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124

102

CONTENTS A RTS & C ULTURE ISSUE 102

THE DIMENSIONS OF SPACE

101 Spring Street, the building that

Donald Judd turned into one of his “permanent instillations,” is open to the public after more than a decade of renovations.

110

CHAMPION OF CULTURE

BY

LILY HOAGLAND

110

How Mayor Michael R. Bloomberg has revived

New York City’s arts and culture programs, and why he thinks it’s so important to communities in all five boroughs. BY LILY HOAGLAND

116

ARMANI’S HOMAGE

Giorgio Armani’s Nude Capsule collection, which will

be available beginning in the middle of October at select stores in New York City, redefines effortless elegance.

124

CAPTURED LOOKS

BY

DANIEL CAPPELLO

Photographer Bert Stern was always able to draw out

something intimate from his subjects. What he got out of Marilyn Monore weeks before her death became iconic.

134

THE PRINCE AND PAL

BY

LILY HOAGLAND

The “Prince of Chintz” talks about his new book, while

still proving that he can be up to his old tricks.

BY

LILY HOAGLAND

116

70

82

CONTENTS C OLUMNS 24

SOCIAL DIARY

66

SOCIAL CALENDAR

70

HARRY BENSON

72

OF WRITERS AND MEN

74

FRESH FINDS

80

THE NEXT STEP REALTY

82

ART

84

PROFILE

86

HEALTH

138

APPEARANCES

140

YOUNG & THE GUEST LIST

144

SNAPSHOT

The Breakers in Newport faces renovation debates.

BY

DAVID PATRICK COLUMBIA

Our monthly guide lists the best benefits, charity events, and happenings.

Recalling a visit to Rockefeller Center with David Rockefeller, Sr. Impressions of Erich Maria Remarque.

Thinking pink for autumn.

BY

BY

DANIEL CAPPELLO

TAKI THEODORACOPULOS ELIZABETH MEIGHER

AND

Jason Briggs offers a “how to” in terms of navigating the art scene.

Artist Julian Barrow’s works will continue to be appreciated.

BY

M ICHAEL M. T HOMAS

General David Petraeus sits down with Quest and friends.

BY

CHUCK PFEIFER

Castle Connolly Medical helps you find the best healthcare.

BY

ALEX R. TRAVERS

September means “back to school” for everyone.

BY

HILARY GEARY

Our columnist is on the scene. BY ELIZABETH QUINN BROWN

A loop through City Hall Station, which closed in 1945. BY ELIZABETH QUINN BROWN

74

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EDITOR’S LETTER

Icons of their eras: Jay Z during his six-hour performance of his song “Picasso Baby,” at New York’s Pace Gallery (above); Marilyn Monroe posing for photographer Bert Stern during her last photo shoot in 1962 (right).

What’s it gon’ take for me to go For you to see I’m the modern-day Pablo Picasso, baby —Jay Z TURNING HIP-HOP into fine art, Jay Z performed his song “Picasso Baby” for six straight hours at the Pace Gallery in New York in July. The rapper credits his inspiration to Marina Abramovic’s 2010 “The Artist Is Present” exhibit at the Museum of Modern Art, when she sat one-on-one with visitors for seven hours every day for three months. The artist was again present for this occasion, one of the many pioneers in art and culture that filled the crowd: Andres Serrano, Jim Jarmusch, Alan Cumming, Fab Five Freddy, and the granddaughter of the man in the song’s title, Diana Widmaier Picasso.

The performance was filmed and aired on HBO as Picasso Baby: A Performance Art Film. In the film, Jay Z explains how he sees the relationship between art and hip-hop. “If you think about those days when Fab Five Freddy was with Madonna and Basquiat and everything. We all went to those clubs, that’s when hip-hop was more underground. The arts and hip-hop really partied together. But when art started becoming part of the gallery, it was this separation.” He effectively diminished that separation this summer.

Society has always needed moments like this, when artists redefine the assumed parameters of what constitutes art.

Some wondered if this performance qualified, or if it was just a high-concept version of a rap video. But if the purpose of art is, as Tolstoy said in his essay “What Is Art,” to infect the viewer with the emotion that moved the artist who expressed it, then surely this must qualify—the theme of the song’s lyrics and the performance itself is about the convergence of the worlds of art and hip-hop.

In this Arts and Culture Issue, we look at another artist who pushed the boundaries of his time, Donald Judd; how 22 QUEST

public art works in New York City have prospered thanks to Mayor Bloomberg; a photographer who happened to capture one of history’s most famous movie stars for the last time; and more people and moments that impact our culture. And we'll be keeping an eye out for the next unexpected spiritual descendent of Picasso's. X

Lily Hoagland

ON THE COVER: The interior designer Mario Buatta, otherwise known as the “Prince of Chintz.” The portrait comes from his new book, Mario Buatta: Fifty Years of American Interior Decoration (Rizzoli), which looks back on the lavish décor he has designed throughout his long career.

Correction: In our August issue, we credited Dominick Lombardi for “Long-Term Opportunities in a Fragile Market” in our Money Matters section. Greg Leo was the author.

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D AV I D PAT R I C K C O L U M B I A

David Patrick Columbia

NEW YORK SOCIAL DIARY SUMMER HAS passed and September begins the autumn social season in New York.

It’s “back to school” and, for the fashion industry and the New York philanthropies, it’s the big push. The season now officially starts with the

Couture Council of the Museum at the Fashion Institute of Technology’s benefit luncheon on the promenade of the David H. Koch Theater at Lincoln Center.

The luncheon also unofficially opens Fashion Week,

which is centered right next door in the big Mercedes-Benz venue set up in Lincoln Center between the David H. Koch Theater and the Metropolitan Opera House.

The Couture Council formed in 2004—the brain-

child of the museum’s director Dr. Valerie Steele in order to develop support for the museum. Shortly thereafter, Liz Peek (a board member of the museum) had the idea of staging an awards luncheon to raise funds for

C O U T U R E C O U N C I L O F T H E M U S E U M AT F I T H O N O R E D M I C H A E L KO R S

Yaz Hernandez and Liz Peek 24 QUEST

Carol Mack

Iman

Michael Kors and Patti Hansen

Hilary Swank

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Simon Doonan and Valerie Steele

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D AV I D PAT R I C K C O L U M B I A N E W YO R K P H I L H A R MO N I C ’ S O P E N I N G N I G H T AT AV E R Y F I S H E R H A L L

Steven Heyer, Lauren Buccellati and Peter May

Bobby and Phoebe Tudor, Noreen and Ken Buckfire and Gabriela and Antonio Guintella

the museum’s work.

The first luncheon was held in 2006 at Brasserie 8 1/2, the popular restaurant on the subterranean level of 9 West 57th Street, just off of Fifth Avenue. It was a small affair, but it was a hit.

The following year, they decided to expand the guest list and move over to Lincoln Center. A couple hundred guests were invited and a tradition was established. An award for “Artistry of Fashion” was created, and has been bestowed annually. Since then, the award has been presented to Karl Lagerfeld, Oscar de la Renta, Alber Elbaz, Valentino Garavani, and, this year, Mi26 QUEST

chael Kors.

With the Couture Council’s success—now boasting a membership of more than one hundred women—the instittuion is dedicated to supporting the museum, a highly specialized institution of fashion that is destined to become the greatest in the world.

The luncheon itself brings out the largest crowd of fashionable women and tastemakers in the city with a synergy that has come to enhance Fashion Week. This year’s luncheon chairs were Kamie Lightburn and Jieun Wax. Among the guests attending were Lauren du Pont, Linda Fargo, Vanessa Getty, Pat-

Karen LeFrak

Carol Lowenthal

Daria Foster and Alan Gilbert

ti Hansen, Iman, Karolína Kurková, Aerin Lauder, Sandra Lee, Crystal Lourd, Alexandra Richards, Theodora Richards, Renee Rockefeller, Jamie Tisch, Elisabeth von Thurn und Taxis, Elettra Wiedemann, and Anna Wintour.

Dr. Joyce Brown, president of FIT, announced the 2013 Michael Kors Scholarship winner to third-semester student Kim Nguyen. The scholarship includes time studying in Europe, which is something that Michael Kors believes to be immeasurably important to the development of a successful fashion designer—as Dr. Brown pointed out. Then, Liz Peek introduced Hilary

Christopher and Anne Flowers

Swank, who presented the Artistry of Fashion Award to Michael Kors.

Mr. Kors, who is enthusiastically forthright and frank about himself, reminisced briefly about his time as a student at FIT, including what he thought of fashion design before he entered the field, and what he learned (to the contrary). He was very amusing in describing the variety of clothes (or costumes) that he wore as a design student, sentimentally poking fun at some of his outlandish getups and concluding that good things can come out of that phase of a designer’s development.

L I N S LE Y L I N D E K I N S ; J U L I E S K A R R AT T

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D AV I D PAT R I C K C O L U M B I A Also in attendance were Amsale Aberra, Reem Acra, Marc Anthony, Iris Apfel, Nina Arianda, Fabiola Arias, Glenda Bailey, Dennis Basso, Cathie Black, Andrew Bolton, Hamish Bowles, Geoffrey Bradfield, Mario Buatta, Robin Burns-McNeill, Sharon Bush, Lisa Cashin, Kathryn Chenault, Barbara Cirkva, Suzi Cordish, Christina Davis, John Demsey, Carole Harting, Simon Doonan, Fe Fendi, Amy Fine Collins, Joele Frank, Ron Frasch, Nina Garcia, Michele Gerber Klein, Marjorie Reed Gordon, Jamee Gregory, Audrey Gruss, Cornelia Guest, and Agnes Gund.

Wait, there’s more: Sharon

Handler Loeb, Patti Hansen, Amanda Hearst, Celia Hegyi, Yaz Hernandez, Judith Hoffman, Chiu-Ti Jansen, Kimberly Kassel, Mariana Kaufman, Eleanora Kennedy, Coco Kopelman, Karen LeFrak, Leonard Lauder, Alexandra Lebenthal, Larry Leeds, Heather Leeds, Petra Levin, Jaqui Lividini, Carol Mack, Julie Macklowe, Fern Mallis, Grace Meigher, B Michael, Gillian Miniter, Natalie Morales, Josie Natori, John Pomerantz, Ann Rapp, Darcy Rigas, Muna Rihani al Nasser, Judith Ripka, Sheryl Schwartz, Pete Scotese, Jean Shafiroff, Nancy Shaw, Michelle Smith, Martha Stewart, Diana Taylor, Annette

Rickel, Lizzie Tisch, Barbara Tober, Zang Toi, Stefano Tonchi, John Truex, Kay Unger, Bronson van Wyck, Robert Verdi, Stephanie Winston Wolkoff, Sarah Wolfe, Whitney Wolfe, and Prince Dimitri of Yugoslavia.

The following week, at Cipriani 42nd Street, New Yorkers for Children hosted its 14th annual Fall Gala honoring Nicholas Scoppetta and benefiting youth in foster care.

Mr. Scoppetta has been in public service for most of his life. New Yorkers have known him as the Fire Commissioner, as well as the former Commissioner of the Administration of Children’s Services, a former Deputy Mayor and Com-

missioner of Investigation for the City of New York, a Counsel to the Knapp Commission, Assistant U.S. Attorney for the Southern District of New York, and more.

What is remarkable about Mr. Scoppetta is that all of that isn’t the half of it. His path in life led him to affect the lives of thousands and thousands of children in foster care toward brighter, more sustainable, stable lives of personal achievement and accomplishment.

Not a few of them were in the room that night.

He was born on the Lower East Side in 1932, the youngest son of Italian immigrants struggling in the Great Depression. When he was four

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D AV I D PAT R I C K C O L U M B I A years old, his parents turned him and his two older brothers over to the city’s foster care.

Initially, the boys stayed in a shelter on 104th Street, but then they were separated.

About a year later, they were reunited by chance in a dentist’s office. It was his brother Tony who recognized the then five-year-old Nicholas.

Eventually, the three Scoppetta boys ended up in a group home in the Bronx called Woodycrest, which is now an AIDS hospice. Woodycrest, Mr. Scoppetta recalled in the recounting of his early life for the audience, was a saving grace for the child.

That time—between leaving his parents’ hearth and care

and moving to Woodycrest in the Bronx—was deeply difficult for the little Nicholas, who is still remarkably touched by the memories more than seven decades later. Being with his brothers, and living in circumstances where he was cared for and felt cared for, was an enormous relief. When he was 12, in 1944, the brothers were reunited with their parents.

We hear about foster care but, if we haven’t personally experienced it, we don’t know about the emotional impact it has on an already painfully deprived, entirely dependent child. The chain of events for children who become the ward of foster care is traumatic, without exception, no mat-

ter the circumstances that lead to it. Being separated from one’s sibling is the final act of abandonment. To us, it is a legal term, a process, and an institutional umbrella for what is in stark reality. It’s a deeply troubling sentence for any child that he or she will carry throughout his or her life.

Furthermore, many children in foster care are placed there by law enforcement because of horrendous abuse, negligence, and poverty. They are already beaten down before they are fully formed.

Unless reminded, we can easily forget or ignore how defenseless all children are in an abusive and neglectful household, or in a sea of in-

stitutional care devoid of love and affection—not to mention the inevitable sense of futility that must smother them. Most adults cannot handle such circumstances without deep suffering. Children surviving despite it: nothing but miraculous.

Nicholas Scoppetta, however, had the natural fortitude, assisted by the care of those looking after him and his brothers at Woodycrest, and eventually gained an abiding sense of family. He graduated from high school in 1950, served in the Army for two years, and (with the G.I. Bill) graduated at 26 in 1958 with a degree in Civil Engineering.

The following year, he won

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a New York State Regents Scholarship and attended Brooklyn Law School at night.

During the day, he assisted in the investigation and prosecution of cases in which children had been abused and neglected. In 1962, he graduated from law school and his path, as we can see in retrospect, was laid out for him.

He told us at the New Yorkers for Children dinner that, when he was a young man in foster care, few children ever made it to college with less than two percent of them graduating. Today, 90 percent of the children in foster care who attend college via New Yorkers for Children’s 32 QUEST

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Guardian Scholars program graduate. Not a few people believe that Nicholas Scoppetta’s personal experience and his vision of what could be possible has made that difference.

At the dinner he also reminded those of us who have never realized, or have forgotten, that all of us need meaningful personal relationships to succeed in life.

The gala, attended by several hundred, is now a major social and philanthropic event in New York. Scoppetta, along with Susan Burden and their volunteers, have created an organization that has raised and distributed more than $50 million since 1996 to benefit

youth in foster care. The evening is now traditionally hosted by those exceptional young people whose lives have been changed because of their involvement in the organization.

The difference, as one of the student hosts reminded the guests, is, “No one becomes someone without anyone.”

New Yorkers for Children provides that “anyone” and many “someones.”

It’s a heartrending and joyful evening, energized by the enthusiasm of its supporters.

Gala chairs were Donya and Scott Bommer, Susan Burden, Vanessa and Henry Cornell, Oscar de la Renta, Beth Rudin DeWoody, Lise and Michael

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Evans, Deborra-Lee Furness and Hugh Jackman, Susan and Tony Gilroy, Erika and Kevin Liles, Dayssi Olarte de Kanavos and Paul Kanavos, Candice and Scott Posner, Kelly and Jay Sugarman, and Lauren and Justin Tuck.

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D AV I D PAT R I C K C O L U M B I A Benedict, Alina Cho, Susan Shin, Debbie Bancroft, Nicole Esposito, Pia and David Ledy, Stephanie Winston and David Wolkoff, Amanda and Jonathan Ellian, Julie Macklowe, Zang Toi, Martin and Jean Shafiroff, Gillian and Sylvester Miniter, Jay Diamond and Alexandra Lebenthal, Muffie Potter Aston, Tatiana and Campion Platt, Geoffrey Bradfield, Eric Brettschneider, and John Demsey.

Jamie Niven, executive vice president of Sotheby’s, conducted an auction. This year marked the 10th anniversary of the Spirit Awards: a $10,000 scholarship awarded annually to a young person in foster care. North Shore LIJ Health

System sponsored two Spirit Awards in honor of the occasion and the evening raised $1.2 million for the cause.

New Yorkers for Children works in partnership with the Administration of Children’s Services to improve the prospects of children supported by the child welfare system. It supports programs promoting paths to stable adulthood through education and sustainable relationships with caring adults. There are nearly 13,000 children in foster care in the city today, and New Yorkers for Children is committed to providing them with the essential tools to become successful, self-sufficient adults.

The other side of the coin.

One weekend last month, I happened upon The Decline and Fall of the British Aristocracy by David Cannadine.

