Galerie Winter 2019

THE

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WINTER 2019 ISSUE NO 16

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FEATURES 102 FAMILY MATTERS Following in the footsteps of her father, über-collector Martin Margulies, art adviser Elizabeth Margulies nurtures a passion for established and emerging talents.

By Ted Loos 106 DECO IN THE DETAILS Designer Stewart Manger deftly fashions a Parisian pied-à-terre into a glistening jewel box adorned with blue-chip art.

By Jennifer Ash Rudick 114 HANG TOGETHER Over the decades, legendary artist Pat Steir has filled her Greenwich Village home with meaningful works by artist friends, including Sol LeWitt.

By Hilarie M. Sheets 118 MAJESTICALLY MINIMAL For kombucha king and art aficionado G. T. Dave, designer James Magni devises a rigorously modern California aerie.

By Michael Slenske 126 CALM, COOL, AND COLLECTED Gallerist Tina Kim collaborates with designer Adam Charlap Hyman to curate a Manhattan brownstone brimming with paintings, sculptures, and iconic design.

By Vicky Lowry

102

Works by Andy Warhol, Roy Lichtenstein, and Isamu Noguchi animate the Miami home of collector Martin Margulies.

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144 CAN’T STOP, WON’T STOP A move from London to New York inspires voracious collector Kenny Schachter to take stock, pare down, and rehang his ever-growing profusion of art.

By Kenny Schachter

NICHOL AS MELE

136 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity.

By Stefanie Li

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Clockwise from top: Buzzworthy emerging New York artist Nicole Wittenberg. The Niloticus bracelet from Pierre Hardy’s Black to Light collection for Hermès. Sweeping views from Eiffel Tower restaurant Le Jules Verne.

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36 60 ESSENTIALS When it comes to handling a client’s priceless collection, professionals turn to these experts for framing, restoring, lighting, and installing.

By Ted Loos

18 EDITOR’S LETTER

By Jacqueline Terrebonne 25 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

34 DESIGN Together, Lalique and Fromental create an intricate, artisanal wall installation. Plus, lighting designer Bec Brittain unveils her fi rst rug collection.

By Jill Sieracki

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44 CUISINE The Eiffel Tower sparkles more than ever with restaurant Le Jules Verne debuting a new menu by Frédéric Anton and reinvigorated interiors by Aline Asmar d’Amman. By Alexander Lobrano

72 POINT OF VIEW From vibrant artworks by Summer Wheat to Nina Simone on vinyl—a look at some of the creative elements that color gallerist Chandra Johnson’s world. By Jill Sieracki

48 SPOTLIGHT Award-winning Le Bernardin sommelier Aldo Sohm offers savvy suggestions for cultivating a covetable cellar.

By Jacqueline Terrebonne

74 MILESTONE Around the opening of two important exhibitions of Gerhard Richter’s work, an exploration of the German visual artist’s most significant accomplishments. By Lucy Rees

36 ON OUR RADAR Four artists whose wildly imaginative work is ripe for discovery.

50 PASSPORT Decorated with antiques and original artwork, Villa Margherita at the Amalfi Coast’s Belmond Hotel Caruso feels more like a private estate than guest suite.

By Jacqueline Terrebonne

42 DESTINATION Dallas’s passionate collector scene is brimming with not-to-be-missed fairs, world-class museums, and a burgeoning Arts District.

By Stephen Wallis

52 THE COLLECTORS Major influencers in jewelry, design, hotels, cuisine, and more divulge what drives their love of collecting—from micromosaics to motorcycles, outsider art to British legends.

By Galerie Editors

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76 PHILANTHROPY Laurie Tisch’s Illumination Fund brings wellness and well-being to New York’s hospitals through innovative art programs.

By Hilarie M. Sheets 80 REAL ESTATE Farm living is the life to lead, and these horse-centric estates make a gracious impression.

By Geoffrey Montes

CLOCKWISE FROM TOP: JEREMY LIEBMAN; COURTESY OF HERMÈS; STEPHAN JULLIARD

DEPARTMENTS

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68 BACKSTORY Building on the tradition of its Blue Book catalogue, Tiffany & Co. introduces a one-of-a-kind collection for the modern connoisseur.

By Jacqueline Terrebonne

A L L E G R O QUICK SHIP CUSTOM 100 COLORS EXQUISITE QUALITY FAST TURNAROUND

FIELDS OF GOLD RUG 8 4 4 . 4 0 . STA R K | S TA R K A L L E G R O . C O M DESIGNED BY

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The California home of kombucha mogul G. T. Dave, designed by James Magni.

