52 minute read
ART IN DECORATING
Art inDecorating
BY: SUE DECHIARA, B&NC MAG HOMES EDITOR
In the article “Why Wall Art Matters Most In Interior Design”, Tara Mastroeni (MyMove.com, 2020) lists: “It provides an instant color palette; It creates a focal point; It brings a sense of texture, [and]; It makes the room appear nished”.
In “12 Quick Do’s and Don’ts for Decorating with Art”, Lauren Flanagan (the spruce, 2020) says you should “use your walls as a showcase for your own photographs [and] hang art in every room in the house”.
In “9 Foolproof Tips for Decorating with Art”, Hadley Keller (House Beautiful, 2019) wrote: “Anything can be art (no, really)”, and made a point to “Make use of oft-forgotten spaces”.
In “Nine Tips For Decorating With Art”, Maison De Cinq posted that “Original art is something that… is absolutely essential to a space”; suggested leaning, rather than hanging, some art, and; gave the clever tip to “ nd custom artwork from independent artists”.
And, in “20 Wall Decor Ideas To Refresh Your Space”, Kristi Kellogg and Elizabeth Stamp (Architectural Digest, 2019) start-o with Idea #1 - “Go for Large-Scale Art”, and Idea #2 - “Create a Gallery Wall”.
Yes, yes, and yes!
But these are all inspirational guidelines… e only rule is: ou Must Use Art In Decorating!
is includes expensive and inexpensive, big and small, oil, print and photo, famous artists, works found on a trip or through some personal or intellectual journey, your own photographic and original productions, and all ‘objects d’art’ - which includes just about anything that attracts the eye, and is worth looking at.
For some that means getting the look and feel of the room right, and selecting art to t the mode. Others want more of a daily interaction with the subject, meaning, color, shape or school of art. And then there’s art as thee focus.
Photographer: Nicole Cohen
Decorating is an expression of self.
In the school of art tting the decor, e Adirondack Store and Gallery is in front of
the class!
e Adirondack Store & Gallery, which epitomizes everything in the Lake & Lodge style everyone thinks of as coming from Lake Placid, New York region, has opened a fabulous multi-level store at 39 Elm Street in New Canaan. It’s a welcoming place to shop. ey have absolutely everything to decorate, out t and nish any room, with just the right look and feel, and consistently the best quality.
But this retail facade fronts a big business providing personal decorating services and dealing in art.
Christopher English and Stephen Shin, owners and operators of e Adirondack Store & Gallery, are the real deal when it comes to art and decorating. Christopher has been dealing in ne art for over three decades, and Stephen, after a career as a classical ballet dancer, honed his design skills working for an interior designer. Starting with a home base in Palm Beach, with client bases in places like Charleston, Nashville, Colorado, and Texas, and doing antique shows around America, the two gained a reputation for nding one-of-a-kind pieces for homes and collections. In 2009, they moved to Rainbow Lake, and opened Antediluvian Antiques & Curiosities. Christopher’s mother is from Saranac Lake, his father went to Paul Smiths College, and Christopher has spent most summers of his life in the Lake Placid area. In 2015, they acquired the Adirondack Store & Gallery (established 1955), and did a complete renovation of the store and the merchandise. Experiencing tremendous growth, in 2018, the two then opened a store in Tupper Lake, New York (only an hour from Lake Placid). e business is actually a full interior design studio, o ering not just art, antiques and lines of furniture, but also everything from custom draperies and bedding to upholstery services to kitchen and bathroom design. Christopher focuses on the antiques and ne art within the retail operation, while Stephen concentrates on buying for the three stores and the Adirondack
Store & Gallery website and social media presence. Both are on a mission to bring personalized customer service to the Adirondack Store’s very growing clientele.
Christopher explains: “ e rst thing is establishing a budget that works for whatever art you’re going to put in a room or in a house. en we nd art that ts the budget and the space. We’re looking for paintings that are substantial enough to be the main feature of a room or a wall. We like to go as big as possible with the paintings that are going to be the focal point in the room. Size, color, big outdoor subject, and even the frame. e artwork should be capable of absorbing endless attention. at means deep and interesting vistas that capture the imagination, and paintings of people doing things in nature that bring up good feelings for the viewer. We often also try to match the art genre with the house motif. Fishing in lake houses, mountains in ski houses, sailing ships and seashores in beach houses. Sometimes we nd something that particularly suits the special interests of a particular client, like an antique painting of an old wooden Chris Craft that’s the same model as the one in their boathouse. And not everything has to be expensive. We love to use a ski mountain trail map somewhere in a ski house, and an old ag or banners to add color and interest.”
“Objects are important to us as well. We like to put something big and eye popping, but nice to look at, in each space. is can mean old snowshoes and wooden skis, some antique taxidermy, or some old y rods mounted on the wall; an old chairlift incorporated into the furniture; furnishing a collection of beautiful and interesting antiques, or; putting the budget into a Ti any lamp, with the just the right color and look to be the centerpiece of a warm and cozy den. We like to place an object that will set the look, and suggest the conversation, in a room.”
If the art is going to be ‘serious’, where the price, value, subject and artist of the piece matters, and at least the arrangement of the room, if not the complete decorative focus, is going to be around the artwork… turn to Howard Godel, a well known and highly respected art dealer - and a Bedford local.
Howard runs Godel & Co. Fine Art, Inc., from a gallery at 26 Village Green in Bedford, by appointment. He has been focused on American art for over 40 years, and deals in everything American from 1790 to 1950.
Godel owns most of the art he sells, where most gallery owners are sales reps. Godel likes what he buys and gets to enjoy the art while he owns it, and it conveys con dence for the client in making the purchase that Howard invested in the same piece. And if Godel doesn’t have it, he can nd it.
