

some with a dot in a circle to represent a human belly button—one of Arp’s cherished symbols, representing rebirth and creation. His small plaster models and her re-worked furniture are scattered around. It all testifies to the immersive daily life of two full-time artists. What were they like as a couple? We don’t really know. They were so constantly in one another’s company that we have virtually no correspondence between them.

“A workshop-house is something you don’t often see,” Tardy said. Rodin’s country house up the road at Meudon, with its comfortable mansion and separate studio for him and his many assistants, is another thing altogether. “For the Arps, daily life is art. It’s all mixed up.”

They still didn’t make much money. Few galleries showed Arp’s work, and while he was friends with the whole artsy “clique Parisienne,” he never shared their notoriety or their sales. And then World War II broke out, and the Arps decamped, first to the south of France and then, as war came closer, to Switzerland, where the artist Max Bill gave them aid and shelter. Taeuber-Arp died there in 1943, suffocated by the gas from a leaky stove. Arp was shattered and stopped working altogether for two or three years.

The Arp that puts himself back together after the war is the Arp that people who know something about him think of. He marries again, and his new wife is young and rich, and, moreover, committed to promoting him. He wins prizes. He journeys to New York, where he is astonished to find he’s better appreciated than he was in Europe. There is irony here. In the art market between the wars, New York played second fiddle to Paris. Arp’s Paris galleries often resorted to sending his work out of town when it didn’t sell back home. What goes around comes around. This foreign exposure, born of desperation, went a long way toward establishing Arp’s international reputation.

The Arp of the 1950s is also the Arp that caught Slimane’s attention when he went looking for another artist for the Bijoux d’Artistes series. This worked out well all around. Former Canal+ artistic director Etienne Robial, who joined the Fondation Arp as president four years ago, has made it his mission to bring Arp’s and Taeuber-Arp’s work to a wider public. For instance, you will soon be able to purchase candlesticks and needlework patterns designed by Sophie Taeuber-Arp.

Celine’s “Ptolémée II” pendant raises the stakes considerably. Arp is known

for the way he employed empty space as an element in his sculptures, which has led some to compare him to the English sculptors Barbara Hepworth and Henry Moore. But reproducing Arp’s intricate dialogue between solid and void in miniature proved fiendishly difficult. Celine consigned the work to the same Parisian jewelry house that reproduced its César and Nevelson pendants. The back and forth between Celine and the Fondation throughout the development process was painstaking and extensive. There will be only 100 “Ptolémée II” pendants produced—50 in vermeil, 50 in silver—and it has taken two years to make them.

The higher hurdle, however, is a moral one. “We were preoccupied with the question, Would Arp have validated this thing?” says Robial. The Foundation already rejected a request from Swatch to use Taeuber-Arp’s cutouts on watch bands. “We said no, which is annoying because it would have brought us some money,” Robial says. Celine’s “Ptolémée II” pendant passed the smell test easily, to the point that it bears the signatures of both Arp and Celine. According to Robial: “Based on everything we know and have read, we’re convinced Arp would have said, ‘That’s very good.’” •

Alexander Calder tiara, 1937

Salvador Dalí “Persistence of Sound” earrings, 1949

Man Ray “Les Amoureux” necklace brooch, 1975

Jean Cocteau “Florentine Profil” pendant, 1958

Lucio Fontana Ellipse with Holes “Spatial Concept” bracelet, 1967

A Recipe for Stylish Living

One-of-a-kind spaces that really make the kitchen the heart of the home.

They say you always find people in the kitchen at parties. With the holidays approaching, it may be time to consider just how party-ready that kitchen is. Is it spacious enough to fit a large gathering, does it have unique amenities, or is it designed thoughtfully enough to impress even the most discerning of guests?

These are all feats that have been achieved by this stunning array of properties. From the mountains of Colorado, to the coast of Honolulu, and the canals of Amsterdam, these homes offer show-stopping spaces for cooking, dining and entertaining.

In San Francisco, the Beaux Arts apartment block at 2006 Washington Street—designed in 1924 by Conrad A. Meussdorffer—is one of the most revered buildings in the city. Here, a penthouse with wraparound terraces boasts an intimate but striking west-facing kitchen with a view of the Golden Gate Bridge and the ocean beyond, through French doors that open onto a private balcony. Imbued with Georgian features, painted in a muted shade of blue and featuring a classic marble counter breakfast bar, this space creates a decadent environment for any passionate cook. The opulent apartment has undergone renovations by architect Andrew Skurman and interior designer Suzanne Tucker—who featured the property in her book “Extraordinary Interiors.”