82 JEWELRY Referencing the maison’s classic iconography, Pierre Hardy designs a new Hermès jewelry collection in surprising combinations of black gemstones, rose gold, and diamonds.

By Rima Suqi 84 WATCHES Wempe US president Ruediger Albers shares an insider’s view on the intricacies of collecting timepieces.

By Daniel Cappello 86 THE ARTFUL HOME A dreamy Hernan Bas canvas inspires London designer Natalia Miyar’s vision for a magical dining room.

By Jacqueline Terrebonne 88 ARTISAN Caleb Woodard masterfully hand-carves sculptural, unique furnishings from his family-run studio in Tennessee.

By Danine Alati

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90 SHOPPING Well-traveled interior designers divulge their favorite antiques galleries and markets near and far. By Jill Sieracki 94 CURATED Setting the table in shimmering golds and jewel tones is itself cause for celebration.

By Jill Sieracki

COVER

Martin Margulies and his daughter, Elizabeth, at home in Miami, where he displays his collection of blue-chip art, including paintings by Franz Kline (left) and Mark Rothko. Photography

by Nicholas Mele.

96 BOOKS Galerie Kreo marks its 20-year anniversary with a sweeping tome highlighting some of its finest exhibitions and design-fair installations.

By Geoffrey Montes 98 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld 150 SOURCES 152 IN FOCUS Christian Louboutin reveals his quest to acquire an André Arbus lamp.

As told to Lucy Rees

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From top: Me at a Galerie event hosted with Lalique, where designers Joshua Greene, Alyssa Kapito, Christine Van Deusen, and Sara Story created elaborate table settings. A living room in Paris devised by Stewart Manger. A Tiffany & Co. Flora brooch.

dialogues between paintings and sculptures take shape in the Miami residence of Martin Margulies, who has inspired a brilliant, next-generation collector in his superstar art adviser daughter, Elizabeth.

Of course, a great interior designer (or rather, editor) always helps. Take the minimalist aerie James Magni conceived in Los Angeles, where the art pops even in a black-and-white palette, or the Parisian pied-à-terre by Stewart Manger, who uses golden tones to create a soothing envelope that allows blue-chip pieces to shine. Having the right army of professionals is frequently key to making a collection look its best, so we’re letting you in on the essential names you need to know for installing, hanging, framing, and lighting, picked by designers who are all collectors in their own right.

But collecting does go far beyond what you hang on the wall—and we share what some of the top minds in jewelry, design, and other creative fields can’t resist—from motorcycles to miniature chairs. Plus, just in time for the holidays, some ideas on what you should amass next: a work by one of our “On Our Radar” artists, a case of cult wine from the Northern Rhône, or even a one-of-a-kind brooch from Tiffany & Co.’s Blue Book collection. Whatever you choose to acquire, just remember one rule: Two’s a pair, three’s a collection.

JACQUELINE TERREBONNE, Editor in Chief editor@galeriemagazine.com Instagram: @jpterrebonne

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FROM TOP: COURTESY OF L ALIQUE; FRITZ VON DER SCHULENBURG; COURTESY OF TIFFANY & CO.

W

orking on this Collectors issue, it’s become abundantly clear there’s a fine line between collecting and hoarding. But the difference doesn’t lie in the actual quantity accumulated—the distinction comes down to how the collection is presented.

Just check out Kenny Schachter’s new townhouse in Manhattan, which was filled to the brim just weeks after he moved in. Schachter’s cache is displayed in a manner that seems thoughtful, uncluttered. In the West Village home of artist Pat Steir, a multitude of artworks by friends are assembled into thoughtful conversations. Equally so,

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Sfer Ik, an art space on Mexico’s Yucatán Peninsula.

CULTURE • DESIGN • TRAVEL • SHOPPING • STYLE

/ ART /

COURTESY OF SFER IK

BEYOND BELIEF

T

he dense jungle of Mexico’s Yucatán Peninsula may not be the most convenient place to create a contemporary art venue, but it certainly is the most spectacular. With its monumental 52-foot-high domed exhibition space as its centerpiece, Sfer Ik exists in perfect harmony with its lush surroundings in Francisco Uh May. Here, visitors traverse elevated, undulating walkways paved with bejuco vines and view art in nontraditional concrete spaces. Dozens of trees shoot up directly from the museum floor and poke through the roof.

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/ MUSEUMS /

The magical, otherworldly design is the brainchild of Jorge Eduardo Neira—he goes simply by Roth—an Argentinean hotelier, who, in 2005, founded the nearby Azulik resort on the coast of Tulum, which also has its own art space.

“I wanted to create an entirely new art experience,” says Roth, who traveled to like-minded cultural destinations such as the Tadao Ando–designed Naoshima island in Japan and Inhotim outdoor museum in Brazil.