I’ve owned this extraordinary book for years—for so long that I am in the possession of two copies, one more recently published. (It was originally published in hardcover in 1990.) It’s a tome at 600 or 700 pages.

Mr. Cannadine is a scholarly writer. In order to achieve what he has, you have to pour yourself into the thicket of information about a world, a way of life, a point of view that is unimaginable to us Americans (or anybody else, for that matter). It’s jammed with facts

and information detailing an epoch. In fact, I’ve never finished it. I just go back every now and then, usually because I’m curious about something.

The British aristocracy in its 19th-century heyday at the height of the Industrial Revolution with old Queen Victoria presented a way of life that is still imitated, though, perhaps, in a kind of “faux” way. Maybe now more than ever. Nowadays, the plutocrats have their fantastic and fabulous lairs and estates, yachts and jets—greater than anything, technologically, than the British aristos could even have imagined.

However, back then, they lived on a different planet

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A proposal to build a visitors center at the Breakers (photographed circa 1905) has stirred a debate in Newport, Rhode Island.

and they lived well. So well, in fact, that when Americans see depictions of that way of life, such as “Upstairs, Downstairs,” Brideshead Revisited, or “Downton Abbey,” we swoon.

Of course, it wasn’t exactly what it’s cracked up to be, in retrospect. As all good things come to an end with one sundown or another, so it was for the British aristos a century and more ago.

The Decline and Fall of the British Aristocracy is a riveting account about the evils of plutocracy. It is well summed up by this quote by Arthur Ponsonby, 1st Baron Ponsonby (1871–1946). Ponsonby was a British writer, politician, and social activist (as well as the third son of Sir Henry Ponsonby, the long-devoted 36 QUEST

A cartoon from 1897, depicting a carnival at “The ‘Breakers’ Coolest Pleasure Resort in Newport”

private secretary of Queen Victoria).

Ponsonby wrote in The Decline of Aristocracy, published a century ago in 1912: “The manipulating of interests, the juggling of the money market, the mania for speculation, the creation of false money standards, the international syndicates of financial adventures to which governments have become a prey, the control of the press, the ostentatious benevolence of millionaires, and the brutalizing effect of the pursuit of wealth.

(Ponsonby, I should add, is best remembered for a line in a book he wrote called Falsehood in Wartime: Propaganda Lies of the First World War in 1928: “When war is declared, truth is its first casualty.”)

The tales of the house. The

Inside the home, which was constructed

by Cornelius Vanderbilt II from 1893 to 1895

New York Times reported last month on a public “squabble” going on in Newport over a proposed commercial building on the property of one of the city’s National Historical Landmarks, the Breakers, which was the summer residence more than a century ago of Alice and Cornelius Vanderbilt II and his family. The house has been open to the public for decades now with the property kept as it was when the family owned it and occupied it entirely. The argument against building a “visitors center” (and selling food) invites all kinds of commercial downside.

All these decades later, the Breakers is a major tourist destination. Last year, more than 400,000 visited the 70-room, 65,000-square-foot mansion

set on 13.5 acres overlooking the Atlantic.

The house was built between 1892 and 1895 at a time when the U.S. dollar was worth a dollar and not the two cents that it is today. It was a time when much of America was farmland or thereabouts, with cars (which were still called “machines”) being few and made only for the wealthy.

There were no telephones or electricity for most Americans outside the cities.

The Breakers’ owner, Cornelius Vanderbilt II, was the eldest of Maria and William Vanderbilt’s eight children, as well as the namesake of grandfather Commodore Cornelius Vanderbilt, the first American transportation tycoon. Grandfather was a legendary tough number who made (and kept)

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D AV I D PAT R I C K C O L U M B I A several fortunes.

When he died in 1877, the Commodore was the richest man in the world. His son William inherited about $80 million (or at least 100 times that in terms of the spending power of today’s dollar) but the Commodore left comparatively little to the other children.

His favorite grandson, Cornelius II, who was 34, inherited $5 million, which is like $100 million in today’s dollars.

William H. Vanderbilt lived only another eight years after his father but, in that time, he had doubled the fortune. In his will, he left approximately $65 million each to his two eldest sons: Cornelius II and William K. (always referred

to as Willie K.) And, like his father, he left substantially less to his other two sons and four daughters, though he left them all rich.

Those numbers seem small by today’s standards where people can pay that much for a house or a yacht, and sometimes more. However, they demonstrate how much greater and more substantial was the currency of the day. The Breakers, completed in 1895 for approximately $12 million, couldn’t be duplicated in 2013 for less than several hundred million, if that.

Young Cornelius II married his wife Alice Claypoole Gwynne when he was 24 and she was 22. They had met at

St. Bartholomew’s Episcopal Church in the city, where they both taught Sunday school.

They were a pious couple, as was the idealized fashion for Society in those days. They attended church regularly and contributed generously to the institution. Cornelius early on developed the habit of giving to charity, to the poor, to the Red Cross, and to the Salvation Army. As he grew older, his contributions increased to a healthy percentage of his income.

In the last quarter of the 19th century, the Vanderbilts were newly social in “Old New York.” Mrs. Astor reigned supreme and the Vanderbilts were considered “nouveaux.”

However, Cornelius and Alice were young, proper, and lived quietly. Their first child (Alice Gwynne) died in childhood at age five. Their second (William II) died of typhoid fever at age 12. The surviving five— Cornelius III, Alfred Gwynne, Reginald, Gertrude, and Gladys—lived to adulthood.

The couple was never flamboyant in conduct or behavior. That said, after Cornelius came into his larger fortune, he and Alice were bitten by the trend for space and grandeur around their house.

But this sort of modesty was true of all of the grandchildren of the Commodore. William H. had lived fairly modestly in Staten Island for most of his

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D AV I D PAT R I C K C O L U M B I A life until his father bought him a townhouse in Manhattan. It was only after the Commodore died that he built the huge double mansion occupying the whole block of Fifth Avenue between 51st and 52nd streets.

Soon after, all eight of the offspring were building mansions of varying size.

It had been the wife of Cornelius’ brother Willie K., Alva, who really set the tone in the family for building palaces.

In 1882, she and Willie K. moved with their two children Consuelo and Willie K., Jr. into the “Petit Chateau” at 660 Fifth Avenue, right across 52nd Street from the more senior Vanderbilts. Designed by Richard Morris Hunt under

Alva’s direction, it set the fashion for brownstone New York to be replaced by limestone façades. Alva, a Southern belle from Alabama and an evacuee (hardly a refugee) from the War Between the States, had the eye for drawing attention to herself. She had drive for a rightful place (the top) in society. In 1883, her “housewarming” ball established Alva Vanderbilt as a force in the very established society of Mrs. Astor.

That same year, 1883, Cornelius and Alice moved into their mansion, designed by George Post, on the northwest corner of 57th Street and Fifth Avenue. Alice and Cornelius Vanderbilt, who disdained

their sister-in-law’s “public” notoriety, couldn’t resist showing up at the “competition.”

After their big house on 57th Street was completed and occupied with their seven young children, a need arose to make it bigger.

Eventually, the expansion of One West 57th Street covered the entire block to 58th Street.

Richard Morris Hunt was also brought on board. The finished house, the largest ever built in New York to this day, had six stories, with the entrance gallery being five stories high. There were 137 rooms, which included 37 bedrooms, 16 bathrooms, a massive two-story dining room, several salons (one of which was a

watercolor room), a smoking room, and an enormous ballroom. The message was clear for all to see (Take that, Alva!): Power and Wealth presides.

The phenomenon of Vanderbilt residential architecture continued throughout the family into the next generation. Several of the Vanderbilt mansions built in New York in that period (which continued through the early 1900s) are still standing and are used institutionally. However, Alice and Cornelius were definitely the victors when it came to out-and-out grandeur.

Whatever else he possessed, Cornelius II had a taste for what is called, in the architectural parlance, Le Goût Roth-

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schild, which translates loosely to “Rothschild style.” The phrases describes the palaces built by that banking family in Europe in the 19th century: a combination of many styles including Renaissance, 12th-century French BeauxArt, and let’s not forget Victorian.

Cornelius was third-generation Vanderbilt money and, for the duration of his lifetime after the Commodore died, the family fortunes continued to multiply. Several members also had begun summering in Newport, just like their relatives and many of their friends from New York. Again, Alva and Willie K. set the tone for “big-ness” in Newport with the construction of their multimillion-dollar “cottage,” Marble House. Gilded, mirrored, and grand; there was nothing like it.

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Alva was at it again and Cornelius and Alice, who had already been ensconced for years before with their family in a large, Queen Anne-style, brick-and-shingled “cottage” boasting the largest dining room in Newport, were surely piqued by their sister-in-law’s architectural fancies. Their house was large, if not quite as grand, built in 1877 by Boston architects Peabody and Stearns for tobacco heir Pierre Lorillard IV. The family might have stayed happily located there except, in 1892, a fire broke out and it burned to the ground. The experience so troubled Cornelius and Alice that they required a new house built in its place, this time of stone and steel. The furnace for the massive new house was placed in an underground building (which was

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under the front gate) and set more than one hundred feet from the main building.

Richard Morris Hunt was brought in for the project.

The result was a triumph for the architect, as well as for the legend of the Vanderbilts in America. Its interiors were executed by the leading interior decorators of the day: Jules Allard in Paris and Ogden Codman, Jr. (The Codman appointment was the designer’s first big break, a connection made for him by his friend Edith Wharton. It would put him on the map among the wealthy clientele of the time.)

Cornelius Vanderbilt was 52 when his new house was completed. Ironically, he was to have little time left to really enjoy his palace. He had had a reputation for being a workaholic and, in 1896, he suffered a stroke that paralyzed his legs

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and made him a near invalid.

Cornelius Vanderbilt lived only another four years after the Breakers was completed.

He died in 1899 of a cerebral hemorrhage after a second stroke, two months from his 56th birthday. His wife would mourn his death by wearing black for the rest of her life.

Alice and her children continued to use the house almost until the time of her death in 1934, when she left it to her youngest daughter Gladys.

(None of the surviving children—Reginald (father of Gloria Vanderbilt), Alfred Gwynne (grandfather of Wendy Vanderbilt), and Gertrude (grandmother to all the Whitneys and Towers and founder of the Whitney Museum— wanted it or could afford it.)

The wealth of the man who could afford the house was dissipated almost imme-

PAT R I C K M C M U LL A N

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D AV I D PAT R I C K C O L U M B I A diately with the death, as it was divided again and then again over the generations. In the late 1940s, Gladys, now Countess Gladys Szechenyi, who had been living there in summer, leased the property to the Preservation Society of Newport County for a dollar a year. Twenty-four years later, in 1972, the society bought the house, with the proviso that the countess’ progeny would still have the right to occupy the massive third floor.

In a very real way, as it is with so many “great” houses and palaces built around the world, the Breakers was a monument to a single man—in this case, Cornelius Vanderbilt II. He was ennobled by family and friends for his charitable generosity and devotion to

his wife and family, although it would be tested memorably late in his life by his second son, Cornelius III. Young Cornelius, known as “Neily,” educated at St. Paul’s and Yale, fell in love with a pretty young woman in New York named Grace Wilson. Grace and her siblings were known as “the marrying Wilsons.” One married Mrs. Astor’s daughter, Carrie; another married a Goelet (then one of the richest real-estate families in New York); and another married Sir Michael Herbert, brother of the Earl of Pembroke.

The “fancy” connections did not impress Alice and Cornelius II. The father of these children, Richard Wilson, Sr., was a banker from Tennessee

who served on the staff of the Lucius Northrop, Commissary General of the Confederacy. The Commissary General was responsible for the supply chain of food, clothing, and forage to the Confederate armies, especially in Northern Virginia. Northrop was also responsible for supplying the prison camps that held the Union soldiers as prisoners-of-war, such as Andersonville.

For whatever reason, Cornelius Vanderbilt II and his wife did not like the Wilsons and did not approve of their daughter, Grace, as marriage material for their son. Grace had been rumored to have had a brief contretemps (or fling) with the Prince of Wales (later King Edward VII), among

others. This was an age where a bride was expected to be a virgin, and a society in which “climbers” (as Grace was regarded by her future mother-in-law) were persona non grata.

Neily was smitten, however, and the dye was cast. The relationship caused a deep chasm between parents and son with father threatened to disinherit son. Nevertheless, the son ignored his father’s words, and eloped with Grace Wilson, was also three years older than the groom, in 1896.

Coincidentally, it was around that time that Cornelius II had his first stroke.

Neily and Grace (especially Grace) were held to blame.

Three years later, when the father died, he left his second

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EXCEPTIONAL ROUND HILL ROAD PROPERTY | $5,575,000 WEB ID: 0065253 | Shelly Tretter Lynch | 203.618.3103 Beautifully renovated home with all modern conveniences. Large scale entertaining rooms with French doors open to magnificent grounds and gardens.

EXQUISITE COLONIAL, OLD GREENWICH | $5,295,000 WEB ID: 0066803 | Daphne Lamsvelt-Pol | 203.391.4846 Completely renovated 6,000+ sq ft home on an oversized 0.55 level lot with breathtaking landscaping, deeded beach rights. www.36Keofferam.com

COUNTRY CLUB ESTATE IN DARIEN | $2,995,000 WEB ID: 0066769 | Betsy Campbell | 203.618.3113 Amazing 3.65 acres in private association offering, gorgeous in-ground heated pool and waterfall, hot tub, tennis & full basketball court, indoor pool and sauna.

LOC AL EXPERTISE. EXTRAORDINARY RESULTS.

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D AV I D PAT R I C K C O L U M B I A son $500,000 and the income from a trust fund of $1 million.

The bulk of his $70 million estate went to his third son, Alfred, who died 15 years later at the age of 38 in the sinking of the Lusitania.

The marriage of Neily and Grace lasted, if not so happily for him. Eventually, Alice Vanderbilt came around to “accepting” her daughter-in-law (who bore two more Vanderbilts: Cornelius IV [or Cornelius, Jr.] and Grace). Ironically, 30 years later, the same family drama occurred: In 1927, daughter Grace eloped against her parents expressed wishes with a young man named Henry Davis, married in the city chapel and witnessed by a local patrolman.

Like the generation before them, Grace’s parents were outraged. Mother Grace had other ideas for her daughter marital future (for example, Lord Ivor Spencer-Churchill, son of the Duke of Marlborough and Neily’s first cousin Consuelo Vanderbilt). Like her mother, young Grace also had a “reputation” that linked her to several other men, including Prince George, Duke of Kent, son of Queen Mary and King George V. The year 1927 was also a milestone in the family. It was when the big house at One East 57th Street was sold for $7 million to Bergdorf Goodman and demolished. (The gates to the entrance of the house’s

porte-cochère on East 58th Street now act as the entrance to the Conservatory Garden in Central Park at 105th Street and Fifth Avenue.)

Alice Gwynne Vanderbilt bought a “smaller” mansion, the George Gould house further up the avenue, where she lived out her days. She died in 1934.

Her onetime nemesis, Grace Wilson, by that time had moved with Neily into the mansion on Fifth Avenue at 52nd Street, which had been built by Neily’s grandfather, William. The marriage was not a happy one for the groom. Grace Vanderbilt became the Vanderbilt hostess, much to her husband’s boredom and chagrin. She

was famous for her entertainments. Over the years, she played hostess to literally tens of thousands of guests who came to her dinners, her “at homes,” and her major banquets. Finally, in 1943, after the death of Neily, her house was sold and demolished, and she too, like her mother-in-law before, moved to a “smaller” house: the William Starr Miller house. It was a Louis XIII-style townhouse at 1048 Fifth Avenue at 86th Street, now the Neue Galerie.

She left future generations to stand aside and watch the public argue over a proposed “visitors center” (with food) on the grounds of Cornelius and Alice’s famous palace in Newport. X

R A L P H L AU R E N ’ S S P R I N G 2 0 1 4 S H O W AT 5 6 0 W A S H I N G TO N S T R E E T

Dylan Lauren, Jessica Alba and Ricky Lauren 46 QUEST

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Harold Ford, Emily Threlkeld and Matt Lauer

Olivier Sarkozy, Mary-Kate Olsen, Vito Schnabel and Max Baumrin 48 QUEST

Calvin Klein and Donna Karan

Paul de Leon

Ellen Delsener, Patty Smyth and John McEnroe

Ellen DeGeneres

Patty Newburger, Leigh Taub and Katie Holmes

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PAT R I C K M C M U LL A N

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THE MELLON HOUSE – 125 EAST 70TH STREET | 40’ Wide Townhouse Upper East Side | $46,000,000 | WEB ID: 0018793 Paul Mellon, heir to one of America’s great banking fortunes, and his wife, Bunny Mellon, built this extraordinarily beautiful 40’ wide townhouse on a fabled Upper East Side block in 1965. Paul Mellon curated his art collection in the library overlooking the exquisite garden with reflecting pool and gazebo, where Bunny Mellon, designer of the White House Rose Garden and friend to Jacqueline Kennedy Onassis, indulged her love of gardening. The high-ceilinged drawing room and dining room lead to a spectacular, trellised terrace. There are 5 to 8 bedrooms, with flexibility for family, guests, and staff, 8 baths, chef’s kitchen, wine room and elevator. Most rare, however, the house has 3 exposures, affording brilliant sunlight into some of the most beautiful rooms on the Upper East Side.