North of the city, in Sonoma County, a rustic estate inspired by countryside retreats in the south of France offers a cottage-style kitchen with limestone-plastered walls and ceilings, and wooden beams and finishings. Previously home to British interior designer Wendy Owen—who referred to it as La Maison de la Pierre (the House of Stone)—the space is replete with eclectic vintage touches, such as a yellow kitchen table and a French stone laundry sink. A wine fridge reflects the property’s prime location in a food and wine haven, which is home to more than 400 vineyards and a variety of slow food farms and restaurants.

Traveling across the Atlantic, a stately 18th-century canal-side home in Amsterdam, the Netherlands, offers a classically decorated open-plan kitchen and

dining room, with a tiled patio and green space through French doors. Historic wooden beams line the room’s full length, and solid wood cabinets are complemented by a marble countertop and brass fixtures. A climatecontrolled wine cellar sits just down the hall.

Back in the U.S., a compound in rural Maine provides a private escape for large holiday gatherings and equestrians. Architect Frank Robinson designed the main house as an homage to the organic architecture of the modernist legend Frank Lloyd Wright, incorporating warm wooden paneling, large windows and rich earth tones. The open-plan kitchen and dining space is impressive, with vaulted ceilings and a double-height glazed wall, offering breathtaking views of the surrounding rolling hills and forests.

Properties in Telluride, Colorado, and ChamonixMont-Blanc, France, also benefit from incredible views of their surrounding landscapes, bringing true beauty to the experiences of cooking and entertaining.

Set in the San Juan Mountains of Colorado, the Telluride home seemingly floats above the clouds, at almost 9,000 feet above sea level. The retreat’s openplan kitchen, living and dining space is completed by an impressive double-sided stone fireplace, creating a relaxing and cozy atmosphere. Sliding doors open onto a wooden deck with outdoor entertaining space and a firepit with views of snow-capped peaks.

Meanwhile, with a spacious kitchen offering tripleaspect views onto the Alps, holiday parties are sure to impress in the chalet-style Chamonix property, which also benefits from a vegetable garden for growing fresh produce during the warmer months and harvesting just before the festive season.

But for those craving warmth and sunshine, a contemporary home in an exclusive gated community in Honolulu, Hawaii, offers a uniquely designed kitchen that stands out against the island’s natural beauty. Contemporary copper Snaidero cabinets by Italian design company Pininfarina are complemented by tiled floors, glass counters and high-quality appliances —topped by a sweeping view across Oahu island.

San

Francisco, California, U.S.

With its grand entertaining rooms, highquality design and sweeping panoramic views, this 5,700-square-foot residence at 2006 Washington Street is the crown jewel of Pacific Heights apartments. Its meticulous renovation introduces a Georgian vernacular into a Beaux Artsstyle building. Large French doors open

onto wraparound terraces. The chef’s kitchen faces west to capture mesmerizing vistas of the Golden Gate Bridge and seascape beyond. As San Francisco’s leading cooperative, 2006 Washington serves residents with a 24-hour attended lobby, elegantly landscaped private garden and two-car parking garage.

$29,000,000 Property ID: 2KG7W7 sothebysrealty.com Sotheby’s International Realty –San Francisco Brokerage Gregg Lynn +1 415 595 4734

Telluride, Colorado, U.S.

Nestled in one of the most spectacular areas of the Telluride region, this five-bedroom retreat offers breathtaking views from every room. With an open floor plan and floor-to-ceiling retractable windows in the main living area, one can relax and experience the natural beauty from multiple spaces. In addition to the primary living quarters, a separate guest wing provides two bedrooms and a bunk room with an adjacent game room and bar. Above the three-car garage is a private guest bedroom, with fantastic views of Wilson Peak.

$21,000,000

Property ID: 5PHJBB sothebysrealty.com

LIV Sotheby’s International Realty

Lars Carlson +1 970 729 0160

Amsterdam, the Netherlands

Built in 1730, this impressive, monumental canal house—rich in centuries of history—has recently been tastefully and authentically restored by a world-renowned interior designer. The property is perfectly situated in the area of the famous “Nine Streets” and holds the status of a national monument. The property is divided into a front house and a rear house, connected by a beautiful staircase and a central light court. There are six bedrooms, four bathrooms and a range of spaces for relaxation and entertainment, including a bar, a fully equipped gym and a beautifully landscaped garden.