“In the old days, a museion was a place where you came to connect spiritually, which is what we are trying to achieve,” says Claudia Paetzold, Sfer Ik’s artistic director and curator.

Come 2020, Roth will launch the next ambitious phase in Francisco Uh May: a new hotel, artist residency program, recording studio, and additional exhibition space that will feature woven ramps and hanging nets suspended above tranquil pools of water. The elevated structure will boast endless views of the jungle. The vision is for artists, architects, musicians, and fashion designers to collaborate with local craftspeople. “We never wanted to just showcase blue-chip art,” says Roth, “but rather to invite artists to come here and be inspired. When you put different disciplines in nature, something magical happens.” sferik.art, azulik.com LUCY REES 26

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Nestled on an idyllic plateau between Lake Geneva and the Swiss Alps, Lausanne has long been a magnet for adventure seekers. Home to the International Olympic Committee, Switzerland’s fourth-largest city is starting to attract an entirely new audience, namely art connoisseurs who are flocking to the Musée Cantonal des Beaux-Arts (MCBA), a world-class institution designed by Barcelona firm Barozzi Veiga. The austere $65 million edifice incorporates an arched entryway from the site’s original 19th-century train hall. “We wanted to establish a link with a certain atmosphere, to anchor it in both space and history,” explains architect Fabrizio Barozzi, who runs the practice with Alberto Veiga. Free to the public through January 12, 2020, the institution launches with an inaugural show, “Atlas: A Cartography of Donation,” which spotlights 400 works from the permanent collection, including pieces by Auguste Rodin, Paul Klee, Balthus, and Félix Vallotton.

(The exhibition that follows, “Under the Skin: Vienna 1900, from Klimt to Schiele and Kokoschka,” opens on February 14, 2020.) In 2021, the MCBA will be joined by two additional museums linked by a public plaza that nods to the neighborhood’s industrial past. mcba.ch —GEOFFREY MONTES

/ AUCTIONS /

PUTTING ON THE CHINTZ Although Mario Buatta’s aptitude for mixing Colefax and Fowler’s large-scale prints may have earned him the moniker “Prince of Chintz,” it was the legendary designer’s deep knowledge of antiques that made each of the homes he created true masterpieces. With almost 60 years of decorating to his credit when he passed away in October 2018, Buatta was consumed by a passion for collecting that kept him awake around the clock, scouring auction catalogues for his next purchase—whether for a client or himself. Befittingly, his personal treasures from his homes on New York’s Upper East Side (above) and in Connecticut will hit the block at Sotheby’s New York on January 23 and 24 for its Americana Week sales. The lots include English and Continental furniture, Dutch delft, English and Chinese porcelain, and fine art, all speaking to the designer’s unwavering eye. sothebys.com ASHLEY PETRAS

CLOCKWISE FROM LEFT: COURTESY OF SFER IK; SIMON MENGES, COURTESY OF MUSÉE CANTONAL DES BEAUX-ARTS; COURTESY OF SOTHEBY’S

SWISS BLISS

THE WINTER SHOW

Marguerite Zorach (1887-1968), Mother and Child, 1919, oil on canvas, 24 x 20 inches

January 24–February 2, 2020 Booth D15

ART MIAMI December 3–8, 2019 Stand AM107 gpgallery.com

/ SHOPPING /

SISTER ACT

As Portugal continues its reign as a must-visit destination, Lisbon adds another don’t-miss spot for art and design lovers. Situated along Avenida da Liberdade, the city’s most prestigious luxury shopping street, is the first showroom and boutique of Portugal’s premier interior design firm, Casa do Passadiço. Led by sisters Cláudia and Catarina Soares Pereira, Casa do Passadiço was founded 27 yeas ago by the pair’s mother, Catarina Rosas, in the northern town of Braga, where the atelier continues to thrive. Famous for residential and commercial projects alike, the firm is perhaps most recognized for the bold, vibrant look of Aquazzura’s boutiques around the globe, including the brand’s headquarters in Florence, Italy. Inside Casa do Passadiço’s fantastical retail debut, the walls are adorned with Calacatta Viola marble. A vintage brass-and-milk-glass Murano chandelier pops against a tangerine-colored hallway. The extremely inviting front parlor is punctuated with bursts of color, including a yellow painting by artist Christian Rosa. The sisters’ shoppable selection of furnishings and artworks encompass an influential roster of designers and artists, such as Gabriella Crespi, Vittorio Dassi, Armand Jonckers, Eric Schmitt, Vladimir Kagan, and Willy Rizzo, as well as a refined array of home accents. “It’s essentially a showcase of our interior design work,” says Cláudia. “We like to show it as if it were a private house where people can come and imagine this as their own home.” casadopassadico.com DANIEL CAPPELLO 28