LOUISE BEIT Senior Global Real Estate Advisor, Associate Broker 212.606.7703 | louise.beit@sothebyshomes.com EAST SIDE MANHATTAN BROKERAGE | 38 East 61st Street, New York, NY 10065 Operated by Sotheby’s International Realty, Inc.

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Markos and Eleni Kounalakis 50 QUEST

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Phoebe Cowles and Robert Girard

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Barbara Brookins-Schneider

Ann Girard and Charlotte Schulz

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D AV I D PAT R I C K C O L U M B I A VA N I T Y FA I R TO A S T E D I T S 74 T H A N N UA L B E S T - D R E S S E D L I S T AT T H E N E W YO R K PA L A C E

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Poppy Delevingne and Misha Nonoo

Mario Testino, Carmen Dell’Orefice and Andre Balazs

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D AV I D PAT R I C K C O L U M B I A FRIENDS OF THE HIGH LINE’S ANNUAL ART DINNER

Lisa Phillips, Sid Bass and Amanda Burden

Edward Norton and Elizabeth Olsen

David Tieger and Kati Lovaas

Don Marron and John Hess

John Waddell and John Hall

John Mack and Susan Hess

Dorothy Lichtenstein and Agnes Gund

STEPHEN AND CHRISTINE SCHWARZMAN FÊTED ANNA NETREBKO’S NEW ALBUM

Anna Netrebko and Gayle King 56 QUEST

Tina Brown and Steve Schwarzman

David Koch, Ghislaine Maxwell and Aby Rosen

Julianna Margulies and Kyra Sedgwick

Christine Baranski and Christine Schwarzman

Kyle MachLachlan

PAT R I C K M C M U LL A N ( A B OV E ) ; PAT R I C K M C M U LL A N ( B E LO W )

Maria Buccellati, Michael Ovitz and Tamara Mellon

D AV I D PAT R I C K C O L U M B I A C O C K TA I L S AT J O H N D E M S E Y ’ S TO A ST I N G C A S I TA M A R I A ’ S F I E STA 2 0 1 3

Daniel and Estrellita Brodsky

Jamie Figg and Alison Mazzola

Sharon Sondes and Geoffrey Thomas

Beth Rudin DeWoody and Jackie Weld Drake

Marc Rosen and Ann Dexter Jones

Aileen Mehle and Christopher Mason 58 QUEST

George Farias and Sharon Bush

Fred and Carol Guest with Rodman Drake

Steven Simon, Blaine Trump and Chris Brown

Carolyn Bryant, John Demsey and Sandra Lee

Deborah Norville and Karl Wellner

PAT R I C K M C M U LL A N

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Elettra Wiedemann and James Marshall

Sarah Jessica Parker, Justin Peck, Prabal Gurung and Olivier Theyskens

Indre Rockefeller

Mikhail Baryshnikov

Frederique van der Wal and Hunter Hill

Claudia Overstrom

A M E R I C A N FO L K A R T M U S E U M H O N O R E D VA L E R I E ST E E L E A N D L U C Y SYK E S AT T H E M I N TO N

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Amy Fine Collins

Monty Blanchard and Rosie Danziger

Elena Kriegner and Janeen Saltman

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Joyce Cowin and Iris Love

PAT R I C K M C M U LL A N ( A B OV E ) ; ; PAT R I C K M C M U LL A N ( B E LO W )

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Eileen Robert and Phyllis Mack

Elizabeth Ann Kivlan and Elizabeth Stribling

Hala Lawrence, Cyrilla Leyland, Cecilia Serrano and Carly Marshiano

Roberty Frye, Brooke Joselyn and Gregory Spock 62 QUEST

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Robert Faust, Sean Turner and Roger Kluge

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Kirk Henckels and Rebecca Mason

PAT R I C K M C M U LL A N

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D AV I D PAT R I C K C O L U M B I A ARTHUR M. SACKLER GALLERY’S RECEPTION FOR “SOME ENLIGHTENED EVENING” IN EA ST HAMPTON

Ann Nitze

Priscilla Rattazzi, Jennifer Isham and Jenny Landey

Katie Ziglar and Pari Bradlee

Ben Bradlee and Jillian Sackler

Joan Tobin, Cornelia Bregman and Ava Roosevelt

Sharon Hoge

Kari and Carl Tiedemann

C O C K TA I L S FO R “ I ’ L L B E YO U R M I R R O R ” E X H I B I T I O N W I T H W O R K S BY A N DY W A R H O L AT T H E T H E N E W YO R K D E S I G N C E N T E R

Barbara Allen and Courtney Moss 64 QUEST

Paul Byrne and Ricardo Ramos

Becca Bull, Tony Freund and Molly Ruprecht

Hamish Bowles and Tom Cashin

Blair Harris

PAT R I C K M C M U LL A N

James Hedges and Michael Bruno

EXCLUSIVE SALES AND MARKETING BY

CALENDAR

OCTOBER

On November 13, the Society of Memorial Sloan-Kettering Cancer Center Associates Committee will host its annual Fall Party, sponsored by Carolina Herrera, at the Four Seasons Restaurant. The evening includes cocktails and dinner. For more information, call 212.758.5700.

2

DANCING ON CLOUDS

Cloud Gate 2, the highly praised dance performance, will show at the Joyce Theater at 7:30 p.m. For more information, call 212.242.0800.

THE REAL DEAL

D&D Building Fall Market and Interiors magazine will present “Owning Design Protecting Original Design in an Age of Knock-Offs” at 979 Third Avenue at noon. For more information, call 212.755.4910.

DEEP BREATHING

LUNGevity Foundation will host its Hope gala at the Pierre Hotel at 7 p.m. For more information, call 240.454.3104.

CELEBRATING SCIENCE

The Rockefeller University Parents and Science Benefit and Lecture 66 QUEST

Dinner will be held at 5:30 p.m. For more information, call 212.840.0888.

3

EXPLORE!

The American Museum of Natural History’s Junior Council will kick off its season with a screening at the museum at 6:30 p.m. For more information, call 212.496.3409.

UNIQUE VISIONS

The International Sculpture Center will honor world-renowned sculptors at TriBeCa Three Sixty° at 5:30 p.m. For more information, call 609.689.1051.

5

DIVINE MUSIC

The Shen Yun Symphony Orchestra will play at Carnegie Hall at 8 p.m. For more information, call 212.247.7800.

8

SING, SING, SING!

New York-Presbyterian and Weill Cornell Medical Center cabaret will take place at the Waldorf=Astoria at 6:30 p.m.

For more information, call 914.235.1490.

DANCE THE NIGHT AWAY

The Career Transition For Dancers will celebrate its 28th anniversary at 131 West 55th Street at 7 p.m. For more information, call 212.228.7446.

HOT OFF THE PRESS

The New Press will host its annual fall cocktail party at 126 Crosby Street at 6:30 p.m. For more information, call 212.629.8551.

9

HOUSTON’S BEST

The Society for the Performing Arts will hold its annual lun-

cheon at Jones Hall Stage at 11 a.m. For more information, call 713.627.8777.

10

ENROLLING STUDENTS

The Young Women’s Leadership Network will host its “Power Breakfast” at Cipriani 42nd Street at 7:30 a.m. For more information, call 212.581.1400.

15

HEALTHY LIFESTYLE

The Skin Cancer Foundation will celebrate its annual gala and award ceremony at The Plaza at 6:30 p.m. For more information, call 212.725.5176.

16

ROMANTIC WRITERS

The Golden Heart Awards will take place at 50 Varick Street at 7 p.m. For more information, call 212.294.8182.

VERMONT ESTATE JAY PEAK

You will feel as if you are on a perpetual vacation.

Beautiful river-front home with fabulous details. A truly remarkable property which comes with a natural wonder: a granite canyon with a falling brook and swimming in crystal-clear water. This property lacks nothing but the creative writer, the artist, or the family of nature lovers. It is comprised of 10 rooms, as well as a separate waterfront guesthouse.

The owner is an engineer, and under his supervision the main house was newly updated and transformed into a space of luxurious country living.

The house comprises of approximately 2,500 square feet and includes a master bedrooom that opens POUP B TUFBN SPPN BT XFMM BT B UIFSBQFVUJD TIPXFS TQB IFBUFE nPPST BOE B +BDV[[J *U BMTP IBT UXP mSFQMBDFT POF JO UIF EJOJOH SPPN BOE BOPUIFS JO UIF MJWJOH SPPN B TPMBSJVN BOE TFWFSBM TQBDJPVT decks that enhance gracious country living. There are skylights throughout the house.

5IF TFQBSBUF HVFTUIPVTF JT UPUBMMZ TFMG TVGmDJFOU $BOUJMFWFSFE PWFS UIF XBUFSGBMMT JU PGGFST B HVFTU USBORVJMJUZ USPVU mTIJOH BOE TXJNNJOH 5IF HVFTUIPVTF DBO CF SFOUFE GPS FYUSB SFWFOVF PS VTFE GPS housekeeping staff.

5IF MPDBUJPO JUTFMG JT NBHOJmDFOU o SFOPXOFE GPS JUT DPWFSFE CSJEHFT BOE RVBJOU JOOT $ZDMJOH UISPVHI the gentle New England landscape is an exhilirating experience. The 3.5 acre property is located a 10-minute drive away from Jay Peak resort skiing, 15 minutes from the Canadian border, and 30 minutes from Burlington International Airport.

A must see and a pleasure to show. Asking price is $629,000

For more information, email angelitavelez65@yahoo.ca or call 514.340.9950 / 514.265.0863 (Angelita or John) Rental option : If interested please call for details.

CALENDAR

OCTOBER NOVEMBER 2

ACCOMPLISHED ARTISTS

The Brooklyn Center for the Performing Arts will kick off its 2013–2014 season. For more information, call 718.951.4600.

6

INSPIRING HOPE

Fountain House will hold its “Associates Fall Fête” at the Racquet and Tennis Club at 6:30 p.m. For more information, call 212.874.5457.

FALL FASHION

Fashion Delivers and K.I.D.S. will host an annual fundraiser at Pier Sixty at Chelsea Piers at 6 p.m. For more information, call 212.921.9070.

7

LADIES WHO LUNCH

On October 19, the legendary Far Hills Race Meeting, a.k.a. “The Hunt,” will take place in Far Hills, New Jersey, at 8 a.m. Each year, the event—a wonderful way to kick off the fall season—hosts a world-class thoroughbred steeplechase that draws over 30,000 spectators. For more information, call 908.234.9115.

PREVENTING HUNGER

Michael Kors will launch a global campaign in support of World Food Day outside of select stores. For more information, call 212.965.0401.

17

RED-LETTER BALL

The 2013 New York Red Cross Ball will be held at 583 Park Avenue at 6 p.m. For more information, call 212.875.2011.

at the Park Avenue Armory at 5 p.m. For more information, call 212.829.0002.

29

ENRICHING EXPERIENCES

The American Federation of Arts’ annual Leadership Awards will take place at the Metropolitan Club at 6:30 p.m. For more information, call 212.988.7700.

30

SHAPING LIVES

The Carter Burden Center will celebrate its annual gala, “Art Works,” at the Mandarin Oriental Hotel in New York at 7 p.m.

Proceeds will help the Carter Burden Center support the efforts of older people to live safely and with dignity. For more information, call 212.921.9070.

The Breast Cancer Alliance will hold its annual luncheon and fashion show at the Hyatt Regency in Old Greenwich, Conn., at 11 a.m. For more information, call 914.763.3843.

8

DIVINE DINNER

The New England Society in the City of New York will hold its annual dinner dance at the Metropolitan Club at 7 p.m. This year’s honorees will be organization supporters Deborah and Charles Royce. For more information, call 212.752.1938.

21

CREATING COMFORT

Moving Families Forward will hold its annual gala benefiting the Ackerman Institute at the Waldorf=Astoria at 6 p.m. For more information, call 914.579.1000.

I LEFT MY HEART...

The San Francisco Garden Club will host its annual fundraiser at the Fairmont Hotel at 10:30 a.m. For more information, call 415.771.0282.

24

ART AND AESTHETICS

The Society of MSKCC will host its annual preview party for the International Art Dealers Show 68 QUEST

On November 8, the New England Society in the City of New York will hold its 2013 annual dinner dance at the Metropolitan Club. This year’s honorees are Deborah and Charles Royce, who will receive the Reginald T. Townsend Award in recognition of their support for historic preservation. For more information, call 212.752.1938.

Dr. Valerie Steele, Director and Chief Curator of

and

the

Congratulate Michael Kors on receiving the 2013 Artistry of Fashion Award

The Board of the Couture Council Joele Frank • Michele Gerber Klein • Anne Goldrach • Carole Divet Harting • Celia Hegyi Yaz Hernandez • Chiu-Ti Jansen • Eleanora Kennedy • Alexandra Lebenthal • Kamie Lightburn Stephanie Loeffler • Laura Lofaro Freeman • Julie Macklowe • Barbara Malone Elizabeth Musmanno • Liz Peek • Nancy Raquet • Darcy Rigas • Valerie Salembier Peter Scotese • Jean Shafiroff • Michelle Smith • Jieun Wax • Sarah Wolfe

H A R RY B E N S O N

IT SEEMS LIKE YESTERDAY SHORTLY AFTER HIS BOOK, which was entitled Memoirs, was published in 1992 I was asked to photograph the legendary David Rockefeller, Sr. Having never met before, I was pleased to find Mr. Rockefeller to be very amenable, very pleasant, and happy to pose, all of which tends to make my job that much easier. I am sure if it had been freezing, he would have laced up a pair of skates and gone ice skating for me at the rink in Rockefeller Center.

Here he is, casually sitting on a ledge at the rink in Rockefeller Center, eating a bagel and drinking coffee, finding the whole experience quite amusing.

A great philanthropist who, at one time, served as chairman and chief executive officer of Chase Manhattan, Mr. Rockefeller’s family has played a major role in the history of New York City. I was pleased to have had the opportunity to photograph the last living grandchild of the legendary John David Rockefeller, Sr., founder of Standard Oil. I have not seen Mr. Rockefeller since our meeting that day, but afterward, he sent me an autographed copy of his book that I am pleased to have. A true gentleman in every sense of the word. X 70 QUEST

David Rockefeller, Sr., in Rockefeller Center, 1992.

TA K I

OF WRITERS AND MEN I USED TO SEE HIM in El Morocco, the

most famous nightclub of its era during the late Fifties and early Sixties. He was a very handsome man with beautifully tailored clothes and impeccable, oldfashioned manners, as well as a heavy drinker. Wine, champagne, and cognac were his drinks, then vodka later in the night. He was always invited to sit in the owner’s table, where only unaccompanied men were permitted, but he was never without female company— and what beauties they were! I had also made the cut early on, but never had the luck of being there when he was there, and

I was too shy back then to go up to him and introduce myself. He was the author of Im Westen Nichts Neues, or All Quiet on the Western Front. Erich Maria Remarque was a prolific novelist, a very rich man who collected Impressionist and other good art as obsessively as he collected women; a man who was snubbed by anti-Nazi writers like Stefan Zweig and Thomas Mann, but one whose sister was beheaded by the Nazis because of her loyalty to him. Remarque had spent three years close to the front, had been wounded three times, and had heroically carried

a comrade who was severely wounded to safety, only to discover his buddy was dead on arrival. His fictional hero, Paul Baumer, does the same thing in his book, just before his own death.

I would bet my bottom dollar that not George W. Bush (certainly not the war criminal) nor liar Tony Blair nor that mini-buffoon, Napoleon-wannabe Nicholas Sarkozy have read many war books written by those who saw combat up close. (Maybe President Barack Obama has and that’s why he’s holding back for the moment, but I doubt it very much. It doesn’t seem to be his style.) When All Quiet on the Western Front came out in 1929, it experienced

P H OTO C R E D I T G O E S H E R E

This page: The scene at El Morocco, where our columnist—and the subject of his column—would spend time; a bottle Léoville Las Cases 1982 (inset).