€13,000,000

Property ID: D4PCY8 sothebysrealty.com

Netherlands Sotheby’s International Realty

Sanne van der Zaag +31 88 37 47 000

Sonoma, California, U.S.

Discover an unparalleled blend of elegance and rustic charm at 6015 Grove Street, nestled in the serene west side of Sonoma County. Hand-laid stone walls and terraces seamlessly integrate the home with its natural surroundings in the heart of wine country. A mix of luxurious earthy textures, the interiors feature radiant-heated limestone floors and limestone-plastered walls. Adjacent to the main home, the guest house provides a tranquil accommodation for visitors. Outdoor living is at its finest, with a stone dining room, pavilion and a charming potting shed.

$4,950,000

Property ID: YM5G66 sothebysrealty.com

Golden Gate Sotheby’s International Realty Cristian Isbrandtsen +1 707 294 7879

Freeman Township, Maine, U.S.

Windledge Farm is set on 308 acres of land—including paddocks and walking trails—with staggering views of the protected High Peaks of Maine. The contemporary main house is designed as an homage to Frank Lloyd Wright, showcasing outstanding quality and craftsmanship in an open-plan concept. The home offers a retreat for those that require state-of-the-art amenities and security, yet yearn for the feel of comfort, serenity and privacy. The handsome stable block offers all the amenities needed for the optimum care and comfort of horses, supported by additional living quarters.

$5,200,000

Property ID: LW55TE sothebysrealty.com

Legacy Properties Sotheby’s International Realty

Glenn Jonsson +1 207 776 0036

Marika Clark +1 207 671 6927

Honolulu, Hawaii, U.S.

This fully renovated residence is a testament to luxury and elegance on Oahu. Located in the most prestigious gated community with 24/7 private security, the property offers breathtaking ocean views. Designed by award-winning architect Jeff Long, the home also features interior finishes that are handcrafted by artisans known for their expertise on superyachts. The kitchen includes Snaidero cabinets designed by Pininfarina, a Ferrari design company, with top-quality appliances from Gaggenau, Sub Zero, and Miele. The property also benefits from a movie theater, infinity-edge pool, elevator, and hurricane shutters.

$19,880,000

Property ID: KQPE8J sothebysrealty.com

List Sotheby’s International Realty Akimi Mallin +1 8083974480

Menaggio, Como, Italy

Overlooking Italy’s iconic Lake Como, Villa Pietralba offers a balanced combination of classic charm and modern comfort, having recently undergone a meticulous renovation led by a renowned architect in close collaboration with the owners. The main villa, built in 1903 in the Liberty style, has six en-suite bedrooms, alongside living and entertaining spaces. The property also features a three-bedroom guest house, a staff house and a private pool complex, including a gym. In warmer seasons, soak in the Italian sun in the extensive gardens that have been beautifully designed and maintained.

Price upon request

Property ID: SK67YS sothebysrealty.com

Italy Sotheby’s International Realty Diego Antinolo +39 031 538 8888

The Heart of Wine Country

The Vineyard Homes and Villas of Stanly Ranch in Napa Valley are designed with wellness and community at the center.

The Residences at Stanly Ranch Auberge Resorts Collection are Napa Valley’s premier destination for a turnkey lifestyle.

Each Stanly Ranch residence promises a one-of-a-kind retreat with Auberge Resorts Collection’s unparalleled service. Created with wellness, ease, and community at the centerfold of each of the

exclusive residences, the Vineyard Homes and Villas are designed to bring the exterior landscape of rolling vines and distant mountains into the home.

Residents can enjoy access to luxury resort amenities, including farm-driven dining, spa and fitness center, swimming pools, and Auberge

Resorts Collection’s world-class bespoke hospitality. Set less an hour away from San Francisco, at the gateway to Napa Valley, enjoy the quintessential wine country lifestyle focused on connection to the landscape, worldclass wineries and restaurants, and community-driven amenities.