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/ SHOPPING /

ODE TO SICILY With its European flair and exuberant tendencies, New Orleans couldn’t be a more perfect setting for a store specializing in the art and design of Sicily. After 20 years of visiting the intoxicating island, designers and architects Bill Brockschmidt and Richard Dragisic opened Sud in November on a stylish stretch of Magazine Street, a thoroughfare known for design shops loyal to French antiques and a smattering of chic boutiques. Here, they’ve curated a wonderful mix of period furniture and new and old objets brimming with the inimitable style of southern Italy. Ceramics abound—from splatter-glazed serving pieces to elaborate sea creatures, even curious cacti of incredible heights.

Contemporary artists like painters John Woodrow Kelley and Leonard Porter, as well as papier-mâché sculptor Mark Gagnon, have created unique works that celebrate the Mediterranean island’s two millennia of history. Brockschmidt and Dragisic even commissioned for the store painted floorcloths based on Sicilian and Neapolitan tile patterns. The inventive space, which plays on its classic double-shotgun New Orleans architecture enhanced with palazzo-inspired touches of trompe l’oeil, also houses the design offices of Brockschmidt & Coleman, which has expanded from its original New York location. “There’s a strong but unsung Sicilian cultural component in New Orleans dating back over 100 years,” says Brockschmidt. “In both places, things aren’t about perfection—it’s more about life.” sudneworleans.com —JACQUELINE TERREBONNE

FROM LEFT: FRANCISCO ALMEIDA DIAS (2); EUGENIA UHL

Left: Casa do Passadiço’s Calacatta Viola marble–clad reception area.

Below: Hand-painted de Gournay chinoiserie wallpaper lines a hallway.

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Tropicana, 2019, Acrylic on shaped aluminum panel, 44.75 x 48 inches

Murals outside Ralph Pucci’s Wynwood showroom.

Below, from left: Snowwhite (2) One Day Her Prince Will Come (2018) by Rose Wylie. A Campana Brothers chair at Friedman Benda.

/ D E S T I N AT I O N S /

The international art and design world is descending upon South Florida for a jam-packed extravaganza of fairs and pop-ups. Additionally, an exciting roster of museum shows will attract audiences well into spring.

FAIRS: Art Basel in Miami Beach (December 5–8) returns with 269 international galleries. Don’t miss the special new Meridians section, dedicated to large-scale works, and Los Angeles artist Shinique Smith in the UBS Lounge. For admirers of collectible 20th- and 21st-century lighting furniture and objets d’art, Design Miami/ is the place to be December 4–8. Highlights include Daniel Arsham’s curation of the Friedman Benda booth; woven works by Porky Hefer at Southern Guild; and glass artist Jeff Zimmerman at R & Company.

EXHIBITIONS: The city’s museums put on their best in the weeks surrounding Art Basel. Perhaps the most anticipated is the Rubell Museum, which is moving to a 76,000-square-foot building designed by famed architect Annabelle Selldorf. In The Bass, Korean artist Haegue Yang and Italian artist Lara Favaretto are both debuting solo presentations. Over at the ICA Miami, Sterling Ruby’s most comprehensive museum survey to date will be on view through February 2, 2020. At Pérez Art Museum Miami, José Carlos Martinat’s mechanical light sculptures will dazzle visitors through January 26. Forty years of poignant works by the Chilean-born artist Cecilia Vicuña transform the Museum of Contemporary Art North Miami through March 29.

POP-UPS: Known for its intoxicating mix of art, fashion, and design, Miami is a natural fit for French fashion icon Jean-Charles de Castelbajac, who has conjured a graphic mural at Ralph Pucci’s Wynwood

WHERE TO DINE

showroom. Louis Vuitton will mount an exhibition of the iconic Objets Nomades collection, featuring an American designer for the first time: Andrew Kudless. Retail haven Loewe recasts itself as a cutting-edge art space with works by Hilary Lloyd and Ewen Henderson.

PALM BEACH: In December, Palm Beach is generating its own buzz with the second New Wave Art Wknd (December 6–8), founded by gallery owner Sarah Gavlak, which celebrates the town’s dynamic contemporary art scene. The Bunker, a private art space conceived to house patron Beth Rudin DeWoody’s impressive collection, is always worth a visit. Don’t miss “Georgia O’Keefe: Living Modern,” on view at the Norton Museum of Art in neighboring West Palm Beach, which recently underwent a $100 million renovation and expansion by the Pritzker Prize–winning architect Norman Foster. Located in Vero Beach, the Gallery at Windsor is rounding out the season with a show of witty new paintings by the British artist Rose Wylie.