Getting to see whatever Godel has at any given point in time in his Village Green gallery is a real treat, but a visit inside Godel’s home is something special. e museum-quality art collection is breathtaking, and yet the overall impression of the house is of a lived-in, if somewhat formal, perfectly decorated residence. ere are never too many paintings on any wall, each painting is attractively framed, well lit and perfectly hung, and the palette, decor, furnishings, and period of each room match or relate to the art within.
GODEL SAYS “We’re art collectors like any other art collectors, except we’re always interested in acquiring great works. It’s our passion. And when it comes to American art, and the Hudson River School in particular, it’s probably fair to call it our obsession. We don’t buy anything unless it’s something we’d be happy to have forever, or we know the piece is a particular value. I work at this 24/7, but I get to proudly show off a constantly rotating collection of really fine works. I enjoy helping to build collections and being a resource in American art for my clients.”
The Gathering c. 1959 painted by Robert Gwathmey and previously owned by Harry Belafonte - this painting is currently available at Godel’s gallery in Bedford Village
“We sell to museums, corporations and collectors. We deal in important art, with real meaning for each owner. Maybe it’s a piece that best represents a certain period in an artist’s life that the buyer needs to ll in their collection, or an artist notably absent from the display of a period or school of artists. People buy what they like…and I have a long history of satis ed customers! I still get a kick out of each buyer’s joy!”
Godel deals in Hudson River School, Marine, Narrative, Still Life, Sporting, Folk, Portraits & Figures, Tonalism, Impressionism & PostImpressionism, Modernism & Regionalism, and Works on Paper. ese are a selection of works that are currently available:
ERNEST PARTON (1845-1933)
THE LILY POND, 1891 CANVAS, 24 ¼ X 18 ¼ IN. LUTHER EMERSON VAN GORDER
(1861-1931) PARIS STREET SCENE OIL ON CANVAS, 24 ¼ X 18 ¼ IN.
EDWARD LAMSON HENRY (1841-1919)
MAX WEYL (1837-1914)
HOLLYHOCKS, C. 1881 OIL ON CANVAS, 21 ¼ X 15 IN. WAITING FOR THE FERRY, 1906 OIL ON CANVAS, 14 X 24 ¼ IN.
en there’s art in decorating where the art’s the thing.
is includes large striking works that dominate a space, gallery walls, and art that’s simply so signi cant and/or expensive it requires attention. In this style of art in decorating, modern and pop art often ts the bill - because it looks great with a wide range of decorating styles, and because some investment quality work from famous artists can be acquired a ordably.
Of course, there’s the likes of Basquiat trading for $30M at Sotheby’s. But in the real world, getting modern and pop art to decorate, that also represents a good investment, is a complicated world of signed and unsigned lithos, numbered and unnumbered series, provenance and authenticity, and…the vagaries of unscrupulous sellers and/or unwitting buyers in a market that includes a whole lot of less worthy prints and copies.
Walker Manzke navigates the world of modern and pop art for those looking for the one right thing, and for avid enthusiasts looking to expand their collection. And he can assist in getting the right frame for any piece, and help get it hanging properly. He’s another local - he has lived in the same house in Pound Ridge his entire life! Manzke started his career in art managing a private billion-dollar collection and was most recently associated with VW Contemporary in Greenwich. He specializes in post war contemporary, tribal and folk art, and in automobiles and antiques.
“When I’m working for a customer, the most important thing is understanding what art inspires them. Do they want a particular artist, and is it because the artist is famous or because they like the art? Is the subject and meaning of the art signi cant, or is it mostly about color, shape, size or just plain dramatic e ect? What’s the price range? And what’s the desired size, framing, medium or statement? My mission is to source the perfect piece. Whether it’s identifying and acquiring a Warhol, Lichtenstein or a Keith Haring for it’s recognizability; nding a Damien Hearst or a Je Koons, because the client likes the work, and because those artists have produced steady price appreciation in the last few decades, or; knowing that a particular client absolutely adores Hockney ever since the retrospective at the Met, and nding a signed Hockney litho that may become that client’s favorite piece of art and prized possession, for only ve or ten thousand dollars.”
Pictured below, Manzke was asked to complete the decorative transition of a two-story front entrance hall to accomplish the ‘art gallery’ look (for that Hockneyloving client). He installed 2 Mr. Brainwash works to echo the decorative impact and to suggest collector, and, a signed and numbered Hockney lithograph, that tickles the homeowner every time he passes and thinks “I’ve got a signed Hockney!” en, recently… Manzke found another signed Hockney litho from a series compatible with the one the client already had, and the client was thrilled to snap it up! Also pictured below…the new Hockney! (And the smaller Brainwash is o to the client’s NYC apartment.)
Mr. Brainwash signed on paper, 64” x 48”
And then, at the extreme, there’s art in decorating when it’s really just about the ART!
Architect Jay Levy designed a home in Bedford for just such an art-focused extremist, and then got a call from the client mid-build that the house would have to be modi ed to accommodate and feature a newly acquired prize:
Levy recalls: “ e owner’s vision for this project was to create a loft-like residence that was lled with contemporary art. We started with an existing home that was completely stripped and re-built. A main feature and starting point was to create concrete resin oors throughout the main level that resembled a factory or gallery. e desire was to keep everything extremely clean and minimalistic with large white walls to display artwork. One evening, close to the end of construction, I got an email from the owner excited about a large piece of artwork he had just purchased by the artist Banksy. Included with the email was a link to a video that was made about the artwork called “ e Man Who Stole Banksy” in which this piece of artwork was featured. It blew me away. It’s a section of a concrete wall, 7 feet tall, 10 feet wide, that weighs 4 tons, and was cut out of a building in Bethlehem! Crazy! I’m a Banksy admirer and immediately began to gure out, along with my contractor, how we’d get this unusual piece into a nished house. Floors and walls had to be reinforced with steel. en we needed the right art moving contractor to make this happen. e day of installation was truly an event. A team of experts rst un-welded the concrete slab out of the steel cage that protected it in transport. Hoisting it up using a large forklift onto specially constructed low pro le dollies, it was gently moved with only inches of clearance. Finally, it was carefully maneuvered into a custom niche built speci cally for the artwork. Mission accomplished! And now it’s spectacular and humbling just to be in the room with such a monumental work of art!”