Vineyard Homes

Set to be completed at the end of 2024 with occupancy this summer, each Stanly Ranch Vineyard home promises a oneof-a-kind retreat with Auberge Resorts Collection’s unparalleled service. The residences’ 11 floor plans range from three to six bedrooms and include singlelevel, two-level, and three-level layouts, with interiors ranging from 2,300-5,600 square feet. All homes feature private heated pools, lush covered courtyards, and covered loggias. Optional upgrades include fire pits and outdoor kitchens, and two interior design color palette selections to choose from. Each open-layout great room is highlighted by vaulted ceilings and an exquisite marble fireplace set between connections to outdoor lounge venues, ideal for entertaining guests. The primary suites feature a spa-inspired bath, outdoor shower, fireplace, and walk-in closet.

Sotheby’s International Realty

Stanly Ranch Residences

Hillary Ryan

DRE# 01934302

+1 707 312 2105

hillary@hillaryryangroup.com

Private residences from $3,600,000 stanlyranchnapa.com/residences

The Villas

Auberge Resorts Collection Villas are the premier offering of full-ownership resort homes nestled within Napa Valley’s iconic Stanly Ranch. The two-bedroom Sky and Terrace Villas promise an unparalleled luxury experience. The offerings feature access to the resort’s renowned services and full amenities. Residents enjoy farm-to-table dining, a holistic spa, and swimming pools, plus valet, concierge, and a custom itinerary design service. Seamless indoor/outdoor living is integrated across both floor plans of the 2,653-3,192 square feet residences. Vaulted ceilings and full-height glass doors open to a covered, outdoor venue overlooking vineyards and contemporary architecture. The impeccably furnished 1,788-1,790 square feet interior spaces include dual temperature-controlled wine columns, a spa-inspired bath with heated floors, and multiple stone fireplaces. Exterior spaces include an outdoor lounge and built-in outdoor kitchen.

Classic Meets Contemporary

The finest residence ever constructed in Washington, D.C., 2400 Foxhall Road NW blends chateau-inspired grandeur with meticulous interiors curated by the legendary Thomas Pheasant.

Sited along revered Foxhall Road, at the highest point in Washington, D.C., sits one of the finest residences ever constructed in the Capital Region.

Inspired by the Château du GrandLucé in central France, an undisputed all-star team of artisans—interior designer Thomas Pheasant, developer Michael Banks, architect David Jones, and landscape architect Richard Arentz—have collaborated over the course of three years to create an estate whose unrelenting splendor harks back to an era of craftsmanship that is extremely rare in contemporary times.

Landscape architect Richard Arentz wanted the landscaping to be as important as the home itself. This balance is a hallmark of all great estates. As such, he spent years meticulously engineering, hardscaping, and installing countless mature plantings from all over the country that evoke a rare sensation of total privacy

and tranquility, a feeling intensified by the beautiful simplicity of the estate grounds. The tiered garden reveals a 56-foot heated pool and, just beyond the pool, a private chipping and putting green.

Internal systems are all of the highest capacity. Highlights include a whole-home 72-kilowatt generator, eight geothermal wells providing 20 tons of cooling capacity, and twin three-car garages. The property spans nearly an acre and a half with 16,250 finished interior square feet—breathtaking numbers, nearly unprecedented given the central location.

Strategically positioned mere minutes away from The White House, embassies, upscale dining, and vibrant entertainment hubs, this estate offers unparalleled convenience. Undoubtedly, 2400 Foxhall Road stands as an extraordinary testament to unwavering quality, representing one of the most exceptional properties ever presented in the Mid-Atlantic.

Nothing compares to what’s next. Explore our exclusive collection of inspiring homes.

Sunshine Coast, Queensland

sothebysrealty.com/id/HR98RT

Queensland Sotheby’s International Realty

Paul Arthur: +61 466 776 700 paul.arthur@sothebysrealty.com

Price Upon Request

Farmhouse in Satbari

Situated on a sprawling 13,960 sq. m. (3.45 acre) plot, this farmhouse blends traditional and contemporary styles. Natural light is plentiful through floorto-ceiling windows. Outdoor amenities are copious.

New Delhi, India

sothebysrealty.com/id/TKGK3H

India Sotheby’s International Realty Rakesh Agarwal: +91 729 197 1246 rakesh.agarwal@sothebysrealty.in

Price Upon Request

Bungalow in Anand Niketan

Spanning a substantial land area of 330 sq. m. (400 sq. yds.) and positioned on a coveted corner plot, this grand eight-bedroom bungalow combines privacy and comfort in each of its spacious rooms.