00 QUEST

TA K I

This page, from left: Erich Maria Remarque, author of All Quiet on the Western Front; actress Greer Garson was among Remarque’s many lovers.

43 separate printings with 1.5 million copies sold in German alone. There were book-club editions in every country in the world and translations in 39 languages, from Afrikaans to Zulu. (The Yiddish version was translated by Isaac Bashevis Singer.) Soldiers from both sides said that the novel included everything, absolutely everything, that they had experienced out there. Perhaps that is why Zweig and Mann had not bothered to answer Remarque’s letters. They wrote fantasies; he wrote how it was. And even back then, winners were not appreciated, especially handsome rich winners who had beautiful women at their beck and call.

Remarque fled from the Nazis in 1933, becoming a haunted, restless, exiled novelist, playwright, and screenwriter over the next 37 years until his death in 1970, aged 72. He was married to Jutta for a while, but he had a string of mistresses today’s lowlifes would sell Aladdin’s lamp for. I’ll drop just a few of them: Greta Garbo, Lupe Velez, Marlene Dietrich, Clare Booth Luce, Sylvia Ashley Fairbanks, and Greer Garson. There were others whose names now don’t mean a thing, but they were beauties of the time.

When did he find the time to write Arch of Triumph, A Time to Love and A Time

to Die, Black Obelisk, and Spark of Life while seducing Paulette Goddard, whom he eventually married and who became his widow. Remarque remained tortured, prolific, and a womanizer all his life, the way writers should be but seldom are. (Today’s American and British lot are neurotic Boy Scouts by comparison, navel-gazing narcissists scribbling about bodily fluids and self abuse.)

When I finished reading about Erich, I took up his opposite as far as taking refuge in nationalism and longing for a more heroic era is concerned. Gabriele D’Annunzio resembled Remarque only in his womanizing, although the latter far outstripped the Italian braggart in looks and overall numbers. Lucy HughesHallet’s biography of the Italian poet is the third one I’ve read, and it has made me revise my opinion of that particular show-off. D’Annunzio fornicated, took lots of drugs, ran up enormous debts, and relentlessly promoted himself. He was, however, a wonderful poet while hobnobbing with the rich and famous.

And he did fight capitalism’s excesses, promoted the country’s dignity, law and order, and economic development.

He was the father of Fascism before Mussolini, although as my friend Andrei

Navrozov wrote in Chronicles: “He was a social climber compared with the likes of whom Cecil Beaton and Jessica Seinfelt resemble a Franciscan friar.”

He sounds trivial, all right, but Nietzsche was his God, turning him most of the time into an egomaniacal fool.

Unlike the German writer, the Italian was a frightful gnome, with no hair and green teeth. And he preached war at all times. That’s why I loved him when I was young, and now love the German’s pacifism. But in today’s egalitarian epoch, with the drab, colorless P.R.-fashioned culture of nobodies, both writers emerge as supermen, their foibles forgiven, their pretensions excused. Imitation is the poor man’s creation, and I’m about to be poor (I am seriously thinking of ordering a new boat), so recently I imitated Remarque and D’Annunzio by going to a chic dinner party at a friend’s house, drinking two bottles of Léoville Las Cases 1982 followed up by a bottle of vodka. The mother of my children discovered me somewhere in the house bleeding from the head. Knocked out cold. The next morning I have never felt better. And have outlived those two already. X For more Taki, visit takimag.com.

OCTOBER 2013 73

QUEST

Fresh Finds

With your purchase from A.BARCLAY, the company

purchases an item of need for a Tanzanian orphanage, meaning you’ll feel even better in this cream and

BY DA N I E L C A P P E L LO AND ELIZABETH MEIGHER

OCTOBER IS National Breast Cancer Awareness Month, and many designers generously show their support by offering some of their proceeds to research. This month, Ralph Lauren Corporation is making a $100,000 donation to its Pink Pony Fund, which supports cancer care and prevention. Let’s all support however we can, especially by thinking pink!

cappuccino cashmere scarf. $525. A.BARCLAY: abarclaydesigns.com.

Reason to celebrate: the Mikimoto 120th anniversary multicolored South Sea and freshwater pearl strand with special-edition diamond clasp in 18-kt. white gold. $33,000. Mikimoto: 888.701.2323.

Everything at the house of

Audrey Hepburn believed

Armani this fall bears

in pink—and so will

a shade of nude, including

you, in this rose quartz

this on-trend leather bag

floral lace dress by

from Emporio Armani.

Carolina Herrera. $3,490.

$975. Emporio Armani: 601 Madison Ave., 212.317.0800.

74 Q U E S T

Carolina Herrera: 954 Madison Ave., 212.249.6552.

“THE GIRLS’ LEADERSHIP PROGRAM AT THE ELEANOR ROOSEVELT LEADERSHIP CENTER IS OFTEN A TURNING POINT IN THE LIVES OF YOUNG WOMEN. THE GIVING BACK FOUNDATION IS THRILLED TO SUPPORT THIS WORTHWHILE ENDEAVOR.” —MEERA GANDHI, CEO AND FOUNDER, THE GIVING BACK FOUNDATION

OPAL SAMIHA G WATE I DANDA D ARIAK N A G IN K ARIELLE

LEXI KENNAR D

CONGRATULATIONS TO THE FOUR 2013 WINNERS OF THE SECOND ANNUAL MEERA GANDHI GIVING BACK AWARDS HELD AT THE GIRLS’ LEADERSHIP WORLDWIDE PROGRAM AT THE ELEANOR ROOSEVELT LEADERSHIP CENTER, VAL KILL, HYDE PARK NEW YORK. THE FOUR YOUNG LADIES RECEIVED GIVING BACK TROPHIES AND HONORARIUMS. GIRLS FROM THE UNITED STATES AND 13 INTERNATIONAL COUNTRIES PARTICIPATED.

PLEASE VISIT

Fresh Finds

Dressed for success: Chelsea placemat ($285) and napkin (22” x 22”, $85) in wintergreen Belgian linen with silver metallic She’ll thank you for the comfort that Madewell denim brings;

thread embroidery. By special order; allow six weeks for delivery. E. Braun & Co.: 484 Park Ave., 212.838.0650.

assorted jeans from $98.50–135. Madewell: 486 Broadway, 212.226.6954, or www.madewell.com.

Musician Dave Matthews and renowned Sonoma County winemaker Steve Reeder introduce a new vintage to their Dreaming Tree portfolio: the 2010 North Coast Crush Red Blend. $15. The Dreaming Tree: dreamingtreewines.com.

It’s a British invastion in Burberry Prorsum’s dark gray stone technical wool jacket and trousers, oxblood and white double-silk longsleeve polo shirt, camel calfskin winklepickers, and cashmere felted scarf. Available at burberry.com.

Give your prep a contemporary tweak with a look from Tommy Hilfiger for fall (top, $299; pant, $249). Tommy Hilfiger: 681 Fifth Ave., 212.223.1824.

Go deep with the 42-mm.

Wempe Zeitmeister Glashutte Sport Automatic Skin Diver’s watch in stainless steel and alligator with ceramic bezel, screw-down case-back, and 42-hour power reserve.

Wempe: 700 Fifth Ave., 212.397.9000.

RALPH LAUREN Pink Pony

Pink Pony is Ralph Laurenâ&#x20AC;&#x2122;s initiative in the fight against cancer.

Our mission is to reduce disparities in cancer care in medically underserved communities and ensure that treatment is available at an earlier, more curable stage.

Twenty-five percent of the purchase price of Pink Pony products will benefit the Pink Pony Fund of the Polo Ralph Lauren Foundation.

TO LEARN MORE, PLEASE VISIT

RALPHLAUREN.COM/PINKPONY

Fresh Finds Easy on the eyes: Kate Spade’s Madina/P/S sunglasses are timelessly stylish with hints of whimsical Kate Spade signature detailing. $158. Kate Spade: At solsticesunglasses.com.

When looking for a stellar addition for your collection, try on the Etoile Beauté Ring from Mauboussin in 18-kt. white gold, white mother of pearl, and diamonds. $5,295. Mauboussin: 714 Madison Ave., 212.752.4300.

Bailey Hat Company, established in 1922 in Los Angeles, has long delivered on quality and craftsmanship. This fall, emulate vintage silver-screen style with this Bailey for J.Crew felt hat in heather carbon. $98. J.Crew: At jcrew.com.

Mark Cross carries you through fall in the city with this Antibes small boho suede and python bag in gunmetal and blue. $2,695. Mark Cross: At markcross1845.com.

The thigh’s the limit in Stuart Weitzman’s iconic 5050 boot, pictured here in topo suede. $598.

Stuart Weitzman: At Stuart Weitzman boutiques and stuartweitzman.com.

Rock a more formal look this fall in Lela Rose’s halter dress with tucked full skirt. $1,895. Lela Rose: Available at Neiman Marcus stores or at neimanmarcus.com.

00 QUEST

Sheer fun: the Morgan necklace by Sheer Addiction in mixed silver and gold metal chains with emerald green rhinestone bead drops. $249. Sheer Addiction: At sheeraddiction.com.

There’s no question: You’ll be sure to fall for the understated luxury of the Stirrup clutch in green from Ralph Lauren Collection. $1,400. Ralph Lauren Collection: At ralphlauren.com.

Get swept away in a chic new look from by SMITH, like this Broome dress in 50 percent silk and 50 percent woven cotton. $340. by SMITH: At shop.bysmithcollection.com.

Shopping for belts is a cinch with Tory Burch, who offers this Split belt in Tory navy, gold, and dark brown, with mirror-like gold-patent detailing. $150. Tory Burch: 797 Madison Ave., 212.510.8371, or toryburch.com.

Roberto Coin’s Martellato flower ring, in They’ll be green with envy over

18-kt. yellow gold

the brand-new Oyster Perpetual

with diamonds, is

Day-Date Rolex with green leather

always in bloom. $4,300.

strap, 18-kt. yellow gold, fluted

Roberto Coin: At robertocoin.com.

bezel, and deployable clasp. $22,150.

Rolex: Visit rolex.com.

OCTOBER 2013 79

T H E N E X T S T E P R E A LT Y

TAKING THE NEXT STEP WITH JASON BRIGGS For the Arts & Culture issue, Jason Briggs of The Next Step Realty chatted with an art collector, a curator, and an executive from a museum in the city.

Together, they advise on how to navigate the art scene in New York—from the perspective of a twentysomething.

2

3 4

5

Become a young member at your favorite museum—the Met has the Apollo Circle, MoMA has the Junior Associates, and the Whitney has the Contemporaries.

Attend the “First Open” sales at Christie’s to see both emerging and established artists. Sotheby’s has its “Midterm” sales in September and its “Morning” and “Afternoon” sales in November and May. And don’t forget Doyle!

6

7

Visit artsy.net and be sure to check out the “Under $1,000” section.

Having a party? Rent artwork from artsicle.com. There’s also tuuum.com, which offers a 10-day trial period—everything is under $5,000 and sold by the artists.

Stay hip by attending Sunday Sessions at MoMA PS1, as well as the Warm Up concert series on Saturdays in the Summer.

8

Spend an afternoon, maybe on a weekend, exploring Chelsea. One of the best websites for information about exhibitions is artforum. com. (Check out chelseagallerymap.com for information about restaurants in the area—you’ll surely need sustenance!)

Two words: art fairs. There are loads in the city, from the Affordable Art Fair in October to the Armory Show in March. Also, the IFDA Print Fair in November or the AIPAD Photography Fair in April. Photographs and prints are often the most affordable items...

Get on MoMA’s PopRally mailing list to learn about events that feature collaborations between artists and musical acts, performances, film screenings, receptions, and special viewings. Also, check out the Guggenheim’s Art After Dark events on Fridays for members and their guests.

Clockwise from top left: “Anthropometry 6” (2013) by top-choice artist Richard DuPont, whose work is priced from $5,000 to $250,000 (richarddupont.com); a print by Andy Warhol from top-choice gallery Philip Williams Posters, which houses 300,000+ antique posters and prints (postermuseum.com); an event at top-choice organization Independent Curators International, or ICI, which hosts 50 or so free events per year—on November 19, ICI will honor Miuccia Prada and Germano Celant of the Prada Foundation at its annual benefit and auction (curatorsintl.org).

80 QUEST

CO U RTE S Y O F T H E N E X T S TE P R E A LT Y

1

ROBERTA.McCAFFREYREALTY Garrison • Cold Spring, NY • 60 Mins NYC

Westchester,Putnam,DutchessMLS

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GARRISON, NY  This beautiful open and spacious contemporary, built in 1984, offers wonderful natural light and large open spaces designed to integrate with its surroundings. Features include walls of windows, fireplaces in the living room, family room and office/ den, central air conditioning, and 2 car garage. Situated on 3.4 acres on a private country road, this home is an ideal full-time or weekend retreat. Offered at $799,000.

HIGHLAND FALLS, NY Beautiful historic home just outside the West Point Military Academy. This fully restored 1834 home, originally owned by infamous West Point tavern owner Benny Havens, retains many original details, including 9 working fireplaces and a working brick oven in the tavern basement. With 6-7 bedrooms, 3 baths, and over 3500 square feet this home offers many possibilities and is truly a must see! Offered at $725,000.

Member of Westchester/Putnam, MLS • Mid-Hudson MLS (Dutchess County) Greater Hudson Valley MLS • (Orange, Rockland, Ulster, Sullivan Counties) For more information on these and other listings, many with full brochures and floor plans, visit our website: www.mccaffreyrealty.com

ART

PAINTING THE SOCIAL ESSENCE HANGING PROMINENTLY IN my Brooklyn loft, in a place where it is really never out of one’s sightline, is a portrait of a London building: 10 Curzon Street, actually, as identified by a sign that reads “G.Heywood Hill/Old and New Books.” This is a bookshop, owned then by Andrew, 11th Duke of Devonshire, now by his successor Peregrine (a.k.a. “Stoker”), which in its day (and mine) was the epicenter of a kind of civilized, lower-key London life that seems no longer to be in vogue.

The painting was made for me on commission in 1988 by Julian Barrow, an artist with an uncanny gift for capturing a sense of place. There’s an amusing sidebar to this painting: On the day Julian set up his easel in Mayfair, the sign identifying the bookshop was out for refurbishment. When the picture was delivered to me in New York, there was nothing to distinguish this shopfront from hundreds of others in London. But he quickly set this right. During his next visit to Gotham in connection with one of the regular showings of his work, first at the much-lamented Coe Kerr Gallery and then at W.M. Brady & Co., he took back the picture for a day and voila!—there was the sign.

Julian Barrow died suddenly at the end of this past summer at the age of 74. He took with him not only fond memories of decades of cordial acquaintance, as in my case, but of close, loving relations with old friends and family. He was a rare spirit and a fine artist.

He was also unique among “gentleman artists,” which I think one might fairly call him, hastening to add that my using this in no ways connotes amateurishness in the slightest degree. I have known a fair number of the species. Many were fine gentlemen, but lousy artists. Rembrandts of the powder room, you might say. With others it was the other way round. Julian, along with Henry Koehler, who among contemporaries might be called his American counterpart, was terrific at both. When I think of artists like these, it is hard not to think of John Singer Sargent, whose Chelsea studio Julian occupied for close to a half-century, greatly talented and utterly at home in the world.

To some extent, his work reflects his upbringing. As is also true of certain writers, having grown up inside the world he spent his life depicting, he understood it from within, grasping 82 QUEST

instinctively how it liked to see itself—what Auberon Waugh called “its social [...] essence”—as well as how it looked to the outsider’s eye. He had a rare talent for getting his subjects, whether persons, places, or things, exactly right. It didn’t matter whether he was painting a country, a New York cityscape, a portrait of a family or an individual, a conversation piece, or the interior of a London club—his subjects show not only at their best, but as they are. He especially had a gift for capturing and organizing the effect of light; had his gifts taken him in another direction, I think Julian would have prospered as a lighting designer for the theater.

There’s another aspect of Julian Barrow’s art that with time will grow to be appreciated more than it perhaps is now. It is wonderfully well-made. I put this down to the time he spent at the beginning of his career working as a restorer at, among other places, the National Gallery. My own painting is as fresh after almost three decades as it was when I got it.

In person, Julian was as he painted: supremely companionable. To make a great noisy, operatic splash in the art world or around a dinner table was never his aim.