It marks the third annual exhibition with the Royal Academy, following presentations by Grayson Perry and Michael Craig-Martin. —L.R.

In Miami those hungry from all the nonstop action at the fairs and openings have a wealth of new restaurants to choose from.

Vegetable-forward dishes by Michelin-starred Joël Robuchon protégé Alain Verzeroli are served in a modern space designed by famed French architect Pierre-Yves Rochon at the new Miami outpost of New York’s Le Jardinier (left). Consistently named one of the 50 Best Restaurants, Japanese-meets-Peruvian eatery Osaka makes its U.S. debut in Brickell with delectable dishes like pato Mochero, crispy duck leg served over wok rice with Amazon bacon and shiitake mushrooms. Meanwhile at Mila, executive chef Nicolas Mazier and renowned mixologists Jennifer Le Nechet and Mido Yahi join forces for a soothing Mediterranean-Asian rooftop dining experience on Miami Beach’s bustling Lincoln Road. Those looking for a sweet respite in midtown will appreciate the traditional English high tea service at the Little Hen, which opens its second Florida location. —JILL SIERACKI 30

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FROM TOP: JUAN-PABLO CASTRO; FERNANDO L ASZLO, COURTESY OF FRIEDMAN BENDA AND ESTUDIO CAMPANA; COURTESY OF THE ARTIST AND DAVID ZWIRNER; COURTESY OF LE JARDINIER

MIAMI ADVICE

Our iconic Lowell collection

SLEEP WELL TONIGHT. matouk.com

What’s On View

From top: Kehinde Wiley’s Napoleon Leading the Army over the Alps (2005).

Composition (1966)

by Alexander Calder.

Li Qing’s Tetris Window• Asiatic Society (2019).

MUST-SEE WINTER EXHIBITIONS FROM NEW YORK TO SHANGHAI

Li Qing: Rear Windows

Prada’s meticulously restored 1918 residence in Shanghai has been transformed into an immersive art experience by Chinese artist Li Qing. Curated by the esteemed Jérôme Sans, the installation comprises recent and specially commissioned new canvases that are influenced by the classic 1954 Alfred Hitchcock movie of a similar name. rongzhai.fondazioneprada.org

of work by the trailblazing British artist. Informed by the natural world and the duality of solids and voids, Barbara Hepworth worked blocks of wood and molded plaster by hand to create organic shapes of haunting beauty. This first monographic survey of her oeuvre also includes a re-creation of her environment. musee-rodin.fr MAXXI, ROME THROUGH APRIL 26, 2020

Gio Ponti: Amare L’Architettura

DENVER ART MUSEUM THROUGH FEBRUARY 2, 2020

Claude Monet: The Truth of Nature

Claude Monet’s ongoing relationship with the outdoors is at the heart of this major exhibit in Denver, where the French master’s extensive travels—spanning the rugged Normandy coast to the vibrant Mediterranean—are beautifully depicted in more than 120 paintings. It is one of the largest U.S. exhibitions of Monet’s work in over two decades. denverartmuseum.org MUSÉE RODIN, PARIS THROUGH MARCH 22, 2020

Barbara Hepworth

The legacies of two great sculptors come together when the former home of Auguste Rodin mounts an exhibition 32

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Forty years after Gio Ponti’s death, the venerable Italian architect continues to awe and inspire. This showcase of rare archive materials, models, photographs, books, and objects permits the exploration of an icon of design whose prolific six-decade career includes such notable creations as the Pirelli Tower in Milan and the beloved Superleggera chair for Cassina. maxxi.art KUNSTHALLE MUNICH DECEMBER 6— MARCH 8, 2020

The Fabric of Modernity: Matisse, Picasso, Miró . . . and French Tapestries

Henri Matisse, Pablo Picasso, Le Corbusier, and Joan Miró may be best known for their paintings and sculpture, but this group show reveals their

extensive work in elaborate weavings. In the period after World War I, the artists collaborated with the Gobelins Manufactory in Paris to fabricate colorful, large-scale woven textiles using age-old techniques with an utterly modern approach. kunsthalle-muc.de BROOKLYN MUSEUM, NEW YORK JANUARY 24–MAY 10, 2020

Jacques-Louis David Meets Kehinde Wiley

Kehinde Wiley’s captivating portraits riff on traditional conventions of the art form by inserting black contemporary figures into a white-dominated version of art history.