In 2007, Banksy was doing his street art in Israel, and painted a huge image on a concrete barrier dividing the West Bank. is very valuable and extremely controversial work, meant to draw tourists to the con ict zone, now known as “Donkey Documents”, was then stolen by a local taxi driver. e story of its sale and resale, and travel across the globe, are the subject of the widely acclaimed documentary “ e Man Who Stole Banksy”. According to Julien’s Auctions: “ e detached mural is the largest and most signi cant intact Banksy in existence from his visit to Israel.”
This Banksy Is In Bedford...
I’m in the middle. For me, art in decorating is a compelling question which must be answered with exquisite balance. Decorating must be personal. My style is mostly traditional, with a nod to modern pieces to keep things fresh.
e color palette of any space is very important. I always want the room to feel rich and comfortable, while still looking light and clean. My go-to scheme is a lot of white or gray walls, with a few blue and white accents throughout.
Along the lines of one of the homes authors I rst quoted, I recently replaced an oil painting in my home with an abstract of a pretty wellknown artist. I tend to paint with acrylics on wood panels, using mostly soft blues and neutral colors. I can’t think of a more personal way to express yourself in interior design than through art. For me, that means showcasing my own work, which is becoming more and more of an emotional outlet (and potentially a vocation).
On the wall behind our breakfast table, we hung an art poster from the ‘80s for a Lichtenstein museum exhibit. e original poster was a bit larger with text on the bottom; we had the framer cut and crop it. We love the splash of color this poster brings to the whole kitchen and breakfast area.
I like the suggestions to lean, rather than hang, some art, and to hang art where it’s least expected (in front of a bookshelf). And I really appreciate when art ts within the scheme, but still bedazzles. At a home on Hemlock Hill Road in New Canaan, the homeowner hung a fabulous, large, black and white, photomosaic of Jackie Kennedy, by Robert Silvers, in the school of Chuck Close, in a back hallway o the kitchen. e powerful image, which is well lit, attracts attention from the kitchen/family room, making that living space more interesting, and giving more depth and substantiality to the hallway space.
Again, the only rule is: ou Shalt Use Art In Decorating.
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Upscale Downsize
BY: JACQUELINE DEMONTRAVEL
A generation of families moved into towns such as New Canaan, Armonk, Bedford and Katonah to raise their families in big homes, with yards, perhaps a pool and maybe a tennis court, and a highly-rated school system, in a wave that started in the booming 1980s and lasted until the Recession hit in 2008.
Now…their lives and requirements have changed, as kids have grown, jobs have changed, they’ve purchased a second-home, retirement has come, there’s been a divorce, or other change in circumstances, and…their mansion is now an oversized albatross. Home repair and maintenance, heating and air conditioning, utilities, lawn care, pool care, storm damage. Empty kids’ rooms, formal living and dining rooms that only get used on holidays, massive play rooms meant for growing up.
en, too, there’s the functional and stylistic simplicity and minimalization that drives modern sensibilities. Less is more. e idea is to trade square footage and acreage, for useful and e cient spaces. Change decorating from clutter to clean.
For a lot of these owners of big homes, right now is the time to sell! A new generation of young families - with Covid on their minds - has now determined that the leafy suburbs are more desirable than city dwelling, and sellers who’ve been waiting for a chance to sell since the Recession of 2008 now have the opportunity to get their price.
e new move is to Upscale Downsize!
e idea is to move into a smaller home…without sacri cing on comfort, luxury or style.
Most downsizers are ‘taking money o the table’ as the price of the new smaller digs will be less than the amount of equity they are getting upon sale of the old whale. But whatever the economics, the key to a successful downsize is that it’s an ‘upscale downsize’. Getting rid of the extra bedrooms is ne, but getting a sparkling kitchen with all the best appliances, new bathrooms, a rst- oor master, or the guest room that really does function as an everyday working o ce, are the things that can be ‘musts’ in the new equation. If access to shared amenities or membership to a tness facility nearby will not be enough to replace the in-home gym, then nding a smaller space with a gym, or a space that can be converted into a gym, is a requirement.
And the good news is that ‘upscale downsize’ is available in the B&NC Mag area. No need to leave the community and decades-long relationships with friends, doctors, and favorite establishments, or that cherished afternoon walking route, or proximity to relatives. ere are condominiums and smaller houses that t the bill.
Choosing an ‘upscale downsize’ condominium, over a house, has its pros and cons.
Security is usually a big plus of condo living. 24/7 electronic surveillance, on-site security personnel, an electronic or manned gate, a doorman, and the presence of other condominium owners, are attractive features which condominium living can o er.
Location, location, location - known to be at the center of real estate value - can be of particular importance in making the condominium decision. Condominiums are typically developed around water or other attractive scenery. But, whereas the question used to be whether the residence was in the best neighborhood and on a street where the kids could ride bikes, the answer to the best location, now, may turn on: being walking distance to town and shopping; able to access a senior center; having proximity to public transportation or a hospital; nearby recreational opportunities. And having a convenient, close-by hotel for grown kids, and those guests whose room was sold, can also be a big plus.
People are an important factor. In a condominium there will be other people involved. is has the bene t of community, and may mean friends for recreation and social activities. And, to some extent, the greater the number of people, the more money there is to provide common amenities like a pool, gym, tennis, conference center or catering kitchen. But people can also be nosy and annoying, and rules and regulations, and governing boards, are necessary evils.