His collectors are people who mainly want to own his paintings for the good company they are, not as signifiers of net worth. There are aspects that evoke the same reaction that, say, certain stories by John O’Hara do, certain passages in Anthony Powell, certain 19th-century oil sketches and small Dutch landscapes—something that a certain kind of art always does, I expect: a modest yet exact and meaningful enrichment and illumination of familiar corners and rooms, places and faces one’s known, the color of light on sandstone, a sitter’s sense of self.

Did Julian Barrow make great art? I suppose he didn’t, not if greatness is denoted by the number of zeroes on a gallery or auction-house invoice, or the pontifical musings of art historians.

Taken as a whole, however, his work will furnish posterity with a record of a certain time when everything seemed less clamorous.

There’s something immensely valuable and, in its way, comforting in that, to have captured with such skill the way it was, the way we were. We will miss him. X

CO U RTE S Y O F W. M . B R A DY & CO . ; R I C H A R D C A S P O LE

BY MICHAEL M. THOMAS

This page, clockwise from top left: Julian Barrow’s oil painting of the Pont Neuf in Paris; “Spring Morning, The Mall,” (2010); boats parked in front of the Santa Maria della Salute in Venice, Italy; the interior of Grand Central Terminal in New York City; St. Peter’s Square, the plaza in front of St. Peter’s Basilica in Vatican City; “East 70th Street,” (1996) depicting that particular slice of Manhattan; Shepherd’s Market, a small square in the Mayfair area of central London. Opposite page: The late Julian Barrow painting the Harkness tower at Yale.

MEETING PETRAEUS

BY CHUCK PFEIFER

PFEIFER: General, what do you project will happen in five years in Tunisia, Egypt, Libya, and Syria?

PETRAEUS: To answer that, you obviously have to analyze the situation in each country. Tunisia’s government is relatively Islamist, but there is a significant secular opposition, to which the leadership listens. The process seems to be working reasonably well. In Libya, the militias, which were not demobilized after the takedown of Kadafi’s regime, have become problematic for the central government. The government should have a monopoly on the use of force, but the militias are exercising those responsibilities, which is a real challenge. Egypt’s government has, of course, just been ousted, after the elected leaders from the Muslim Brotherhood proved very inept in guiding the country and repeatedly sought to accrue greater and greater power and to Islamize the government and constitution. The army, with a relatively secular group of political leaders, has taken over from the Muslim brothers and become actively supported by the Saudis, the Emiratis, and the Kuwaitis, and the Muslim Brotherhood has been outlawed. The challenge will be to make the economic reforms needed, without creating social unrest and without sparking terrorist or insurgent activity by the Muslim Brothers and others.

CHRISTMAN: Is the true operational dilemma in places like Afghanistan how to help the countries facing insurgencies perform the desired and needed tasks without getting heavily involved on the ground?

PETRAEUS: That is the dilema; however, I don’t believe there was an alternative to what we did in Afghanistan. The core objective was to prevent Al-Qaeda from reestablishing the kind of sanctuary it had when the 9/11 attacks were planned there. The only way to prevent that is to enable the Afghan government to secure its country well enough to keep Al-Qaeda 84 QUEST

from coming back. That is what we endeavored to do when the president set out the surge component of the Afghan campaign.

PFEIFER: Who, other than the United States, has the best military in the world today?

PETRAEUS: A number of countries have very fine capabilities.

Several of our NATO partners, for example. In the far-East, Chinese capabilities are growing steadily, the Korean military is superb and the Japanese are very impressive, though limited in what they can do by the Japanese constitution. The challenge is that many countries are reducing their defense budgets and that is true of a number of our NATO partners.

MEIGHER: As you are one of the more revered and visible military figures of this century, will you adopt your military training into the private sector and integrate your leadership skills within KKR? PETRAEUS: I am very fortunate to be in a position doing what I have long done, staying current on what’s going on in the world and translating that for others who make decisions on the basis of what is relevant. The partners at KKR have a keen interest in world events, and an even keener interest in what that means for a variety of business-related activities. Keep in mind, also, that I did graduate work in both International Relations and Economics, in an interdisciplinary program at the Woodrow Wilson School at Princeton, where I got my Ph.D. I later taught International Relations and Economics at West Point, and I am now leading an honors college seminar at CUNY. The topic of the seminar is a question: “Are we on the threshold of the North American decade?” The genesis of that question dates to my last job, when we looked at the extraordinary opportunity facing our country and our North American Free Trade Act partners.

MEIGHER: I know that both political parties, and especially Quest readers, are interested in whether you would serve your country in a political capacity—a question you have very circumspectly avoided.

PETRAEUS: I was not being coy when I tried every Shermanesque way possible to say no to that for a variety of reasons. One, my family, and particularly my wife, was very opposed; two, I really didn’t have the fire in the belly; and three, I’m not sure my views fit the base of either party. As you know, national primaries are won by the base after which the candidate races back to the center to try to win the election. So I never really seriously considered

L I S A C RO S BY

ON OCTOBER 10, General (Ret) David Petraeus granted Quest an interview in his office at KKR in Manhattan, where he presently works. For the interview, I requested that Quest’s publisher, Chris Meigher, and Lieutenant General (Ret) Dan Christman join me. I am a West Pointer, like both Christman and Petraeus, and was a Special Forces Officer who commanded in Vietnam. Christman and Petraeus both earned graduate degrees from the Woodrow Wilson School at Princeton University. The following is an excerpt from the interview:

PROFILE General David Petraeus, who sat down with Chuck Pfeifer, as well as Lieutenant General Dan Christman and Quest’s Chris Meigher, to discuss the nation and more.

seeking political office, although certain people encouraged me to do so. I have always been very clear that I would not seek, nor would I accept. In fact, I finally starting quoting a wonderful country song by Lorrie Morgan: “What About No (Don’t You Understand)?”

PFEIFER: Would you comment on leader development and how to cultivate strategic thinkers?

PETRAEUS: That is a great topic, and one relevant to firms like KKR in which the founders started out as exceptional entrepreneurs and then had to evolve into managers as their firm has grown. When asked about strategic leadership, I have outlined a framework that encompasses four key tasks, the first of which is to get the big ideas right. If you don’t get the big ideas right, all else is for naught. Shape and develop the big ideas. Meet and listen to very smart people, and realize that no one in the group is smarter than the all of the members together. The other tasks are to communicate the big ideas effectively throughout the organization, oversee their implementation, and identify ways in which the big ideas need to be refined.

PFEIFER: So, when you talk to people in their twenties who ask for advice on how to best prepare for a strategic leader in the future, like a General Petraeus, what advice do you give?

PETRAEUS: Every case is unique, but I’ve always felt that it is important to go outside one’s intellectual comfort zone. Not just academically, but to seek opportunities to be among people of different cultures, political views, and religions, and learn how governments are run around the world. If you can’t travel extensively, then at least acquaint yourself vicariously with these factors. Also, history can be very illuminating if used properly.

For me, Princeton took me outside my intellectual comfort zone, and the experience proved very salutary.

MEIGHER: We are delighted to have you in Manhattan. Is it agreeing with you?

PETRAEUS: New York is an awesome city. I grew up 50 miles north of her, in the Hudson Valley town of Cornwall, seven miles from West Point, which I later attended. Every time I return to New York, even now, I feel a sense of excitement and urgency pulsing through the city. In my opinion, New York is one of the world’s greatest cities, and I have been in a lot of great cities! X

H E A LT H

INFORMED CHOICES TOP DOCTORS MAKE a difference, and there are two men, both armed with savvy entrepreneurial minds and unrivaled knowledge, who can help you locate the best in your area.

Their names: John K. Castle and John J. Connolly, Ed.D. Their logo: a Doric order column, updated with a caduceus flanked between two Cs facing opposite directions, which has come to represent strength and invaluable advice. Here’s what some users had to say about their services.

Alan Miller writes: “I sought help from Dr. John Connolly, a publisher of Castle Connolly Top Doctors who recommended I see Dr. Audrey Randolph, M.D., who specializes in chronic pain management. Dr. Randolph is my heroine! She proves that sometimes we need more than a single opinion. Knowing how to find the right doctor is something Castle Connolly helped me do.” Carol McBride beams: “Within an hour I had a diagnosis and prescription for physical therapy. Thank you for your perfect referral.” And Hadassah Loeb signs off: “How do I thank you for saving my husband’s life? Something was seriously wrong.

The diagnosis seemed to be clear; it wasn’t. The team you put together and hospital arrangements you organized, virtually 86 QUEST

instantly, were extraordinary. I could never have done this on my own. My husband is now home and on his way to resuming a normal life. The children and I will be forever grateful for the person and quality of life you have given back to us.”

I first met Dr. Connolly in his Flatiron office, an area which is now known as Silicon Alley. I noticed his dark blue worsted wool suit paired with an oxford shirt and Hermès tie as he walked into a conference room. I wondered aloud about how the environment for finding doctors had evolved from when Castle Connolly first started.

In the early 1990s, the concept of consumers needing to find doctors had changed. “[In 1992] we did our first surveys for the New York book, which was called How to Find the Best Doctors in the New York Metro Area,” he says. The Castle Connolly survey methodology at the time, which thoroughly surveyed thousands of doctors and nurses, involved hardmail questionnaires. “We surveyed about 40,000 of them and I got back from those 40,000 surveys about 13 to 14 percent, which is very high for a survey,” he says. “But I also got dozens of negative responses back from doctors saying, ‘This

CO U RTE S Y O F D R . J O H N CO N N O LLY

BY ALEX R. TRAVERS

This page, from top left: Inside Jersey magazine featuring Castle Connolly’s top hospitals of 2013; Castle Connolly’s self-published magazine offering the top doctors in the Arizona area; another Castle Connolly publication for Oklahoma; Top Doctors in the New York Metro Area: Castle Connolly’s

P H OTO C R E D I T G O E S H E R E

comprehensive book on finding the best. Opposite page: John Connolly, Ed.D.

is outrageous. You shouldn’t be doing this. Why don’t you get a real job, Dr. Connolly?’ Five years later, we did 230,000 surveys for our book, America’s Top Doctors, and I did not get a single negative response,” he explains. “In other words, the environment had changed; consumers prevailed.”

Dr. Connolly stressed that he and Mr. Castle founded their company with the goal of helping people find the best healthcare and that continues to be their mission through their books, magazines and website. “The work of the Castle Connolly physician-led research team is to identify through our nomination process those physicians recognized as being among the very best in their specialties and screening those doctors carefully to be assured that is the case,” he tells me.

Excellent physicians, they believe, deliver better care, have better outcomes and, ultimately, not only avoid complications and save lives, but reduce costs for individuals, families and employers. “Unfortunately,” he went on to say, “too many people make these critical choices in a casual fashion or simply do not have the professional knowledge to do it well. That is why Castle Connolly has become such a trusted resource!” X

BOOKS

ALL WHO WANDER GENTLEMEN’S TRAVEL JOURNALS were once the best way to get a feel for faraway lands. The stories, sketches, and memorabilia would give a full tableau of the experiences the traveler had lived abroad. Now, phone snapshots and constant status updates produce an immediate story—but the effect can feel incomplete and usually lacks any serious reflection.

A gentleman of the old school, Billy Rayner, has brought the old tradition back. His two-volume Notes and Sketches: Travel Journals of William P. Rayner (Glitterati) contains vivid accounts of his journeys in North Africa, the Middle East, India, and Southeast Asia. He leads readers through charming little seaport villages like Byblos, where a 22-word phonetic alphabet was developed as early as 1200 B.C.; to the rhino-filled savannahs of Tiger Tops at the foothills of the Himalayas; to the pink city of 88 QUEST

Jaipur, which was painted that color in 1876 when the maharaja welcomed the visiting Prince of Wales. Rayner gives each locale detailed historical context, with watercolors, photographs, and collages explaining what filled his own voyages there.

As beautiful as the places are, Rayner is not blind to their current political and cultural context. “It has been three years since my last visit to North Africa, and since then, uprisings have changed much of what is in my diary,” he says. Some of the calm harbor scenes he painted in Egypt are now likely battered by the recent revolution and its aftermath.

The joy of the book is its nostalgic way of seeing the world and absorbing its wonders. Using pen and brush, Rayner infuses warmth, color, and depth into every story, and gives hope that this medium will be revived once more. X

W I LL I A M P. R AY N E R

B Y L I LY H O A G L A N D

This page, clockwise from top left: View of the marketplace in Calcutta; a study of some of the local leaves from Paro, Bhutan; the breathtaking temple at Angkor Thom; a collection of stamps from Morocco; local women in Bhubaneswar; a pastiche from a night in Madras, India; a lake temple in Angkor Wat. Opposite page: A woman reclining at the Udaipur Lake Palace.

R E A L E S TAT E

IN PART BECAUSE of its wellspring of picturesque towns and old-fashioned fairs, Litchfield County is quickly becoming New England’s premier vacation destination, even though it’s a mere 80 miles from New York City. For Litchfield County residents, cozy taverns and five-star inns are the places of sanctuary, the way intimate dinner parties and leisurely luncheons are respites from city life. Mom-and-pop shopping abounds throughout Litchfield County: New Preston’s antique shops cover the gamut of furniture and artistic styles; the Sharon Audubon is a great place for a stroll; and Washington Depot’s Pantry offers praise-worthy cooking.

Luckily for Litchfield County, there are views and activities to look forward to year-round. In the summer, there are the 90 QUEST

crystal-clear lakes; in the winter, the ski slopes. Fly-fishing in the Housatonic River is a ritual for many, and Salisbury hosts its annual Ski Jumping Championship.

Litchfield County society is additionally known to play host to a very Connecticut tradition: a circuit of country-luxe parties that combine coveted chefs, art-worthy place settings, and amiable guests. How to get on board? We know just where you can host.

Klemm Real Estate has a gem—its 34-acre hilltop estate located in Sharon, Connecticut. The estate’s façade boasts classical features: a gable above the main entrance and two open pediments on each end of the 11-room estate. There’s a sleek, Georgian-like symmetry to its L-shaped composition that is both warm

and inviting; its black paneled door stands ready to welcome you home. Once inside, you’ll find five exquisitely designed bedrooms and an impeccably up-to-date kitchen. The master bedroom suite features French doors, a full bathroom, and walk-in closet. Also included are a home theater, gym, and heated pool. With sprawling views of the west, the estate is a true find. Homes like this are unique pieces that add to the allure of this county, just as individual Sondheim compositions have contributed to musical theater. And, speaking of Sondheim, he’s proud to call Litchfield County home. X Asking $4,995,000. For more information, please contact Graham Klemm at 860.868.7313.

CO U RTE S Y O F K LE M M R E A L E S TAT E

THE LOVELY LANDS OF LITCHFIELD COUNTY

This page, clockwise from left: Views looking west from the estate’s magnificent backyard, located in the heart of Sharon, Connecticut; a heated swimming pool, which complements the yard beautifully; a must for movie buffs: the estate’s screening room; the comfortable living room, located on the first floor of the estate; the master bathroom; another living space; a four-post bed rests in one of the second-floor rooms; a second living space.

Opposite page: The entrance to the hilltop estate, with 11 rooms, seven bathrooms, and over 5,200 square feet.

MARRIAGES

BY ELIZABETH QUINN BROWN

Christie Schiff & Jack Fennebresque MAY 11, 2013 NASSAU, BAHAMAS

Lisa Schiff, the bride’s mother, helped fasten the dress and Chloe Schiff, the bride’s niece, acted as flower girl. The bride carried a bouquet of blush peonies.

The best men were Kim Fennebresque and Quincy Fennebresque, the groom’s father and brother, and the maid of honor was Vicky Pool.

After they were married, the couple took a “mini-moon” to Harbour Island. They will enjoy their honeymoon at Christmastime, skiing in Europe.

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I S A AC A LO N G I

The reception took place at the Lyford Cay Club, where the couple’s first dance was to “The Way You Look Tonight” by Frank Sinatra.

WEDDINGS

MARRIAGES Juliet Izon & Michael Lewin JULY 13, 2013 NEW YORK, NEW YORK

The couple’s first dance was to “Let’s Stay Together”

by Al Green and their “mini-moon” was in Nantucket.

The reception took place at The Plaza, with a cake designed

by Ron Ben Israel.

L I L I A N H A I DA R

Guests were given flip books as favors—they were able to record seven-second videos of themselves that were made into flip books on demand at the reception.

The bride wore a dress by Badgley Mischka and shoes by Jimmy Choo. She carried a bouquet of white peonies.

The best man was Joshua Lewin, brother of the groom, and the matron of honor was Laura Izon Powell, sister of the bride.