This winter, his exultant Napoleon Leading the Army over the Alps (2005) from the museum’s collection will be displayed alongside the original, Jacques-Louis David’s Napoleon Crossing the Alps (1801), marking the first time the 19th-century masterpiece has been on view in New York. brooklynmuseum.org LUCY REES

FROM TOP: COURTESY OF BROOKLYN MUSEUM; FABRICE LINDOR; COURTESY OF LI QING STUDIO

PRADA RONG ZHAI, SHANGHAI THROUGH JANUARY 19, 2020

Battam Bang, 1962 | Oil on canvas | 54 x 54 in

John Ferren (1905-1970)

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Floor to Ceiling LIGHTING DESIGNER

BEC BRITTAIN UNVEILS HER FIRST RUG COLLECTION

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Choosing a lighting designer for a rug collaboration seems like an out-of-the-box decision, but for Bec Brittain—whose first flooring collection, Taxonomy, recently debuted at Edward Fields—the relationship made perfect sense. Brittain and the carpet company found common ground in geometry and craft.

“Brittain’s distinct lexicon intrigued us from the start,” says Edward Fields’ design director, Juliana Polastri. “She is among the most avant-garde designers of our time.” Brittain used her careerdefining fixture, Mercury, as a starting point. Then experiments in pleating led to an exploration of patterns found in nature, particularly shapes connected to insects, which Brittain had used in some of her early sculpture work. With Taxonomy, the shell of a beetle becomes the Elytra rug, while a spiral of antennae begets Lamella (shown). “When I decided to start a lighting design company, it wasn’t because lighting was the only thing I liked to do,” says Brittain. “I just felt I needed to specialize to be excellent at something. This was a really nice opportunity to be given a new world to play in.” becbrittain.com, edwardfields.com —J.S.

LALIQUE’S MOST ICONIC DESIGNS FROMENTAL WALL COVERING

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hen the team at Lalique was looking to refresh its London atelier, it turned to Fromental’s masterful chinoiserie wall coverings, which showcase the flowers and birds popular in the crystal maker’s oeuvre, to help transform the space. That collaboration led to Fromental’s latest highly decorative design, Hirondelles, featuring Lalique’s 130th anniversary swallow and Belle Epoque dahlia, hand-painted and hand-embroidered on silk. “It was a brilliant way to pay homage to René Lalique’s first sketches,” says Lizzie Deshayes, cofounder and design director of Fromental. “The adaptation manages to bridge our traditional chinoiserie style and Lalique sculpture.”

The pattern made its U.S. debut at November’s Salon Art & Design in New York in a breathtaking display that combined the Fromental wallpaper, perfectly matched wall-mounted Lalique dahlias and Hirondelles that are dusted with 18K gold, and a handwoven rug that translates the romantic look into a floor covering, which was crafted in Burgundy, France, by Manufacture de Tapis de Bourgogne. “An important part of this is to remind us all how incredibly influential René Lalique was to the history of decorative arts,” says Gwen Carlton, head of interiors and special projects at Lalique. “What you also see here is just a reminder of how impactful he continues to be on design.” lalique.com, fromental.co.uk JILL SIERACKI 34

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COUNTERCLOCKWISE FROM TOP LEFT: DAVID JENSEN; KARINE FABY; NICK D’EMILIO; L AUREN COLEMAN

FIND NEW LIFE IN AN ORIGINAL

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Nicole Wittenberg in her Chinatown studio.

Generation Next A NEW CROP OF RISING ART

STARS IS CREATING BUZZ WITH UNCONVENTIONAL PRESENTATIONS AND CONTEMPORARY TWISTS ON CLASSIC MEDIUMS

A recent vacation with friends to the Greek islands sparked an artistic outpouring for Nicole Wittenberg. “It was magical,” the New York–based artist says from her airy, light-filled studio in Chinatown. “There’s this feeling when the sun comes up and you step outside and take it all in—it’s just an instant, though, and then it all changes.”

Capturing those fleeting moments is at the heart of Wittenberg’s current practice. “I’ve been drawing from life with pastels, and I’m now working on scaling them up to create large-scale paintings,” she explains. “Translating that intense color into lifelike painting is tricky business.”

Wittenberg broke onto the scene with her stylized black-and-white ink portraits. However, it’s her so-called porn paintings, which challenged the status quo by depicting sexually aroused images of men, that put her on the map. “It’s more than just a sexual act,” says the artist.

“It’s very intimate and real.”

For her recent seaside paintings, Wittenberg spent time studying Claude Monet: “He understood the weight of water, how it bounces and how the light reflects off it.” Her overall inspirations, however, are multifarious. “I love a rapid and uncontrollable process, which is something that has always turned me on,” she says. “I look at Munch a lot, who was barely in control of his medium.”