And, to be sure, a big attraction of condo living is being freed of home, lawn and pool repair and maintenance.
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St.Regis Photography - Copyright Andrew Rugge
e premiere new luxury condominium o ering in the area is e St. Regis Residences in Rye!
ese highly anticipated residences o er ‘upscale downsizing’ for its most discerning residents - with an emphasis on the ‘upscale’. Ranging from 975 to 2,775 square feet, each home has been designed and laid out for elevated, gracious living. Home types range from one-bedroom to four-bedrooms, with many plans o ering dens. Almost all homes have private outdoor spaces. Residences o er graciouslysized living spaces, , custom Italian kitchens, and marble-clad ve- xture master bathrooms. Large walk-in closets and dedicated powder rooms in every home complete the picture.
Set on seven beautifully landscaped acres on Old Post Road in Rye, e St. Regis Residences are located close to the Rye and Greenwich downtowns, signi cant outdoor attractions and Country Clubs, and many social, cultural and lifestyle activities. e community is designated exclusively for residents 55 and better.
All aspects of The St. Regis Residences are designed for luxury.
First, there’s the unparalleled St. Regis service. Residents are o ered valet parking, a doorman, porter services, the signature St. Regis butler service, and a 24-hour concierge!
en there’s the 25,000 sq. ft. of resort-style amenities, including an indoor pool with outdoor whirlpool spa, tness center with dedicated yoga studio, spa treatment rooms, saunas and steam rooms, a golf simulator room…and even a pet spa.
For social times - or private times - there’s a Cognac Room with television and billiards, a library with a two-sided glass replace, a 15seat theater-styled screening room, a 12-seat boardroom named for the founder of the St, Regis, John Jacob Astor, a Drawing Room with replace and bar, a great hall with a curated art gallery, and a 50-person event space and catering kitchen.
To enjoy the outdoors, there’s a one-acre central courtyard and social gardens with multiple seating areas, an outdoor TV lounge and re pit, and a walking path.
Additional amenities include storage units, bicycle storage, electric vehicle charging stations and a fenced dog run.
And, most important, the Residences are spacious, have the light and clean feel everyone wants, and the modern appliances, xtures and nishes that the most discerning buyers demand.
It encompasses all elements of ‘St. Regis’ living, and the ‘spa life’ feeling of a St. Regis resort - but it’s ‘real life’!
No more lawn guy or snow removal to worry about - yet the lawn is always mowed and the drive is always plowed. e estate is maintained perfectly - no need to worry about repairs. Doormen, butlers and concierge service to tend to all needs. Gym, pool and spa - always available - no work required.
Louis and Marcella Pellicano, who recently purchased at e St. Regis Residences in Rye, were attracted to the lifestyle, including the social aspect of the community, such as St. Regis-hosted events for residents and the afternoon tea in the drawing room. “We’ve already met some very interesting and lovely people. at makes it easy for us to move from a totally di erent location.” said Marcella.
With move-ins starting early 2021, e St. Regis Residences are already 50% sold. “We’re very pleased with our sales activity over the past few months. At our current pace, we are exceeding our sales targets. Whether it’s people downsizing from larger homes or leaving their apartments in New York City, buyers are discovering the incredible luxury lifestyle that we are o ering at e St. Regis Residences, Rye - it’s unmatched anywhere in our market,” said Alan Weissman, President of Alfred Weissman Real Estate, the developer of e St. Regis Residences, Rye.
At $1,150,000; with 3,000 sq. ft.;
406 Silvermine Road in New Canaan
is an ‘upscale downsize’ bargain. Lovingly built by a billionaire steel magnate for his daughter in the 1940s, this vintage cape is newly renovated throughout, including new kitchens, baths and closets. Park-like, level property with mature landscaping, ower gardens and outdoor patios by landscape architect Elizabeth Lear. Convenient to downtown New Canaan and historic Silvermine district, and, for equestrians, minutes from the New Canaan Mounted Troop. There are plenty of ‘upscale downsize’ houses on the market in the B&NC MAG area.
2 Middle Patent Road in Bedford is an ‘upscale downsize’ because the main house is only 2,092 sq. ft. is meticulously renovated 1900 Farmhouse, with wide oak oors, sun- lled living room with co ered ceiling and replace, formal dining room, stunning new kitchen with Sub Zero, ermador and Bosch appliances, marble counters and center island, master with private bath nished in Carrera marble, two additional bedrooms plus third oor guest suite, has all new mechanicals including central air and a generator. And with this ‘upscale downsize’, there’s no trade-o in terms of what’s outside. e two level acre property boasts Magnolia and Apple trees, perennial gardens and a pool!...with a pool house with an additional bedroom and bath! Exceptional luxury for only $999,000!
GINA NEW GINNEL REAL ESTATE
914-980-0421 GNEW@GINNEL.COM
HANNELORE KAPLAN HANNELORE & CO.
914-450-3880 HANNELORE.KAPLAN@RAVEIS.COM
Scotts Corners in Pound Ridge,
is expected on the market in the Spring. is charming and historic 3,300 sq. ft. home, has three bedrooms and four baths. Spacious and sundrenched two-story great room with grand stone replace, gracious living room with replace, separate dining room with French doors to patio and attractive kitchen, make this feel like a country house but function comfortably as an everyday home. Master bedroom suite with cupola, loft overlooking family room, bedroom with exposed beams and antique ooring throughout are just a few of the special features that highlight this home’s century of history. And a separate cottage with kitchenette and bath, above the two-car garage, is suitable for older kids, guests, or a tenant.