OCTOBER 2013 93

MARRIAGES Ann Lawson & George Pettey AUGUST 3, 2013 CHARLOTTESVILLE, VIRGINIA

The bride wore a dress by Modern Trousseau and carried a bouquet of garden roses and hydrangeas.

The wedding took place at Keswick Hall, where the couple’s first dance was to “Tupelo Honey” by Van Morrison.

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The flower girls were Stella Marie Lemmond and Ann Katherine Tyler and the ring bearer was William Harrison Tyler.

The wedding party included best men George Alcorn Coors, John Hilliard Pettey III, and John Hilliard IV and matrons of honor Susan Rebecca Tyler and Elizabeth Helen Nelson.

JNAC ATKU R LO AO L NE EXYP R E S S I O N S

After the celebration, the couple departed for their honeymoon in Italy (Ravello, Rome, and Positano) and Spain (Barcelona and Mallorca).

WEDDINGS

MARRIAGES Abigail Collier & Christopher Buhrman

J U L I A D U R E S K Y A N D C A R R I E B R A D B U R N O F LU C I E N C A P E H A RT P H OTO G R A P H Y, I N C .

APRIL 13, 2013 HOBE SOUND, FLORIDA

The bride wore a dress by Jenny Yoo, a designer suggested by one of her bridesmaids because of the brand’s selection of chiffon dresses.

A motif of sea turtles provided a theme for the wedding, in honor of the groom’s mother, the late Nancy Buhrman Balduf.

The wedding party included best man Taylor Buhrman (brother of the groom) and matron of honor Melissa Staniford (sister of the bride).

The ceremony took place at the Christ Memorial Chapel with a reception on Jupiter Island, where the Jimmy Church Band performed.

The couple’s first dance was to “You Are the Best Thing” by Ray LaMontagne.

After they were married, the couple enjoyed a “mini-moon” in Florida before relocating to Tennessee, where the bride is attending graduate school.

OCTOBER 2013 95

OPEN HOUSE

STEEPLE CHASE FARM LOCATED IN GREENWICH, a stunning, expansive home is the

centerpiece of a 12-acre working horse farm, complete with an eight-stall stable, indoor riding arena, grazing paddocks, run-in sheds, and equipment garage with grooms’ quarters.

Designed by internationally recognized architect Paul Marchese, the house is faithful to the Shingle Style cottages in Greenwich, Newport, and other Gold Coast communities by the renowned nineteenth-century architect Stanford White.

With its relaxed broken symmetry, numerous open verandas, towers, and projecting bays, the home fits gracefully into the open natural site with panoramic views.

The property, which borders conservation land that can never be disturbed, has magnificent two-state long-distance views from the top of the towers in the gambrel-shaped roofs. The home was thoughtfully designed with historical references and to maximize views from every angle. In the true spirit 96 QUEST

of a world-class equestrian estate, the first floor master bedroom affords sweeping vistas and the pleasure of waking up to the sight of horses grazing in the paddocks.

This 2012 HOBI award–winning “Best Custom Home in Connecticut; 10,000–12,000 Square Feet” mixes tradition, an open floor plan, and innovative technology, including spray foam insulation and a geothermal heating and cooling system. There are four bedrooms with full baths, a luxurious first-floor master bedroom suite, gourmet kitchen, private library, workout studio, sauna, wine cellar, family room that also serves as an indoor cabana, four-car heated garage, and oversized pool.

The attention to detail throughout Steeple Chase Farm is beyond compare. This estate really is one of a kind. X For more information, contact Brad Hvolbeck at Prudential Brad Hvolbeck Real Estate at 203.661.5505 or www.prubhre.com.

OPEN HOUSE

This page: Steeple Chase Farm boasts a 20-by-50-foot heated pool (above); the master suite on the ďŹ rst ďŹ&#x201A;oor opens to the veranda (below).

P H OTO C R E D I T G O E S H E R E

Opposite page: An aerial view of Steeple Chase Farm; the barn (inset). The property is located at 429 Taconic Road and is listed for $23.5 million.

MONTH 2013 00

presents

Career Transition For Dancers 28th Anniversary Jubilee

CELEBRATING THEATRE & DANCE In association with MISTY WIDELITZ

Tuesday, October 8, 2013 • 7:00 PM Featuring show-stopping performances from Broadway’s hit shows such as A CHORUS LINE, DAMN YANKEES, TAP DANCE KID, and others Honoring

ANN-MARGRET

With

LIZA MINNELLI

2-time Academy Award Nominee Winner of 5 Golden Globes Emmy Award Winner Grammy Nominee ROLEX DANCE AWARD CAREER TRANSITION FOR DANCERS’ AWARDS

Ann Van Ness • Harlequin Floors

FEATURING

Kelly Bishop

Lynn Cohen

Dule´ Hill

Andrea McArdle

Orfeh

Rosie O’Donnell

Noah Jason Samuels Racey Smith

PLUS SPECIAL PERFORMANCES BY ARTISTS FROM

American Repertory Ballet • Broadway Dance Lab • Cirque du Soleil Dresden Semperoper Ballett • New York Song & Dance Company • Parallel Exit Rosie’s Theater Kids • World Cup Allstar Cheerleading • with Benois de la Danse Winner World premiere from SMASH choreographer Josh Bergasse • and the Jubilee Orchestra Visit careertransition.org for more stars, honorees, and surprises Produced and Directed by Executive Producer

Ann Marie DeAngelo

Alexander J. Dubé

NYCIT YCENTER.ORG CITYTIX BOX OFFICE 212 - 581-1212 131 W 55th St CAREERTRANSITION.ORG PERFORMANCE ONLY TICKETS AT $130, $90, $75, $55, $45 Patron Tickets: $1,200, $750, $600. Tables for 10 start at $7,500. Patron Tickets and Tables include premium performance seating and post-performance “Supper with the Stars,” dancing, and a live auction at the Hilton New York. Contact Marjorie Horne at 212.228.7446 x33; Marjorie@mcevoyandassociates.com, or at careertransition.org. • Group Sales: 718.499.9691 • Photos: Ann-Margret by Michael Childers; L. Minnelli by Ruven Afandor; L. Cohen by Sarah Shatz; A. McArdle by Grace Rainer Long; J.S. Smith by Michael Higgins. • Artists and program subject to change.

28th Anniversary Chairs

Anka K. Palitz • Susan & Stewart Wicht

Official Wine Sponsor

28th Anniversary Jubilee Sponsors

Condé Nast • Dance Magazine and Pointe • Harlequin Floors Sono Osato & Victor Elmaleh • Michele & Ronald Riggi • Ann & William Van Ness

Ginnel Location3

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Visit the Apple App Store or ginnel.com/location3 to download

Sophisticated Hilltop Modern - Perfectly positioned to take in light The Heron Lake House - Long drive to incredible lakefront setting. and distant views. Stunning design by renowned architect Edward Larrabee Barnes. Streamlined façade, clean lines, walls painted in crisp white and virtual walls of windows. Incredible Living Room with Fireplace. Formal Dining Room.

Chef’s Kitchen. Dramatic Family Room. Fabulous Master Suite. Elegant Guest Suite. Wine Room and Wine Cellar for the enthusiast. Long drive to over five acres in one of Bedford’s established estate areas. Pool and Spa. $4,000,000

Positioned to showcase phenomenal water views, stunning Modernist estate designed by renowned New York architects. L-shaped design offset by unique interplay of vertical and horizontal lines. Native stone, stucco, glass and wood lathe façade with exterior surfaces melding with interior spaces. Walls and doors of glass to usher in light and views. Over six acres with rolling lawns and specimen trees.

Beautiful lakefront with dock, beach and boat house. Guest Cottage. $7,800,000

Stunning Post & Beam - Long drive to perfect privacy. Sited to Rare Katonah Lakefront - Vacation at home year round! Wonderblend harmoniously with the land. Warm woods, muted colors and easy floor plan create the perfect home for entertaining and peaceful living.

Fabulous Great Room with stone Fireplace, vaulted ceiling and doors to wrap around porch. Recording Studio. Nearly six acres near the Pound Ridge Reservation and Cross River Reservoir. Private Pool with Spa surrounded by beautifully flowering gardens. Two Stall Barn. $949,000

ful country lake house with walls of windows to take in the idyllic views of sparkling Lake Katonah. Nearly 3100 square feet of living space with sunfilled rooms and open floorplan. Great Room with dining and sitting areas with incredible view. New Kitchen with granite. Master Suite with Fireplace.

Sun Deck with water view—perfect for alfresco entertaining. Sweeping lawns down to the dock and water. Swim, boat, fish or play tennis. $864,000

Elegant & Refined -

Stunning Ivy-Covered Stucco - The grandeur of the past! Grace-

Country Estate with 7500 square feet of meticulous living space. High ceilings, substantial millwork, wide crown moldings and French doors. Two Story Foyer. Living Room with Fireplace. Library.

Formal Dining Room. Country Kitchen. Family Room with Fireplace. First floor Master Suite. Four additional Bedrooms. Fabulous terrace for entertaining.

Over two gorgeous landscaped acres in foremost Bedford estate area. $2,495,000

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ful lines and perfect proportions. Carefully sited to bask in a sunny, southern exposure. Majestic Stucco Manor with high ceilings and substantial millwork.

Elegant Entrance Hall. Formal Living and Dining Rooms. Five Bedrooms.

Professional Home Theater. 2000-bottle Wine Cellar. Four landscaped acres in desirable neighborhood of country estates. Pool with Spa. $3,250,000

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MID-COUNTRY ELEGANCE Exquisitely restored 1920’s-era Europeaninspired manor secluded behind stone walls on nearly two acres with gracious terraces and a winding stream. Sophisticated designer interior features high ceilings, rich architectural

detail, elegant Old World charm, 21st century state-of-the-art amenities. Magnificent formal rooms; beamed library with antique fireplace; stunning kitchen with mahogany center island; five bedrooms; four marble/limestone

baths. Main floor guest suite; sublime master with fireplace, solarium, two dressing rooms.

For additional information and photographs please visit: www.midcountryelegance.com Exclusive Agent: Jane Gosden

VINTAGE MILBROOK

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$2,400,000 Please visit: www.overlookconnect.com Exclusive Agents: Joseph Williams / Blake Delany

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G R E E N W IC H

F I N E

P R OP E RT I E S

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191 MASON STREET . GREENWICH, CONNECTICUT 06830 GREENWICHFINEPROPERTIES.COM . 2 0 3 . 6 6 1 . 9 2 0 0 KATHY ADAMS . JILL BARILE . BERDIE BRADY . BONNIE CAIE . JIM CAMPBELL . LESLIE CARLOTTI . BARBARA KELLY CIOFFARI . JEFFREY CRUMBINE . MAUREEN CRUMBINE EVANGELA DALI . BLAKE DELANY . CANDY PETERS DURNIAK . LEE FLEISCHMAN . JANIE GALBREATH . JANE GOSDEN . MARY ANN GRABEL . SARA HOLDCROFT SHARON KINNEY . MARIANNE SCIPIONE LEPRE . GILA LEWIS . DEBBIE MCGARRITY . LIZ OBERNESSER . FIFI SHERIDAN . LAURIE SMITH . DIANE STEVENS . DOUGLAS STEVENS VICTORIA THORMAN . TYLER TINSWORTH . MARGI VORDER BRUEGGE . JOSEPH WILLIAMS . MIHA ZAJEC

VANISHING BROOK FARM ON ROUND HILL Enchanting six-plus acre estate with gorgeous pool, cabana, picturesque meadows and stream. Exquisitely revitalized residence features remarkable detail, mahogany flooring, chic designer décor, multiple French

doors to terrace. Fireplaces in gracious living rooms and luxurious baths. Four-car garage. and dining rooms and three-exposure For additional information and photographs office/sunroom. Paneled library; game room, please visit: www.vanishingbrookfarm.com two powder rooms, four en suite bedrooms.

Exclusive Agents: Master wing with fireplace, his/her dressing Maureen Crumbine / Jeff Crumbine

MODERN PERFECTION

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MID-COUNTRY EUROPEAN MANOR

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G R E E N W IC H

F I N E

P R OP E RT I E S

Exclusive Greenwich Affiliate of Classic Properties International

191 MASON STREET . GREENWICH, CONNECTICUT 06830 GREENWICHFINEPROPERTIES.COM . 2 0 3 . 6 6 1 . 9 2 0 0 KATHY ADAMS . JILL BARILE . BERDIE BRADY . BONNIE CAIE . JIM CAMPBELL . LESLIE CARLOTTI . BARBARA KELLY CIOFFARI . JEFFREY CRUMBINE . MAUREEN CRUMBINE EVANGELA DALI . BLAKE DELANY . CANDY PETERS DURNIAK . LEE FLEISCHMAN . JANIE GALBREATH . JANE GOSDEN . MARY ANN GRABEL . SARA HOLDCROFT SHARON KINNEY . MARIANNE SCIPIONE LEPRE . GILA LEWIS . DEBBIE MCGARRITY . LIZ OBERNESSER . FIFI SHERIDAN . LAURIE SMITH . DIANE STEVENS . DOUGLAS STEVENS VICTORIA THORMAN . TYLER TINSWORTH . MARGI VORDER BRUEGGE . JOSEPH WILLIAMS . MIHA ZAJEC

B Y L I LY H O A G L A N D

THE DIMENSIONS OF SPACE Donald Judd was an artist who could build a box in a room and have both be transformed into a single, beautiful piece. A father of minimalism— though he rejected that term—Judd played with the space around his objects as much as the objects themselves. 101 Spring Street in Manhattan, the building where he worked and lived, is itself considered art as one of his “permanent instillations.” After a decade of renovation, it is now open to the public.

12 works from a 1989 Donald Judd exhibition at the Staatliche Kunsthalle in Germany were reunited in 2010 at the David Zwirner Gallery.

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In November of 1968, Judd bought a cast-iron building at 101 Spring Street, right in the middle of where the Lower Manhattan Expressway was supposed to run. Luckily the illconceived elevated highway was never built, the historic area was never bulldozed, and Judd’s building stood. Originally built as a department store, it was later divided with each floor sectioned off for small shops (think sewing machines and car parts, not the current trendy boutiques). With 8,500 square feet, it was five stories tall, with two basements, and cost all of $68,000.

This was the beginning of a renaissance for SoHo. Artists, attracted by tales like Judd’s, flocked to the once-dismissed neighborhood and created what became the center of the art world around the globe. The huge galleries and lofts became a staple of the area, and are credited with influencing contemporary art itself—pieces were allowed to be bigger and more grand than previous conditions had allowed.

This page: The fourth floor of 101 Spring Street, the living area in between the bedrooms on the fifth floor and the studio on the third. Opposite page: Donald Judd’s library, with his drawing pencils, stones, and Alvar Aalto furniture (above); the potbellied stove on the second floor was once the only source of heat for the entire building (bottom right); the façade of the five-story building in SoHo (bottom left).

CO U RTE S Y O F J U D D F O U N DAT I O N

SOHO IN 1968 was a commercial slum of run-down lofts, sweatshops, and warehouses. At night, it was deserted. The seedy neighborhood had earned the nickname “hell’s hundred acres” because vagrants routinely set fires around the area.

But while most people wrote off SoHo as a wasteland, a young artist from Excelsior Springs, Missouri, saw it as an extraordinary opportunity: huge, empty spaces full of light were available for almost nothing. Donald Judd had a vision of what he could do with that kind of potential, and he set out to realize it.

Judd arrived on the New York art scene after serving in Korea for the Army and graduating with a degree in philosophy from Columbia University. He had begun his career with woodcuts, then moved on to working with industrial materials like concrete and Plexiglas to create three-dimensional work. He did not classify what he made as sculpture. As he explained in his 1965 “Specific Works” essay, “The new work obviously resembles sculpture more than it does painting, but it is nearer to painting.” One reason for this was that he believed his pieces interacted with and were tied to their setting more than traditional sculptures, and he wanted to shrink the distance between his work and its environment. For someone exploring ideas about large three-dimensional forms, a cheap abandoned building was a dream come true.

Once he moved in, Judd did very little to the structure of the building. He wrote in 1989, “I thought the building should be repaired and basically not changed.” The interior, however, needed a lot of work. He cleaned the machine oil that had seeped into the floor, got rid of trash by the bagful, and mapped out the floor plan.

“My requirements were that the building be useful for living and working and more importantly, more definitely, be a space in which to install work of mine and of others.” He wanted to keep the space open, doing justice to the artwork and giving the whole place a sense of unity that walls and rooms didn’t afford.

Each of the five floors was assigned a single purpose. The ground floor was the public studio, used to display art and greet visitors.