Villa off Mahabaleshwar - Panchgani Road

With a plot area of 2,140 sq. m. (23,050 sq. ft.), the villa commands an impressive view encompassing two lakes, the expansive Krishna River valley, and rugged mountains. The villa includes seven bedrooms.

Mahabaleshwar, India

sothebysrealty.com/id/E7S2YY

India Sotheby’s International Realty

Shipra Jain: +91 981 937 1256 shipra.jain@sothebysrealty.in

$1,614,060 USD

New Delhi, India

sothebysrealty.com/id/WM3KLW

India Sotheby’s International Realty Rushel Verma: +91 981 1848 119 rushel.verma@sothebysrealty.in

Price Upon Request

Penthouse Apartment in Hebbal

This spectacular lake view residence redefines sky living, has four opulent bedrooms and is an amalgamation of sophistication and grandeur. A private pool on the terrace comes with a bar and dining area.

Bengaluru, India

sothebysrealty.com/id/MTQQQP

India Sotheby’s International Realty Varun Medappa: +91 821 752 1717 varun.medappa@sothebysrealty.in

$1,315,160 USD

Sky Garden Penthouse

The Sky Garden Penthouse epitomizes New Zealand’s finest residences, towering above Auckland with 360-degree views. The Sky Garden courtyard is perfect for entertaining. Award-winning 556 sq. m. property, six-car garage, super car friendly and pet friendly too.

Auckland Central, New Zealand sothebysrealty.com/id/JB9Q9D

New Zealand Sotheby’s International Realty

Gavin Lloyd: +64 27 722 7377 gavin.lloyd@sothebysrealty.com

NZD $13,500,000

Penthouse #4

Occupying the fourth floor with 8,000 sq. ft. of air-conditioned living space, and ocean views, this fivebedroom, eight bathroom residence offers resort amenities and privacy.

Albany, The Bahamas

sirbahamas.com/id/QHZD3X

Bahamas Sotheby’s International Realty

George Damianos: +1 242 424 9699 george.damianos@sirbahamas.com

$29,000,000

Urban Gated Oasis in Prime Century City

Experience the epitome of luxury living in the heart of Los Angeles. Offering exclusive guard-gated privacy on over 18 lush acres. Indulge in this lavish, fully renovated townhome.

Los Angeles, California 2250CH.com

Beverly Hills Brokerage

Enzo Ricciardelli: +1 310 948 2926

enzo.ricciardelli@sothebys.realty

Price Upon Request

Troon Highlands Estates

Just completed in April 2024, this contemporary masterpiece is located within the gated community of Troon Highlands Estates within Troon Village. The private corner lot backs to 18 acres of HOA owned preserve featuring extensive views of the surrounding mountains.

Scottsdale, Arizona

sothebysrealty.com/id/YKZECM

Russ Lyon Sotheby’s International Realty

Frank Aazami: +1 480 266 0240

frank.aazami@sir.com

$5,000,000

Desert Highlands

Discover luxury at Lyle Anderson’s original homesite, with sweeping mountain and city light views at Pinnacle Peak’s base. Built by the legendary Linthicum Custom Homes, featuring exquisite interiors by acclaimed designer David Michael Miller.

Scottsdale, Arizona

sothebysrealty.com/ID/X6JH8M

Russ Lyon Sotheby’s International Realty

Frank Aazami: +1 480 266 0240 frank.aazami@sir.com

$5,000,000

Historic Hacienda Style Home with Modern Elegance

A 3,769 sq. ft. hacienda in Marfa blends historical charm with modern amenities. This meticulously updated 1885 adobe home offers luxurious living spaces, a designer kitchen, guest suite, casita, courtyard, and roof deck on a sprawling half-city block.

Marfa, Texas

live.kuperrealty.com/405northaustin

Kuper Sotheby’s International Realty

Lauren Meader Fowlkes: +1 432 295 2849

lauren.meaderfowlkes@ sothebysrealty.com

$1,200,000

Lavish Retreat Offering Unparalleled 360-degree Views

Welcome to Mullach, a stunning mountain estate nestled within the secure gates of a prestigious country club in Western North Carolina. Each aspect of Mullach has been meticulously designed with the utmost attention to detail and quality.