Making the ‘upscale downsize’ move is an opportunity!
e direction of the new home’s decor is essential - and the best advice for most is to discard or store as much as possible from the old house. e moving process reveals the true cost of having ‘stored’ all those belongings in the home and dictates that you use much less costly storage facilities to keep all the valuable and treasured items you just can’t part with, but that won’t t in the new home. Store ne art and rugs that don’t go with the new decor, and consider putting seasonal items, like winter clothing and ski equipment, in storage too. George Carlin once joked “If you didn’t have so much stu , you wouldn’t need a house. at’s all your house is, it’s a pile of stu with a cover on it.” e ‘upscale downsize’ is a chance to become unburdened.
“Have a strategy when packing, prepare ahead of time with packing items, and know exactly what you want to store and what you want to take to the new place,” says Maria Hernandez, Facility General Manager of Hollow Tree Storage. “Label and take inventory, which will help when unpacking and with easily accessing items from storage. Most important on this end, is to organize your storage unit so it works for you like a closet, with everything still easy to nd and use”.
And maximizing the utility and function of the new space is absolutely critical. Before moving in, if at all possible, imagine day-to-day in the new home and make whatever changes are necessary to suit particular requirements. If the new house is perfect, but old, do the kitchens and bathrooms before moving in. Build-in the o ce space or exercise room that will make the new house work. As Masha Alimova, Director of Marketing at California Closets, points out, “ e key to success in living in smaller homes is to maximize the usage of every space.” Alimova recommends focusing on spaces which can be optimized to be dual-purpose or multi-functional. “Consider making the most of a spare bedroom by opting for a Murphy bed with a good mix of open and closed shelving space to display mementos and store linens. A double-duty system is ideal for the occasional guest room as well as o ce space for everyday use. No space is dead space. Almost any corner or unused area can be transformed into a closet. And closets can be re-designed, with better hanging rod and shelving layouts, to make them much more useful.”
SHOUT OUT Community Center
WITHIN MOMENTS of meeting Clare Murray, you learn that the Community Center of Northern Westchester is so much more than a food pantry. A space that appears so small from the outside actually houses a grand operation with intention behind every inch: neatly-organized packages of school supplies in the front entry, a room (the size of most small boutiques) packed with clothing resources, a well-stocked pantry with animated volunteers, and buzzing o ces. Each employee who greeted us, like Murray, displayed a mix of discipline and joy, re ecting the gravity of their work and the con dence of knowing they’re making an important di erence.
Similar to the center she runs, Murray’s small physical stature is a sharp juxtaposition to the size of her impact, and her humble manner belies the true scope of the massive enterprise she leads. According to Murray, “Here at the Community Center, there are seven of us, but we have an army of volunteers. At least 500 di erent individuals get involved each year. And without whom we couldn’t operate... they are the lifeblood of the center. We serve the whole of Northern Westchester. ere’s 38 di erent towns that we’re trying to broadcast our services to so that those in need know of us, and know where to turn, but also those who want to get involved know where to and how to.
Murray grew up in England, and worked as a physical therapist there and in Canada for 22 years before moving to the United States with her husband. Shortly after the move, she was drawn to the CCNW by a newsletter she kept on her desk. One volunteer shift turned into two, which inspired her to apply for the role of Operations Manager, a role she held for 7 years before her current 5 year tenure as Executive Director. “I guess what inspired me,” Murray said, “One, was the mission. And two, was the immediate feeling of being at home. Just in those rst two shifts of volunteering. It felt so extraordinarily comfortable. And three, I think it drew upon, I hoped that it would draw upon, both the organizational and human services skills that I had through my work in the medical eld, as well as some of the business I had learned in terms of working in the retail and wholesale eld. And it seemed like a good t.”
With her team, Murray has a unique ability to creatively synthesize and transform the support they receive
from the community into meaningful programs. For example, when they noticed an in ux of boutique attire in the 200,000 lbs of clothing they received annually, they saw an opportunity to leverage the value of those pieces for the greater good. e result became a shop on Katonah Avenue, run by Ann Hardy, that generates revenue through designer pieces that is then routed back into the core mission of the organization. In Murray’s words, “We do get quite a lot of very, very high-end, hardly used clothing that we felt, if we could make money out of it, it would help us to buy food for the food pantry. So when we get that Prada jacket, and if we could sell it for $100, $100 worth of food is more important than one jacket for one person.”
Another program, an entrepreneurial sewing and design course, was launched to help those in need of income who lacked transportation or child care. With machines donated by the community, “ e sewers are making their own products, and then we have a corner in the shop where they’re able to sell their products, so they’re directly earning an income, as they’re learning and as they’re honing their skills. We teach them the basics of entrepreneurship, marketing skills, as well as the real physical sewing skills.”
Rounding out the full spectrum of wraparound services provided by the CCNW, Murray spoke of the educational programs provided. “We have an array of educational programs to help [with] employment opportunities. We teach English as a Second Language, basic computer skills. We have job counselors who are volunteers to help...with the applications, to prepare for interviews, to guide you in terms of choices and availability of opportunities. And then we teach basic skills of construction, and OSHA training, OSHA certi cation… and we have restaurant skills. And we teach entrepreneurship, and money management, and all sorts of things to try and help people, to say, ‘Okay I’m in this spot, now is there anything I can get help from to get out of this spot.’”
Murray’s spirit of innovation and collaboration is best serviced by the emphasis she places on e ective communication. Whether it is outreach to those who have visited in the past to check-in on their needs, coordinating the e orts of partner organizations, or leading fundraising initiatives, it is clearly her personal mission to ensure that no stone is left unturned in her service to the community. is unwavering discipline, however, is complemented by her deep appreciation of serendipity. Tales of wedding dresses appearing in the perfect size, or anksgiving turkey donations hitting the target number just in time, hold as much weight and gratitude as the carefully orchestrated e orts of her team. For Murray these moments go hand in hand with the work and goodwill of the community.