The second floor was for dining, with a well-stocked kitchen, though there was rarely a home-cooked meal—Judd liked to collect kitchenware rather than use it. The third was the more private This spread: Donald Judd’s “objects” were often boxes—solitary, stacked, or in a row—that used the negative space as much as thei physical presence; Donald Judd, after the family had moved out of 101 Spring Street to Marffa, Texas (inset).

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sculpture by Dan Flavin. Opposie page: Judd’s stacked boxes, like this 1969 untitled stack, shows how he carefully considered the spaces between each to create a unifying effect.

studio, followed by the living space for him, his wife, and two children on the fourth, and finally the sleeping quarters on the fifth. Then came the vital step of choosing where to put the artwork. “I spent a great deal of time placing the art and a great deal designing the renovation in accordance,” he said. “Everything from the first was intended to be thoroughly considered and be permanent.” His precision and focus are evident by where he put every Dan Flavin light sculpture, Ad Reinhardt painting, and Marcel Duchamp readymade. The floors were blooming with incredible pieces, and the result was a wonderland of modern art.

The family lived there for eight years, until the couple divorced, prompting Judd to move to Marfa, Texas, where he created a sprawling artist’s compound. But he kept 101 Spring Street, and, what’s more, kept it exactly as the family had left 108 QUEST

it. Judd died suddenly in 1994, leaving behind a directive to establish a foundation dedicated to preserving his art and the buildings where he made and installed it. By then, SoHo had become a glorified shopping destination, and the building was in disrepair. Scaffolding had gone up to catch pieces of the façade that were in danger of hitting the revenue-producing shoppers below. Once again, there was work to be done.

The foundation, led by Judd’s children, proceeded to raise $23 million dollars to restore the place as identical to its original state as possible and open it to the public. After more than a decade of renovation, the building opened this summer, with every aspect of the setting excruciatingly considered.

Each pencil’s eraser was considered, discussed, and analyzed.

Stepping into the building is stepping into the past, and a perfectly realized vision of an artist’s residence. There, it is easy to understand how Judd was able to have revolutionary ideas about space and forms. Inspiration flows through the floors like a gentle breeze. The space is a testament to the beauty of living among art and having a daily interactive relationship with it—just as Judd had envisioned.X

CO U RTE S Y O F J U D D F O U N DAT I O N

This page: One of the bedrooms on the fifth floor, illuminated by a light

CO U RTE S Y O F T H E M AY O R ’ S O F F I C E

CHAMPION OF CULTURE B Y L I LY H O A G L A N D

This spread: Mayor Michael R. Bloomberg hosts the Mayor’s Awards for Arts and Culture, which acknowledges the role artists and arts organisations play in communities and the ways they help sustain the city’s creative vitality.

IN 2005, CENTRAL PARK became more than a park. More than 7,500 saffroncolored fabric panels were hung over 23 miles of pathways, brightening the gloomy February landscape. Suddenly, walking around the park through “The Gates,” as the instillation was called, became an artistic experience. The two artists behind the exhibit, Christo and Jeanne-Claude, had been trying to create the exhibit since their first proposal in 1979, but were stalled for decades. It wasn’t until New York had a mayor at its helm who was as passionate about art as he was about the city—and understood how the two were intrinsically linked— that “The Gates” became a reality.

To say Mayor Michael R. Bloomberg supports the arts is to put it mildly; since his time in office, the city has increased access to public funding for arts organizations and made grant processes more equitable. He has also made significant personal contributions to cultural institutions, because he recognizes the social and economic value OCTOBER 2013 111

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of community art programs. “New York City is the cultural capital of the world, and creative energy here is central to our economy, identity, and quality of life,” he told Quest. “The nonprofit cultural community supports every neighborhood of all five boroughs, and it has helped us drive tourism—and jobs—to record levels.” Skeptics have only to look at the success of “The Gates” for proof: the installation that had been in the wings for years ended up drawing an estimated four million visitors and generating $254 million for the city’s economy.

When Mayor Bloomberg appointed Kate D. Levin the cultural affairs commissioner in 2002, the Department of Cultural Affairs

CO U RTE S Y O F T H E M AY O R ’ S O F F I C E

“New York City is the cultural capital of the world, and creative energy here is central to our economy, identity, and quality of life.” —Mayor Michael R. Bloomberg

This page: Mayor Michael Bloomberg chats with actor Jeremy Irons after the ribbon cutting ceremony for BAM’s Richard B. Fisher Building (above); Mayor Bloomberg takes the podium at the Brooklyn Botanic Garden to celebrate the opening of the garden’s New Visitor Center (below). Opposite page: “The Gates” project, created by artist duo Christo and Jeanne-Claude, installed in Central Park.

was an agency working with limited resources. Since then, she has helped lead the charge in making the case for culture as a sound investment and a vital part of every community. “New York is home to 1,200 cultural nonprofits that serve the city in so many ways—revitalizing neighborhoods, educating residents, attracting visitors from across the globe, enhancing public spaces, and so much more,” she explained.

Under Levin, the Department of Cultural Affairs has become the largest arts funder in the United States. The agency has created more than one million square feet of cultural space throughout the five boroughs, is the largest provider of art supplies to New

York City public schools through its Materials for the Arts program, has organized nearly 500 temporary art installitions aside from “The Gates,” and commisionned 100 permanent public art projects through the Percent for Art program.

“It’s thrilling that under the visionary leadership of Mayor Bloomberg, public art has become fully integrated into the fabric of New York City,” Public Art Fund (PAF) President Susan K. Freedman told us. PAF is one of the many nonprofit organizations that has benefited from both city support and Mayor Bloomberg personally. It was one of the recipients of a $20 million grant from the Carnegie Corporation of New

York, made possible thanks to the mayor’s donation. “Whether through small neighborhood interventions or blockbuster events that have captured the imagination of residents and visitors, the public has come to anticipate outdoor exhibitions—we now have a city of more than eight million art critics.”

When the mayor leaves office later this year, those eight million art critics should take advantage of and support the cultural institutions that have given them so much. Hopefully, whoever follows in his footsteps will continue to nourish the creative community.

Mayor Bloomberg’s legacy of a renaissance in the cultural world of New York is already cemented. His love of the arts is evident in every borough. As he told Quest, “We’ve made New York City the largest municipal arts funder in the United States, and that’s brought new life and excitement to communities across our city.” X

CO U RTE S Y O F T H E M AY O R ’ S O F F I C E A N D T H E P U B L I C A RT F U N D

“Under the visionary leadership of Mayor Bloomberg, public art has become fully integrated into the fabric of New York City.” —Public Arts Fund President Susan K. Freeman

This page: The opening of Tatzu Nishi ‘s “Discovering Columbus,” an apartment built 60 feet over Columbus Circle in New York City. Opposite page, from top to bottom: “The New York City Waterfalls,” a public art project by artist Olafur Eliasson, done in collaboration with the Public Art Fund; Mayor Bloomberg honors the rededication of the Public Theater; Mayor Bloomberg gets kissed by a seal at the New York Aquarium in Coney Island.

OCTOBER 2013 115

The exclusive Giorgio Armani Nude Capsule collection, which will be available in stores this month, was inspired by the designer’s Autumn/Winter 2013-14 Privé couture collection, which included this flared asymmetrical jacket in smocked nude-color silk and pink silk gauze pants printed with black lace designs.

ARMANI’S HOMAGE CO U RTE S Y O F G I O R G I O A R M A N I

BY DANIEL CAPPELLO

EVEN THOUGH IT MAY be lofty, sometimes the poetic is

also the practical. Take peau d’ange, for instance. Literally, it is French for “angel’s skin,” and when you think about it, that’s what this is—the dull, waxy-smooth finish used in fashion on crêpes, satins, and lace to render the effect of an angel’s glow.

To be sure, peau d’ange was an anchoring theme of Giorgio Armani’s much-acclaimed and highly praised Autumn/Winter 2013-14 Privé collection—the designer’s couture line that was presented this past summer in Paris.

Among swirls of angel-touched fabric, the collection was officially baptized “Nude,” a fitting name for an assemblage that was brimming with soft, plushy tones.

But it was about so much more than a mere color; rather, the Nude collection conjured more of a sensation, a feeling, an impression of sensual lightness. The pale and faint tone was masterfully manipulated in gusts of silk, tulle, and organza—almost as if it had been conceived in the absence of gravity. With such celestial volume and languidness, it’s no surprise that Nude Privé stirred even the darkest of black-clad fashion editors.

Couture, of course, is mostly the stuff that dreams are made on, but luckily, for more earth-bound mortals, Mr. Armani has decided to condense his Nude Privé collection into an accessible wardrobe, and has announced the

An illustration of a look from the Giorgio Armani Nude Capsule collection, debuting this month exclusively in New York; the fashion designer Giorgio Armani (inset).

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Looks from Giorgio Armani’s Nude Capsule collection (illustration, opposite page) were inspired by the designer’s Nude Privé couture, which included (from left to right): a long bustier dress in silk jacquard; a floral-motif tulle top with leggings; a marabou-sleeved wool crêpe jacket with silksatin skirt; and a pant suit in silk woven with gold filigree.

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“This special [Nude Capsule] project is my tribute to New York,” says Armani. “To me, its sensual purity seems perfect for the

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style of women in New York.”

launch of a special capsule collection made exclusively for the American public and dedicated especially to New York. “This special project,” he tells us, “is my tribute to New York—a city that has a unique energy that never fails to inspire and stimulate me.”

The designer has shared with Quest an exclusive peek at the Giorgio Armani Nude Capsule by offering here some of the illustrated drawings for the collection. Nude Capsule will be available beginning in the middle of October at select stores in New York City: the Giorgio Armani boutique on Madison Avenue, the Armani/Fifth Avenue concept store, and Bergdorf Goodman. As these renderings make clear, the collection sums up a sensual spirit and sophisticated elegance; it is a careful translation of Giorgio Armani couture that captures the essence of high prêt-à-porter design and makes it practical for the modern woman’s wardrobe, for both day and evening. The garments— small, contoured jackets with covered buttons; a coat with cowl neck; tapered pants; cocktail dresses; and evening gowns—are constructed in neutral hues using fabrics such as Cadi silk, cashmere, jersey, and soft Napa leather. The collection, with its special label, is complemented by a selection of accessories from the Giorgio Armani line in unprecedented nude interpretations.

“To me, its sensual purity seems perfect for the style of women in New York,” Mr. Armani explains. “They’re always so sophisticated, feminine, and seductive.” And now, with the Italian master’s Nude Capsule collection, New York women have an exclusive spell of their own to fall under. X

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Aston; 7. Geoffrey Bradfield with Cynthia and Dan Lufkin;

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8. Mrs. Coleman Burke and Thomas Guinzburg; 9. Leonard Lauder, Carroll Petrie, and Evelyn Lauder; 10. Pat Buckley and Nan Kempner; 11. Elizabeth and Judy Peabody; 12. Friederike

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Biggs with Bill and Adair Beutel; 13. Heather and Tom Leeds; 14. Rand and Jessie Araskog; 15; Emilia and Pepe Fanjul with Carolina Herrera; 16. Lee and Jane Gammill; 17. Mr. and Mrs. Laurance Rockefeller; 18. Helena and Roman Martinez.

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“A tradition since 1989, now in its 25th year, the International Art and Antique show with MSKCC launches the most glamorous social cultural season in New York City.”

—Eleanora Kennedy

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A FAIR OF THE HEART Giovanni Boldini’s “Portrait of Princess Cécile Murat Ney

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d’Elchingen” (1910), oil on canvas.

Signed and dated lower left: “Boldini 1910.” Provenance: Paris, Hôtel Murat, purchased

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from the artist in May 1910.

TWENTY-FIVE YEARS AGO, Brian and Anna Haughton set up the International Fine Art & Antique Dealers Show. The funds raised by the preview party of the fair were designated to go to the Society of Memorial Sloan-Kettering Cancer Center (MSKCC). After its launch, the party quickly became one of the major events to attend and a staple of the New York social season in the fall—a perfect combination of beautiful things to look at and beautiful people to talk to.

But amidst the glitz, nobody loses sight of cui bono, and the good works that benefit from the event. The Society of MSKCC is a volunteer organization that has enriched anyone involved with it, and provides great contributions to the Center. “MSKCC is the world’s oldest, largest, and, in my opinion, premier cancer center,” said Eleanora Kennedy. “Its passion and commitment to exceptional patient care, cutting-edge research, and superb educational programs make it easily my favorite community service and an honor to serve on its society board.”

To celebrate the 25 years of philanthropy and art, Quest looks back over the years at the people who made it possible. X OCTOBER 2013 121

“The Society of Memorial Sloan-Kettering Cancer Center has been extremely fortunate to be the beneficiary of the preview party for The International Fine Art & Antique Dealers Show for the past 25 years.” —Martha Glass

A magnificent Queen Anne black japanned bureau cabinet.

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English, circa 1710.

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1. Mayor Bloomberg and Diana Taylor celebrate 2012’s preview party for the International Fine Art and Antiques Dealers Show; 2. Polly and John Espy; 3. Dr. Annette Rickel; 4. Sandy Warner and Laurie Carson; 5. Elizabeth Pyne, Kate Allen, and Claudia Overstorm; 6. Marvin and Mary Davidson; 7. Karen and Tony May;

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8. Libby Fitzgerald, Lisa McCarthy, Michel Cox Witmer, Daisy Soros, Melinda Blinken, and Heather Leeds; 9. Eleanora and Michael Kennedy; 10. Karen and Richard LeFrak; 11. Martha and John Glass; 12. Betty and Virgil Sherrill; 13. Amanda Meigher, Grace Meigher, Candy Hamm, and Darcy Gould; 14. Fred Krimendahl and Emilia Saint-Amand; 15. Peter and Jamee Gregory; 16. Bunny Williams and John Rosselli.

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“The Preview Party has not just been a huge success year in and year out, but the Society keeps the costs low, has almost everything underwritten, thus nearly every penny raised goes to support our patient programs.”

—Joanne de Guardiola

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CAPTURED LOOKS B Y L I LY H O A G L A N D

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Sophia Loren in the November 1962 issue of Vogue.

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could create images that drew strength from their simplicity, right from his first assignment for Smirnoff vodka. He created an advertisement called “The driest of the dry,” the Great Pyramid of Giza, reflected upside down in a martini glass— and nothing else. It was seen as revolutionary in 1955 because it broke from traditional advertising, which had been primarly focused on text. He was part of the vanguard of photographers who used pictures that bordered on conceptual art, and helped spawn the minimalist style that now fills every magazine.

But Stern wanted more than the advertising world had to offer. In the early 1960s he joined Vogue magazine and quickly made a name for himself as one of the fashion and celebrity photographers that connected with the cultural energy of the decade. He was able to draw a direct, but natural, look from his subjects. This fit well with the Sixties attitude in media that was leaving behind the formality of the previous eras and connecting to the audience in a more visually natural manner.

His bare style defined him. He would pose his famous

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SHE SEEMED UNCHARACTERISTICALLY vulnerable with him; believers in premonition would later say she sensed she wouldn’t live to see another photo shoot. Indeed, six weeks later, she was dead. And Bert Stern became the last person to have photographed Marilyn Monroe.

They spent three days together on an assignment for Vogue in June of 1962. Shooting at the Bel-Air Hotel in Los Angeles, Stern successfully peeled away her layers, metaphorically and literally. Some of the most famous images from their time together are of Monroe, nude, peeking through gauzy scarves. (Pictures featuring champagne bottles strewn around the hotel room help explain the atmosphere.) This was one of the world’s greatest stars, recently dimmed by despair from a tulmultuous private life, and Stern was able to capture her resplendence and her need. But by the time the pictures were printed, it was as an homage.

Before he was forever linked to Monroe, Bert Stern was a commercial photographer for Look magazine. He proved he

This page: French beauty Brigitte Bardot, one of the many women with whom Bert Stern fell in love (above); Elizabeth Taylor and Richard Burton, whose long and difficult love affair began in front of Stern (left). Opposite page: A candid moment between Romy Schneider and Alain Delon.

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used in the magazine. The pictures she defaced now have as much iconic value as the intact prints because they give proof to the inner turmoil of a woman who remains a cultural fascination, 50 years after her death.

Aside from Monroe, Stern’s work was in demand and he soon became part of the upper echelons of portrait photographers, alongside Richard Avedon and Irving Penn.