Enjoying the freedom that comes from not being tied to a gallery, Wittenberg has participated in a number of dynamic group shows curated by artists such as David Salle and Alex Katz, both of whom are close friends. Next up is an exhibition at New York’s venerable Skarstedt gallery in January with Martha Diamond and Chantal Joffe. With an avid interest in architecture and filmmaking, she plans to try her hand at design architecture and hopes to create film sets in the future. “I became an artist because I really wanted to live a free life.” nicolewittenberg.com LUCY REES 36

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Lee, director of Ryan Lee Gallery. “She controls all aspects of the image while deconstructing the mechanisms of how notions of standards and ideals function in mass media.”

The artist, who graduated from Rhode Island School of Design in 2012, has also exhibited in acclaimed group shows at the Hayward Gallery in London; Wadsworth Atheneum Museum of Art in Hartford, Connecticut; Kunstmuseum Bonn in Germany; and the New Museum in New York. Says Lee of Gutierrez, “She has a highly unique vision.” martinegutierrez.com L.R.

MARTINE GUTIERREZ

It’s not often that an artist takes on the role of subject, creator, and muse in their body of work. But that’s exactly what Martine Gutierrez did for her recent project “Indigenous Woman,” a 146-page art publication that was showcased at New York’s Ryan Lee Gallery and the most recent Venice Biennale. A number of works from the series are now on display at the Museum of Modern Art in Fort Worth, Texas, through January 12, 2020.

For the highly singular project, the Brooklyn-based artist designed and produced fantastical fashion editorials filled with self-portraits and pop culture symbols in an effort to highlight how identity is a social construct and explore questions around diversity and consumerism. One slick black-and-white series, “Body En Thrall,” depicts Gutierrez in fictional scenes, posing around a swimming pool. “Demons,” meanwhile, features Aztec, Mayan, and Yoruba deities of the ancient world. Peppered throughout the issue are witty advertisements for fake products, such as a mascara that comes with the tagline, “Maybe she’s born with it, maybe it’s white privilege.”

The magazine, presented in a style and format resembling Andy Warhol’s Interview, is an attempt to celebrate “Mayan Indian heritage, the navigation of contemporary indigeneity, and the ever-evolving self-image,” according to Gutierrez’s editor’s letter. “It is the ultimate project for self-representation,” says Jeffrey

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MARTINE GUTIERREZ, COURTESY OF THE ARTIST AND RYAN LEE GALLERY, NEW YORK. OPPOSITE, FROM TOP: GEORGE ETHEREDGE; COURTESY OF THE ARTIST AND EDOUARD MALINGUE GALLERY

Pages from Martine Gutierrez’s art magazine, “Indigenous Woman” (clockwise from left): Body En Thrall, p107; Body En Thrall, p113; Demons, Xochiquetzal ‘Flower Quetzal Feather,’ p95.

WONG PING

Hong Kong artist Wong Ping’s foray into the arts is a true millennial success story.

It all started with the digital animation videos he would upload to Vimeo in his free time while working in postproduction for a television broadcasting company. “I had an organically grown online community,” says Wong of his small but loyal audience.

Since 2014, his cartoony short films depicting humorous sexual encounters in bizarre scenarios have garnered tremendous attention in the art world and his name is being added to new-media acquisition lists at museums across the globe. Rendered in bright colors with an intentionally naïve design aesthetic, the works are filled with social commentary and contemporary angst delivered with a heavy dose of wit—meme culture mashed up with existentialist satire. “My process has always been similar to writing a diary,” he says. “I am inspired by what I hear, see, or experience wherever I am, on my phone, or in real life.”

Just in the past two years, Wong has had a solo exhibition at the Kunsthalle Basel in Switzerland, exhibited at the New Museum in New York, and won the inaugural Camden Arts Centre Emerging Artist Prize at Frieze. Recently, the Solomon R. Guggenheim Museum commissioned Wong’s Dear, Can I Give You a Hand? and acquired the piece for its permanent collection.

His one-man operation, which he dubbed Wong Ping Animation Lab, requires the artist to script the stories himself and then animate them alone, working on just a small laptop in the low-cost hotels and Airbnbs in Hong Kong, where he primarily resides, or from hotel rooms across Europe, Asia, and the U.S. This winter, the ICA Miami will display a new commission from Wong’s “Fables” series in its Yarkin Gallery, which is dedicated to spotlighting emerging artists. The work

is an interpretation of the complexities around virtual encounters and physical yearnings. “Wong Ping is an exciting new voice in contemporary art,” says exhibition curator Alex Gartenfeld. “His animated videos and installations have enthralled viewers with their playful yet trenchant allegorical style.” tanyabonakdargallery.com OSMAN CAN YEREBAKAN Left: A video still from Wong Ping’s Fables 1 (2018). Top: Wong at the Guggenheim Museum with an animation commissioned by the institution called Dear, Can I Give You a Hand? (2018).