When asked how she stays motivated through times as challenging as this year, Murray shared, “ ere’s a story about somebody walking along a beach and all the star sh have washed up out of the ocean, onto the beach, and they’re all dying. And then there’s a chap walking along throwing them in one by one. And someone else says, ‘Well why would you even bother? How can you make a di erence? You know, there’s thousands on the beach.’ And he said, ‘Well it mattered for that one. And it mattered for that one.” As he’s throwing them back in. And I think by keeping focused on whatever we do, one by one, we are helping.”
*Funding and donations from our community are essential to keep this resource available for our neighbors in need. To make a donation or get involved with the Community Center of Northern Westchester, please visit: https://communitycenternw.org/
Moonlight Sonata
December 16th marks Beethoven’s 250th birthday. While Covid-19 silenced the many concerts planned for his anniversary year, it hasn’t silenced his music, nor muted his message of endurance and hope. One hears it very clearly in the 9th Symphony with its rousing “Ode to Joy,” but also in the “Moonlight” Sonata, a work that transitions from a funeral march to a defiant rebirth. Patricia Morrisroe’s novel “The Woman in the “Moonlight” is the story of Beethoven’s relationship with Countess Julie Guicciardi, the dedicatee of that sonata.
A GLIMPSE OF THE WOMAN IN THE MOONLIGHT
BY PATRICIA MORISROE
Countess Guicciardi became Beethoven’s piano student in 1801. She was 19, and so beautiful people referred to her as La Bella Guicciardi. He was 29, and the foremost piano virtuoso in Vienna. ey met when he was struggling with his hearing loss. In a letter to a friend, he referred to her as a “dear, enchanting girl” and confessed that they were in love.
Recounting Julie’s rst visit to Beethoven’s apartment o the Graben...
Lucy and I climbed three ights to his apartment, where a harried-looking servant answered the door. I’d never seen such an untidy place, every inch covered with loose papers, haphazardly arranged books, dirty clothes, half-eaten food, and mysterious rolls of cotton steeped in sweet-smelling oil. e creator of all this chaos was sitting at the pianoforte. He was so caught up in his playing he didn’t even notice us until a servant tapped him on the shoulder. “Countess Guicciardi is here for her lesson,” she announced. He stared at Lucy. “Who are you?” “Lucy Caldwell, lady’s maid and companion.” “I cannot teach with an audience. Go away!” “Distractions,” he muttered. “In order to create, one needs order and discipline.” I thought he might have been joking, but he was serious. ere was nothing ordered or disciplined about anything. Even his hair stood up in every direction. He wore it à la Titus, a short, spiky style that had originated in Paris. I noticed that his ears were shiny, as if he had applied oil to them. He smelled of almonds, the same fragrance I detected on the cotton. “You’ve been to Frau Streicher’s,” he said. “She makes an excellent instrument, although I do wish it sounded less like a harp.” “How would you like it to sound?” “Like me.” He laughed. “I would like to produce my own tone. Her pianofortes are too delicate. I need something capable of withstanding—” “Violence?” “At times.”
Several months later, Julie encounters Beethoven at a ball given by his foremost patron. She unintentionally humiliates the composer by asking him to waltz.
During my next lesson, Beethoven was cold to me. I knew he was embarrassed, and I wanted to ease his concerns. “I don’t much care for dancing myself,” I said. “ en it’s lucky I’m not giving dancing lessons,” he replied sharply. “Now shall we begin where we left o – at the pianoforte.” I’d been lax with my practicing, but after some warm-up scales, I began playing a Clementi sonata but kept hitting wrong notes. “No, no, no,” he shouted. “You are playing like a child. An untalented one at that! I don’t think I can continue to teach you. You are an impossible girl!” He tossed the sheet music on the oor, toppled a chair, and threw a pair of candlesticks at the wall. Moving over to his desk, he sent papers and letters ying before pounding his sts against a nearby windowsill. “Stop!” I cried. “Your hands! Don’t injure your hands.” “My hands?” He sneered. “You’re worried about my hands?” “Please tell me what is wrong.” “Wrong. You want to know what is wrong? en I will tell you. I am going deaf! Beethoven, the musical genius, is losing his hearing!”
After a tragic event, Beethoven composes the Piano Sonata No. 14 in C-sharp Minor, later known as the “Moonlight” Sonata. At her relatives’ Hungarian estate, Julie hears the piece for the rst time.
Beethoven began to play the rst movement. He had indeed written a song without words: wistful, mournful, hushed. e rhythm was unrelenting, a funeral march with no ending or beginning. But then, without pausing, he moved directly into the second movement, creating a light, fetching atmosphere in the form of a scherzo. If the rst movement was nostalgic and contemplative, the third was powerful, de ant, and ferocious in its rapid shifts in volume and pace. ough the underlying motif was one of profound grief, he answered it with a display of dazzling virtuosity that made it clear that he would rise above his anguish.
Forced to marry a man she doesn’t love – the ballet composer Count Robert Gallenberg – Julie moves with him to Naples. ere she is drawn into the complicated relationship between King Joachim Murat, Napoleon’s valorous (and foppish) brother-in-law, and his politically savvy wife, Caroline Bonaparte.