He had a long client list of the biggest names in Hollywood, fashion, and the art world. Stern, a notorious lothario, was especially good at photographing women. Audrey Hepburn, Sophia Loren, Brigitte Bardot—he allegedly fell in love with them all. He would often be on hand to witness unguarded moments of his subjects’ lives. When he flew to Rome to

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subjects in front of white paper and blank walls, making sure nothing would detract from their expressions. Stern’s influence is still seen today in the work of current favorite celebrity photographer Terry Richardson, though Richardson’s edgier versions lack the subtlety of his predecessor’s. Stern could suggest without revealing and reveal without suggesting, as found in the pictures of Marilyn Monroe, naked but innocent.

At Marilyn’s request, Stern mailed her contact sheets and color transparencies from the 2,500 pictures he had taken.

Getting them just days defore her death, she scratched up some with a hairpin and crossed out others with a red marker before returning them to Stern. Sadly, even if she had lived, she would have not had control over which pictures were

This page: One of the famous â&#x20AC;&#x153;Last Sittingâ&#x20AC;? pictures of Marilyn, with her scar from gallbladder surgery visible (above); a vivid portrait of a brooding Marlon Brando (right). Opposite page: The model Twiggy, considered the face of the Sixties, whose career Stern helped launch.

This page, clockwise from top: Madonna in a 1985 issue of Vanity Fair. Opposite page: The picture used on the posters for Stanley Kubrick’s Lolita; Kate Moss in 2001 for Vogue Paris; Audrey Hepburn in 1963.

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photograph Elizabeth Taylor on the set of Cleopatra, she had begun an affair with her costar Richard Burton. Stern already knew Burton, and the couple felt comfortable enough with him to allow for candid shots of the beginning of their infamous relationship.

Stern succesfully navigated each new wave of popular culture. He helped launch the career of a pretty young waif so emaciated they called her “Twiggy.”He shot the poster for a film by an old colleague from Look, Stanley Kubrick. The image of a young girl with heart-shaped glasses, sucking on a lollipop, perfectly represented Kubrick’s Lolita. (Stern’s association with the film seems even more interesting when

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This page: Bert Stern liked to use blank backgrounds to focus attention on the subjects themselves, as demonstrated in this photograph of Twiggy. Opposite page: The model Veruschka and David Bailey, who co-starred in Blow Up, a movie that many believe was inspired by Stern.

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considering that he dated, and later secretly married, a 17-year-old girl whom he had met four years earlier.) He continued to shoot the people who captivated, from Madonna to Kate Moss, and published the full collection of his Marilyn pictures, titled The Last Sitting.

As a retrospective on his long career, an exhibit of his photographs is currently on display at La Galerie de L’instant, 46 Rue de Poitou, Paris. In an unfortunate echo, Stern passed away a few weeks before it opened this summer. The gallery decorated its stone cellar walls with his evocative photographs, each invoking the beauty of simplicity, in memory of a man who once said, “I like to put my feelings into my photographs.” X

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THE PRINCE AND PAL B Y L I LY H O A G L A N D

“UNFORTUNATELY, THESE KIDS TODAY are ignorant about

the history of decoration, the history of furniture, and the way people lived, really, so it doesn’t reflect in their work,” Mario Buatta tells me from a plane on his way to Nantucket, apropos of the new attitudes towards design. “They’re not really designing, they’re just placing objects.” An announcement comes over the loudspeaker that all electronic devises must now be turned off. Mario doesn’t want to comply, since the plane isn’t due to take off for another 20 minutes. “Should I raise Cain?” he asks, mischevious as always.

It is this charm that has endeared him to all of his clients, This spread, from left: Mario Buatta brightened the original panelling in the library of the Neoclassical House in Houston, Texas, with textiles; the designer, as featured in Mario Buatta: Fifty Years of American Interior Decoration (Rizzoli).

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This spread: The upcoming tome detailing Mario Buatta’s amazing work over the years (above); 1984 Kips Bay showhouse room garnerned many accolades, including the cover and an unprecedented seven pages in House

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J E R E M I A H G O O DM A N

and which he uses to create an intimate sense of being partnersin-crime with whomever he is talking to. His personality differentiates him from other well-known designers because he can make your house look grand and entirely your own, and he ends up becoming a valued friend. According to our columnist Hilary Geary, “It is not only a privilege to work with him, but an extraordinarily great amount of fun. We consider him a part of our family.”

His style? Well, his nickname says it all: “The Prince of Chintz” would hardly be a modern minimalist. The heavily patterned English-manor style with which he is associated was gleaned from his aunt Mary, whom he credits for igniting his passion for decorating. “I learned from her how to make a house comfortable and colorful, and traditional decorating. I grew up in a house full of Art Deco furniture and hated it.”

Now, after more than half a century of decorating, Mario has published his first book—first and last, he declares. Out this month, Mario Buatta: Fifty Years of American Interior Decoration (Rizzoli) is full of funny anectodes, personal snapshots, and, of course, the lavish rooms he has decorated throughout his career.

When asked why he chose to release a book now, he explains that after people kept offering to write a book about him, he figured he might as well do it himself. And, as his personality would dictate, he holds nothing back, pulling together a tome with a page count topping over 400.

After his flight, Mario calls back to check that I have no further questions. “Not off the top of my head,” I reply. He shoots back, “Well, how about the bottom of your feet?” X

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Beautiful, painted by artist Jeremiah Goodman (right).

APPEARANCES

BACK TO SCHOOL

BY HILARY GEARY

Darcy Gould and Princess Yasmin Aga Kahn at Marina and Francesco Galesi’s housewarming party; Brooke Shields and her daughter in Southampton.

COME LABOR DAY in “Smart Hampton”

(my affectionate term for Southampton), everyone is humming, “I don’t wanna say goodbye for the summer.” But the consolation—a rather grand round of annual farewell to summer parties—seems to ease the pain. One of my favorite fêtes is always Jane and Peter Marino’s musicale plus dinner in late August at their exquisite Southampton house. Casa Marino is a real beauty, surrounded by spectacularly vast gardens studded with specimen 138 QUEST

trees, flower and rose gardens, extraordinary Les Lalanne sculptures, and more.

The interiors of the home are fabulous, too—truly chic yet as cozy and comfy as any great country house should be. You knew it would be as Peter is a master: one of the great architects and designers of our time, a walking legend with not only a fabulous private clientele but a vast commercial following with such dazzling clients as Christian Dior, Chanel, Louis Vuitton, and more! Can you imagine that

he has designed 30 stores for Chanel, 20 stores for Louis Vuitton, and 15 stores for Christian Dior, plus more?

Wow! After a brilliant recital by Paul Huang, we headed onto the porch to dine at a long table of 40 strong. Among the guests were Donna and Bill Acquavella, Alexis Gregory, Janine and Tom Hill, Larry Gagosian, Virginia and Peter Duchin, Katharina Otto and Nathan Bernstein, Judy and Alfred Taubman and Judy’s daughter, Tiffany Dubin, and

Kathy and Billy Rayner. (Billy is coming out with an absolutely gorgeous book: Notes and Sketches: Travel Journals of William P. Rayner. It’s the ideal present and a must-buy!)

Another perfect evening was the fête that Kathy and Rick Hilton gave at their shingled house with fireplaces, porches, and enormous charm. We sipped delicious cocktails such as Southsides on the porch before heading into a pristine white tent located right off the house. As there was a tiny nip in the air, the Hiltons handed out luscious pashminas to keep us toasty if we weren’t already heating up the dance floor. Among the guests were Brooke Shields, Jessie and Rand Araskog, Kathy and Ace Greenberg,

held at the dazzling new Sebonack Golf Club right on the water and was a dream of a party with all kinds of buffet stations (and no lines, thank you).

Best of all was the perfect summer dessert: Good Humors! In fact, I must confess that I enjoyed not one but two of the toasted almond treats—yum!

Karen looked beautiful as ever in summery white Alaïa as she and Richard greeted the rest of the LeFrak family as well as Wilbur Ross, Donna and Bill Acquavella with houseguests Ande and Dinny Phipps, Jessie and Rand Araskog, Deborah and Leon Black, Mike Bloomberg and Diana Taylor, Joanne and Roberto de Guardiola, Kathy and Rick Hilton, Judith and

Francesco Galesi had at their dazzling, recently renovated house sitting on vast acreage with endless views in Southampton. Now, the Galesis are rather fluent in real estate, having owned some of the most spectacular properties in the Long Island area.

Their first house, “Equinox Farm,” was a 200-plus-acre abode that is now the Atlantic Golf Club in Bridgehampton.

And their second house, which was formerly owned by the DuPonts, was a classic Georgian oceanfront brick beauty sitting on 10 acres, built in 1929—it was drastically altered into a “ castle” by Barry Trupin in 1978 and then bought and flipped brilliantly by the Galesis to Calvin Klein. Calvin

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Richard and Karen LeFrak hosted a big cocktail-and-buffet bash in August; Kathy Greenberg and Jay McInerney at the home of Rick and Kathy Hilton.

Anne Hearst and Jay McInerney, Marianna and George Kaufman, Jamee and Peter Gregory, Dana and Patrick Stubgen, Joanne and Roberto de Guardiola, Cornelia Bregman, Dennis Basso, Mark Gilbetson, Nina Griscom, Leonel Piranino, and more.

A terrific party that was new to the calendar this year—and will hopefully be an annual event as it was so much fun—was Karen and Richard LeFrak’s big cocktail-and-buffet bash. It was

Rudy Giuliani, Kara and Steve Ross, Daryl and Steve Roth, Jamee and Peter Gregory, Audrey and Martin Gruss, Anne Hearst and Jay McInerney, Christine and Steve Schwarzman, Allison and Leonard Stern, Judy and Alfred Taubman, Lally Weymouth with houseguests Lauren and John Veronis, Deborah Norville and Karl Wellner, Peter Lyden, and lots more.

Also, I must mention the wonderful housewarming party Marina and

has torn it down and is about to move into a very contemporary glass house.

Everybody was dying to see the Galesis’ newest house, and, needless to say, it was equally as fabulous as the rest of their casas. In short, we were bedazzled by its beauty! Among the group were Princess Yasmin Aga Kahn and Blaise Labriola, Darcy and George Gould, Ellen and Chuck Scarborough, Willi Salm, Christina Galesi, and more.

Now, back to school! X OCTOBER 2013 139

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THE YOUNG & THE GUEST LIST This month, our columnist enjoyed the U.S. Open from the Moët Suite, cheered

on the teams at the Harriman Cup, and did—but didn’t overdo—Fashion Week with a dinner hosted by Lehmann Maupin and Roberto Cavalli.

BY ELIZABETH QUINN BROWN

Dree Hemingway, Derek Blasberg, and Leigh Lezark joined the Moët Suite on Day 3 of the U.S. Open on August 28.

Todd English and his son, Oliver English, watched a match or two at Day 3 of the U.S. Open.

Olivia Culpo celebrated artist Angel Otero with Roberto Cavalli on September 12.

Caroline Byron joined the Moët Suite at the USTA Billie Jean King National Tennis Center.

Angel Otero and Iggy Azalea in the Highline Room of the Standard for a dinner hosted by Roberto Cavalli.

Dayssi Olarte de Kanavos at a dinner hosted

by Lehmann Maupin and Roberto Cavalli.

Cynthia Rowley toasted the third year of Moët & Chandon

Alyssa Miller and Inga Rubenstein before a

at the U.S. Open on August 28.

Roberto Cavalli-hosted dinner at the Standard.

“LEARN A LOT about your friends, right around 2 a.m.,” goes “Cowboy Boots” by Macklemore and Ryan Lewis. But if nothing good happens after midnight, then hmm...

On August 24, MadeClose (www.madeclose.com)—a company from David Mehlman, Peter Smith, and Zach Terzis— hosted its beta premiere event at the Neoteric Gallery in Amagansett. Eastenders and non-eastenders, alike, enjoyed drinks from regional brands such as Channing Daughters, Montauk Brewery, and New York Distilling Company while eyeing the

exhibition on display: “Repurposing Purpose.”

On the 28th, I traveled with Carson Griffith and Shana Scala to the USTA Billie Jean King National Tennis Center in Queens. There, we joined the Moët Suite—hosted by Moët & Chandon—for the U.S. Open, watching Juan Martin del Potro beat Guillermo Garcio-Lopez and Andy Murray beat Michael Llodra in the company of Derek Blasberg, Peter Davis, and Charlotte Ronson—and gold-colored goblets of champagne. Really, an ace of an evening!

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On September 7, the Harriman Cup took place at the Meadowbrook Polo Club, with the University of Virginia (Nick Barry, Adam Klopp, L.J. Lopez III, and Sam Ramirez, Jr.) defeating Yale University (Liz Brayboy, Sam Clemens, Jim DeAngelis, and Ross Prokopy) with a score of 11 to 8. The event was established in 1984, memorializing W. Averell Harriman, a graduate of Yale University and polo player who became governor of New York and ambassador to Great Britain and the Soviet Union. More than one thousand participated in the revelry—which acts, somewhat, as a precursor to the Far Hills Race Meeting, a.k.a. the Hunt—with the “best dressed” awards going to Kelli Wein and Dean Zacharias. The afterparty, which was adjacent to the field, featured deejay Jason Smith (and a rowdy, rowdy crowd of pastel-wearing partiers).

Max Sinsteden, who won the “best tailgate” award at the Harriman Cup, which took place at Meadowbrook Polo Club.

award at the Harriman Cup on September 7.

On September 12, Lehmann Maupin and Roberto Cavalli hosted a dinner in honor of Angel Otero, whose work is being exhibited at the Lehmann Maupin gallery at 540 West 26th Street. The guests, which included Daniele Cavalli, Robin Cavalli, Pippa Cohen, Gherardo Guarducci, and Lauren Remington Platt, gathered at the High Line Room at the Standard for a meal featuring an entrée of grilled spiced crusted lamb loin with fennel, puré, roasted tomato, and braised quinoa. (There was an option of arctic char with pickled zucchini, frisé and mache salad, and Marcona almond sauce but, in my post-Fashion Week state, I was going for the meat.) We lingered over the food and wine in the calm before the storm that was Milan Fashion Week... X

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Dane Evans with Otis, who won the “best dog”

Annika Connor and Kat Biersbach, competing for the “best hat” award at the Harriman Cup on September 7.

Bernadette Coughlin, Susanna Horsey, and Zachary Terzis supporting MadeClose.

Lucie Cincinatis and Ryan Rockefeller at MadeClose’s beta premiere event on August 24.

Sam Dangremond, Susan Meyer of JP Crickets, David Van Bloys, and Karen Klopp of What2WearWhere at the Meadowbrook Polo Club.

The Wiffenpoofs of Yale University performed before the polo match against the University of Virginia.

Matt Paco at the Harriman Cup, which celebrated its 29th year on September 7.

Ana Weiss and Leland Abrams at the MadeClose event at the Neoteric Gallery in Amagansett.

David Mehlman with Molly and Rob Campbell in

Susy Schieffelin, whose boyfriend Adam

the Hamptons for the MadeClose event on August 24.

Klopp played in the Harriman Cup. OCTOBER 2013 143

SNAPSHOT

Clockwise from top: The City Hall Station, now closed, features plaques on the right; a skylight with green, tan, and white tiling; one of the three signs at the station; the Guastavino arches that define the subway in New York.

BELOW THESE CROWDED STREETS ON OCTOBER 27, 1904, the Interborough Rapid Transit Company opened the Manhattan Main Line and introduced a subway to the city of New York. The route terminated at City Hall Station, which was designed to redirect the fivecar trains by looping them from south to north (or downtown to uptown).

The City Hall Station was—and continues to be—grand, boasting Guastavino arches with skylights, colored tiling, and brass chandeliers; plaques honoring people who contributed to the construction, like August Belmont, John D. McDonald, and Cornelius Vanderbilt, grace the walls. But 144 QUEST

the stop hasn’t been in service since December 31, 1945, when the curve of the track proved unmanageable for bigger and better trains, which were greater than five cars.

Though it was never reopened, the City Hall Station may be revisited by the determined. By boarding the downtown “6” and continuing through the Brooklyn Bridge Station, when the train becomes “out-of-service” and reroutes to the Bronx, visitors can explore the past via the view. The space— replete with the splendor of the era—harkens a haunting, historical experience that is a “must” for anyone who loves New York. —Elizabeth Quinn Brown

THE FAMILY ROOM IN THIS NEW HOME INCLUDES A BESPOKE LIMESTONE FIREPLACE DESIGNED AND DECORATED BY WADIA ASSOCIATES

RESIDENTIAL DESIGN ~ INTERIOR DESIGN AND DECORATION ~ LANDSCAPE DESIGN (203) 966-0048 ~ WADIAASSOCIATES.COM

SCAN TO SEE MORE PHOTOS OF THIS AND OTHER CUSTOM DESIGNED HOMES

Š2013 Cartier

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