Highlands, North Carolina

sothebysrealty.com/id/ZP3BSJ

Highlands Sotheby’s International Realty

Jody Lovell: +1 828 226 6303 jody.lovell@highlandssothebys.com

$18,500,000

Exquisite Beachfront Haven in Golden Beach

Experience an exquisite 11,599 sq. ft. beachfront estate in Golden Beach with 150 ft. of private ocean frontage on a 41,750 sq. ft. lot. Enjoy Atlantic Ocean views, modern elegance, and timeless charm. Live in perpetual tranquility and elegance in this retreat.

Golden Beach, Florida

sothebysrealty.com/id/F6SBDQ

ONE Sotheby’s International Realty

Lydia Eskenazi: +1 305 785 0440

lydia@onesothebysrealty.com

Jonathan Bigelman: +1 786 246 2068

jbigelman@onesothebysrealty.com

$55,000,000

Contemporary Waterfront Masterpiece

Stunning wide bay contemporary. Over 100 ft. deep water on guardgated Belle Meade Island. Top of the line finishes and glass elevator to all three levels. Art gallery and 12-car garage.

Belle Meade Island, Florida

sothebysrealty.com/id/QR2Y5Q

ONE Sotheby’s International Realty

Allan Kleer | Fabian Garcia Diaz: +1 305 798 8205 akleer@onesothebysrealty.com

$23,900,000

Oceanfront Two Story Residence

Feels like a house in a boutique building in the SoFi neighborhood with direct beach access. 7,126 sq. ft. unique living space, five bedrooms, six and one half bathrooms. Meticulously appointed with 25 ft. ceilings for art displays.

1175 County Route 27A

Discover unparalleled luxury on 227 acres in Copake, NY. This property features a six-bedroom home, pool house, saltwater pool, tennis court, spa, and more. A true sanctuary awaits you.

Copake, New York 1175CountyRoute27A.com

William Pitt Sotheby’s International Realty

Karen Climo | Jennifer Capala: +1 917 685 6925 karen.climo@sothebysrealty.com

$12,995,000

Miami Beach, Florida sothebysrealty.com/id/NRDMVF

One Sotheby’s International Realty

Allan Kleer | Fabian Garcia Diaz: +1 305 798 8205 akleer@onesothebysrealty.com

$22,000,000

West Village Compound

Simply put, welcome to Wonderland where creativity, imagination and serenity come alive. With over 6,325 sq. ft. with many rooms to roam and gardens to explore.

New York, New York

sothebysrealty.com/id/Q4W9V3

East Side Manhattan Brokerage

Nikki Field | Mara Flash Blum: +1 212 606 7669

nikki.field@sothebys.realty

$25,000,000

895 Park Avenue, 16C

With double terraces and over 4,000 sq. ft., this sun-flooded 16th floor, four bedroom awaits your architect’s vision to restore the glamour of this classic. Prime location on the Upper East Side at 79th/Park.

New York, New York

895Park16C.com

East Side Manhattan Brokerage

Cherie Hinson | Cathy Taub: +1 305 588 2985 cherie.hinson@sothebys.realty

$7,800,000

The New Penthouse54 at 277 Fifth Avenue

Panoramic Manhattan skyline views from four exposures coupled with floor-to-ceiling windows, colossal Great Room, soaring ceilings, expansive loggias and superior finishes.

11 East 73rd Street, Penthouse

Comprised of the top two floors of The Pulitzer Mansion, this unique duplex apartment combines old world charm, and elegance.

New York, New York

sothebysrealty.com/id/SHLPZ3

Downtown Manhattan Brokerage

Nikki Field | Mara Flash Blum: +1 212 606 7669 nikki.field@sothebys.realty

$20,000,000

New York, New York

sothebysrealty.com/id/8KBGZL

East Side Manhattan Brokerage

Marjorie Hewett | Margot F. Berg: +1 917 882 1880 marjorie.hewett@sothebys.realty

$6,975,000

247 West 12th Street, PHB

Located high atop the most coveted cobblestoned block in the West Village, this mint duplex penthouse with private outdoor space, views and two parking spaces is the rarest of offerings.

New York, New York

sothebysrealty.com/id/B2HJFL

Downtown Manhattan Brokerage

Jeremy V. Stein: +1 917 854 4411 jeremy.stein@sothebys.realty

$17,950,000

543 Halsey Neck Lane

Welcome to the epitome of Hamptons Living. An exquisite four-acre estate nestled within Southampton’s prestigious Village Estate Section and less than a mile to Ocean Beaches. Waterfront living, with approximately 170 ft. of coveted water frontage and existing dock.