I was summoned to a mysterious meeting at the Palazzo Reale, where a monumental cream-and-gray marble staircase led to multiple antechambers, the throne room, and nally the royal apartments. e queen was surveying a new portrait by François Gérard, who had completed a similar commission for her sister-in-law, Empress Josephine. “It’s called Caroline and Her Children,” she said slyly. “In order to gain power, it’s important to project a maternal image. Otherwise, I’ll be thought of as that.” She pointed to the menacing specter of Vesuvius. “Josephine may be beautiful, but she cannot give my brother a child. Without heirs, the marriage won’t last. I waited for the queen to continue. She couldn’t possibly be asking me to have a child with Napoleon. “My husband thinks you’re very attractive,” she went on. “To be honest, he thinks many women are attractive. Still, he mentioned you several times. I want you to become his mistress.” “I mean no disrespect, Your Majesty, but I don’t know what you could gain from this.” “Knowledge. “You would be my eyes and ears.” “I’m afraid I’m not cut out to be a spy,” I said. “Of course you are. You live with secrets.” e queen wasted little time setting up the assignation, and the following week, I had the pleasure of watching the king’s valet meticulously nger-curl his long damp hair. When the valet nally created a luxuriant lion’s name, he dressed the king in his military uniform. “We must make this quick,” the king said, moving over to the bed. “I need to make an o ering at the shrine of Saint Januarius. I want my people to love me.” After I complimented his elaborate attire, with its feathers, braids, and medals, he con ded that he designed his own uniforms. “I wouldn’t think you’d have the time,” I said. “I don’t sew and I haven’t—” “Led the cavalry into numerous battles. Nearly avoided death countless times. Had a Turkish commander re
directly into your mouth?” “Not the last one, no.” After realizing I was joking, he threw his head back and laughed, his long curls falling in perfect regimental alignment.”
Even while living in Naples, Julie never forgets Beethoven and when she nally returns to Vienna in 1821, she immediately seeks him out.
I felt something graze my temple. My hand ew up to my face as woman brushed past me in the doorway. “Even if you’ve fallen on hard times,” she warned, “don’t become his housekeeper.” Another woman followed. “And don’t be his cook either.” “I picked up the ying object, a leather-bound volume of Homer’s Odyssey. e cover was ecked with candle wax and ringed with co ee stains. “Is Homer your preferred weapon?” I asked Beethoven. “Or do you alternate with Shakespeare?” He stared at me through his spectacles. Deep horizontal lines slashed his high forehead and ran vertically on both sides of his mouth. He was wearing a navy dressing gown spotted with more candle wax, one foot in a velvet slipper, the other bare. His big toe was black and blue. “I kicked the housekeeper,” he explained. “She was a troglodyte, a hound from hell. Six years had gone by since we’d seen each other, six years of dreaming and hoping and not once during that time, not once on my worst day, did I picture such a reunion. “May I come in?” I asked. When he didn’t respond, I walked into the apartment, which resembled all his previous places in its titanic disorderliness. I placed the book on the dining table next to an open sketchbook and a plate of half-eaten red herring.
After he convinces Julie to cook him a bowl of his favorite bread soup, she puts on her coat to leave.
We stared at each other as if searching for a way to rekindle the love we’d once felt. It was so long ago that it felt like swimming against the current back through time. He reached for my hand. “I would dearly love to see you again,” he said. “I looked at his wild hair, windswept even indoors, at his white whiskers, unruly eyebrows, and stained dressing gown. I glanced down at this feet, one still unshod, and at the dining room table, herring next to the Missa Solemnis. A voice said, “You are as mad as he is. Another voice said, “Yes, I would like that too.”
In the winter of 1826, Beethoven is seriously ill. Julie visits him at his apartment in the House of the Black Spaniards, where his factotum, Anton Schindler, has achieved a position of power by controlling the ow of visitors.
“I thought you had deserted me,” Beethoven said. “She didn’t want to tire you,” Schindler wrote on a slate. “Leave us,” Beethoven said, pointing to the door. Beethoven looked terrible. Even his normally vibrant eyes had lost their luster, yet he treated his illness as just a temporary distraction. He had overcome much worse, and nothing stopped him from composing, even deafness. He pointed to a forty-volume set of Handel’s works that a British admirer had sent him. “I’ve been studying them,” he said excitedly. “One can learn much from Handel.” “It touched me deeply that he still wanted to learn and that despite his conviction that his own work would be eternal, he showed a deep respect for his musical forebears. I didn’t know how long I had before Schindler returned, so I pulled out the note he’d written me all those years ago. I watched as he read it. “I gave you what I could,” he said slowly. “It was not enough. I know that.” “You gave me a sonata,” I wrote on the slate. “It’s not my best, but people will play it forever. I kissed him lightly on the forehead. “You will always be my dear, enchanting girl.” He had tears in his eyes, and then his lids closed and he fell asleep. I heard Schindler coming up the stairs, so I quickly wiped the slate clean. If one looked hard enough, the word ‘sonata” lingered in a wisp of chalk.
is is not is is not the hospice the hospice you hadyou had in mind. in mind.
ank ank goodness. goodness.
Most of us probably think of a hospice as a dark, Most of us probably think of a hospice as a dark, depressing place where people go to die. depressing place where people go to die. e Regional Hospice Center for Comfort Care & e Regional Hospice Center for Comfort Care & Healing is nothing like that. Nothing like that, at all. Healing is nothing like that. Nothing like that, at all. It is a gorgeous, light and airy 36,000 square foot It is a gorgeous, light and airy 36,000 square foot center located in Danbury. More like a hotel. It’s the center located in Danbury. More like a hotel. It’s the only one of its kind in Connecticut. Yes, people come only one of its kind in Connecticut. Yes, people come here to live out their last days, weeks or months. But here to live out their last days, weeks or months. But we put the emphasis on living.we put the emphasis on living. at means giving our patients and their loved ones at means giving our patients and their loved ones the opportunity to live fully in the face of loss. the opportunity to live fully in the face of loss. Our goal is to make every day the best it can be for Our goal is to make every day the best it can be for each and every patient—from babies to adults. each and every patient—from babies to adults. To learn more, see MakingtheBestofEveryDay.org To learn more, see MakingtheBestofEveryDay.org e Regional Hospice Center for Comfort Care e Regional Hospice Center for Comfort Care & Healing. & Healing. We will change the way you think about hospice. We will change the way you think about hospice.
Making the Best of Every DayMaking the Best of Every Day
WATCH IT!