Southampton, New York

543HalseyNeckLane.com

Southampton Brokerage

Harald Grant: +1 516 527 7712

harald.grant@sothebys.realty

Bruce Grant: +1 516 840 7034

bruce.grant@sothebys.realty

$38,000,000

Flying Point Compound with Pool and Tennis

Stylish compound on about three acres offers two separate legal residences, three car garage with sitting room and bathroom, 20 ft. x 60 ft. heated Gunite pool with spa, and tennis court. Located less than a half-mile to world-class Flying Point beaches.

Water Mill, New York

475FlyingPoint.com

Southampton Brokerage

Harald Grant: +1 516 527 7712

harald.grant@sothebys.realty

Bruce Grant: +1 516 840 7034

bruce.grant@sothebys.realty

$22,500,000

Expansive Waterfront Estate

Impressive estate consisting of four separate structures spanning 456 ft. of shoreline along Narragansett Bay. Infinity saltwater pool, waterfall, and enchanting natural pathways.

Bristol, Rhode Island

sothebysrealty.com/id/MNJYMN

Mott & Chace Sotheby’s International Realty

Cheryl Andreozzi: +1 401 323 3934

cheryl.andreozzi@ mottandchace.com

$6,700,000

The Playhouse

An iconic landmark on a picturesque ocean inlet on Newport’s Ocean Drive. This Irving Gill/Olmsted historic gem has been completely rebuilt and maintained to the highest standards.

Gated Private Estate

Discover elegance and privacy at this gated estate sited on over eight acres featuring a 4,500 sq. ft. main house, poolside guest house, versatile detached studio, and barn.

Newport, Rhode Island

sothebysrealty.com/id/CCGBP5

Gustave White Sotheby’s International Realty

+1 401 849 3000 gustavewhite@gustavewhite.com

$12,500,000

South Kingstown, Rhode Island

sothebysrealty.com/id/465G9R

Mott & Chace Sotheby’s International Realty

Shirley Page | Kelly Holmes: +1 401 218 7739

shirley.page@mottandchace.com

$5,250,000

The Cottage at Cobble Beach

Wake up to the sound of ocean waves and 180-degree vistas from Easton’s Point treasure. Open plan with light-filled rooms, mahogany trim, waterside deck and seawall for beach access.

Middletown, Rhode Island

sothebysrealty.com/id/CTNVPB

Gustave White Sotheby’s International Realty

+1 401 849 3000

gustavewhite@gustavewhite.com

$3,995,000

FINE ARTS LA BIENNALE

A first lady’s faux pearls.

Recalling “The Estate of Jacqueline Kennedy Onassis” auction from April 23 to 26, 1996, and the necklace that captivated a nation.

It Is not often that an entry ticket takes the form of a 584-page auction catalog. But given the scale of interest in this landmark sale, Sotheby’s decided that a lottery—bundled with the purchase of this weighty tome—would be the fairest system for public admission. On the catalog’s first day on sale, 27,000 orders were taken by phone for the $90 hardcover and $45 paperback.

Visitors from around the world were granted one-hour slots to bask in U.S. history, surrounded by artifacts such as the Louis XVI desk used by President Kennedy to sign the 1963 nuclear test ban treaty and paintings by Sargent and Rauschenberg.

Among the more personal effects was a triple strand of faux pearls worn by Jackie Kennedy during her White House tenure and captured in countless photographs. Against an estimate of $500-$700, it sold to the Franklin Mint for $211,500.

Drawing on enduring affection for Jackie, the collectibles company went on to sell more than 130,000 reproductions of the pearls before donating the original to the nation in 2005. The necklace fittingly resides today in the Smithsonian’s National Museum of American History.—James Haldane

Clockwise from top: Lot 454 in the catalog, with a photograph showing John F. Kennedy Jr. playing with the pearls.

Staff on the phone banks fielded bids from around the world via more than 90 lines.

Visitors wrapped around the corner of Sotheby’s New York in April 1996, waiting to view the collection.

From top: BORN XDS, Cecil Stoughton, White House/John F. Kennedy Presidential Library and Museum; Sotheby’s.