BY JOYCE CORRIGAN
B&NC MAG Fashion Editor
James Taylor sings: “ e secret of life is enjoying the passage of time.” ... at applies double for the watch collector! ese horologists get great pleasure from the minute and measured workings of their tested and true timepieces. eir watches are a style statement. And, right now, fueled by a younger audience and active online trading, there’s a real investment opportunity.
ough Covid may make time stand still in some respects, the vintage watch market is as hot as ever. Maybe too much time on their hands has been one reason collectors have been buying more for their wrists, but a growing acceptance of the internet as an exchange has been a primary market mover. It used to be that big ticket timepieces were only sold at auction houses; like when Christies sold Eric Clapton’s very rare Patek Philippe Ref2499/100 with perpetual calendar, chronograph and moon-phase for $3,635,808. But this past June, a circa-1970 Paul Newman’s circa-1970 Daytona, with a Panda dial, set a new web record when it brought $500,000 in an online sale (albeit that the online sales are run by Sotheby’s). Sotheby’s drops new pieces for sale online at Watches Weekly. A new generation of online collectors is ‘buying without trying’, poised to jump if Jennifer Aniston decides to sell her vintage diamond Cartier or any watch from LeBron’s collection comes up for sale, and willing to trust in the authenticity of the watch’s bona des.
Tania Edwards has been the Marketing Manager for Christie’s Luxury Watch Division, and Marketing Director and VP at Patek Philippe USA. At Patek, she played a prominent role in developing the iconic campaign: ‘You never actually own a Patek, you merely look after it for the next generation’. British-born and still aunting a perfect accent, Tania moved to Bedford with her husband and children after 9/11, and has stayed ever since. She’s a real expert when it comes to buying and selling in the multi-billion dollar vintage watch industry.
Tania now works with Collectability, an online resource and retailer specializing in pre-owned Patek Philippe. She explains: “Online trading is a factor, but the real thing driving the vintage watch market is value. Demand is growing and supply is diminishing. It turned from being just a haute hobby into a cash-worthy collectible in the 1980s - after the so-called ‘Quartz Crisis’, when the widespread availability of very inexpensive and e cient quartz watches threatened the very viability of
mechanical watches...but increased interest in the most valuable vintage watches. At the same time, prices for new rare watches skyrocketed, making the $5,000 to $10,000 you can pay to buy a used Patek seem a bargain. Demand has grown steadily ever since, and exploded of late, so vintage watches have been and should continue to be a great investment. People crazy about vintage are insatiable. ey want to know the origins of the model, the creator, the mechanics, the history, the provenance. Sometimes the story is key. We just got in a beautiful Patek pocket watch owned by Albert Russel Erskine, the President of Studebaker from 1915 to 1933, that will attract collectors. I think it was Oscar Wilde who said ‘No man is rich enough to buy back his past’, but plenty can purchase a piece of history with a storied vintage watch”.
travel for me. e mechanical genius that went into watchmaking in the 50s and 60s is incredible! e 1950s Jaeger-LeCoultre’s Futurematic was the rst self-winding wristwatch without a crown. I like that nostalgia!”
Cooper has even started a business, Cloister Watch Co., to o er historic wrist watch customization. “As much as I love each and every one of my watches, I really wanted to do something to make them more unique. I like to be a little bit di erent. I took a 1963 Rolex Datejust 1601 that I never wore, and worked with a reliable craftsman to re nish the dial in what we now call ‘Just Orange’. I liked it so much it became my everyday watch, until I ran into a friend who is a fellow vintage collector on the street in Manhattan. I proudly told him that I’d built it myself and that it wasn’t for sale. Fifteen minutes later, I left with a check, and he with my Just Orange Datejust.”
At 27, Bedford resident Cooper Zelnick has already amassed an impressive collection of more than 60 vintage timepieces. “I got interested when I was only about twelve. I wanted a Rolex, but my budget was about $800. I started to investigate the auction and private dealer market, learned that vintage watches really can be a ordable, found what I wanted, and realized that vintage watches were more valuable than they were priced. To me, the older watches are actually better looking, and they have interesting stories. I love history, and a vintage watch is even more than owning a piece of the past. It’s time
For another client who came to him with a Jaeger Futurematic, Zelnick amalgamated the best elements of each iteration of that model, deleting the word ‘automatic’ and replacing it with ‘Futurematic’ in a stylized art-deco font that was found on the later models, and replacing the words “Power Reserve” printed on the sundial with a name signi cant to the new owner. Also the words “Power Reserve” traditionally printed on the subdial were replaced with a name signi cant to the client. “ e watch became his,” says Zelnick,” not the previous owner’s.”
Zelnick says the favorite watch in his collection is the Jaeger LeCoultre Master Geographic that his grandfather wore every day and gave to him. e watch he would most like to nd, well… “that’s easy; one of the seven Patek Philippes that Lyndon Johnson ordered from Ti any’s when he was in the Senate, and had inscribed with the golden rule on the dial”. Edwards said, “singling out a favorite watch is like singling out a favorite child: I love them all equally! If pushed, I would say the rst Patek Philippe I brought myself 26 years ago. I felt so proud to have achieved my dream of owning one.” She says her dream watch is a 1980s Men’s Patek Ref3940 with perpetual calendar.
For more a ordable options, Edwards recommends: the Breitling Navitimer, an aviation chronograph introduced in 1952 which was capable of calculating a ight plan and that is still a favorite of pilots; the Breitling Top Time, worn by Sean Connery playing James Bond in underball, and; variations of Jaeger-LeCoultre’s 1960s icon Memovox, the rst automatic watch with an alarm function - each of which can be found for under $5,000.
“You buy what you like, what looks good on you, the watch that speaks your style, and a watch you think will appreciate in value. I know a guy who lives on Succabone Road who bought that house with the proceeds from a Patek his grandfather had purchased as a young man. It doesn’t happen every day, but it does happen.”