DONNA HUANCA

Donna Huanca’s multisensory art installations transport viewers to another world—one that is ruled by the feminine. For her first big U.S. museum show, at the Marciano Art Foundation in Los Angeles this year, Huanca transformed the former Masonic Temple with a mass of white sand, totemlike steel sculptures, and monumental oil-on-canvas works. Nine painted nude models—a mix of cisgender and trans persons of different

ethnicities—slowly moved about. A bespoke scent and a nature soundtrack rounded out the experience. “With every exhibition, I respond to the architecture and history of the location,” says the Berlin-based artist. “The temple was created to enforce patriarchal power. To hold a femme space was truly an epic feat.”

Huanca, who grew up in Chicago with Bolivian parents, made a name in the underground music scene and studied painting at the University of Houston. “I never declared wanting to be an artist,” she says. “I grew up in a working-class immigrant family where that was never an option. Becoming an artist was more of a process.”

It was at 2017’s Art Basel in Switzerland that she first caused a stir on the international art scene, presenting with her Berlin gallery, Peres Projects, a sculptural installation that featured two nude models in a durational eight-day performance. “I have found observing the textures, destruction, and cycles in nature to be very inspiring,” she says.

Since then, Huanca has had solo shows at the Belvedere museum in Vienna, the Yuz Museum in Shanghai, and Copenhagen Contemporary. Next spring will be her first solo exhibition with Simon Lee Gallery in London. “Donna’s unique visual language is based in collaboration and innovation,” says Simon Lee Gallery director Katherine Schaefer.

“Being an artist today is challenging and exciting,” says Huanca. “I see my job as an urgent one and use a sensual, visual language for this communication.” ruaminx.com L.R. 40

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COURTESY OF THE ARTIST, SIMON LEE GALLERY, AND PERES PROJECTS, BERLIN

Above: A 2019 work titled Tegmentum Beta, crafted with oil and sand on digital print on canvas. Left: Donna Huanca.

IN DALLAS, CULTURE IS BIGGER THAN EVER WITH EXCITING MUSEUM SHOWS, DYNAMIC GALLERIES, AND ART-CENTRIC SHOPPING

Ave by Mark di Suvero, outside the Dallas Museum of Art. Below: The fashionable offerings inside Forty Five Ten and its artful exterior.

I

t’s not Texas-style boasting to call Dallas one of the more interesting arts cities in America. Thanks in no small part to an uncommonly civic-minded community of collectors and patrons, Dallas is home to a vibrant mix of world-class museums, influential private-collection spaces, an ascendant art fair and performing arts festival, and a growing gallery scene.

“So many people have this generalized idea of Dallas being cowboys and queso,” says Kristen Cole, president and chief creative officer of Forty Five Ten, an upscale boutique that offers a curated mix of established and emerging fashion with rotating installations of contemporary art. “People I know who are in the fashion community come in from New York, L.A., Paris, or Milan, and they are always surprised by how much the city has to offer. And the generous and hospitable spirit of people here makes an impression.”

In the Arts District—where you’ll find the Dallas Museum of Art (DMA), the Nasher Sculpture Center, and the Crow Museum of Asian Art— new high-rises are bringing in residents, workers, and tourists eager to be culture adjacent. The Hall Arts Hotel just opened across from the Meyerson Symphony Center and is a five-minute walk from the neighborhood’s museums. The hotel’s developer, collector Craig Hall, has filled it with art, tapping into a formula pioneered by the city’s decade-old, popular-as-ever Joule hotel, created by another collector-developer, Tim Headington.

“The goal is to make the Arts District an active community where people live, work, and play all week long,” says Kelly Cornell, director of the

Dallas Art Fair, which takes place in the neighborhood’s Fashion Industry Gallery building every April. It’s Dallas’s biggest art event of the year, rivaled only by the charity auction Two x Two for AIDS and Art, hosted each October by mega-collectors Cindy and Howard Rachofsky in their spectacular Richard Meier–designed home. Launched almost a dozen years ago with around 30 exhibitors, the fair now features close to 100 galleries from 30 cities across the globe, serving as an anchor for Dallas Arts Month and complementing the Soluna festival, whose offerings include opera, theater, dance, and crossover productions with artists.

What’s driving out-of-town galleries’ interest in Dallas is, of course, its collectors. The example set by local luminaries like the

CLOCKWISE FROM TOP: RALPH LIEBERMAN PHOTOGRAPHY, COURTESY OF THE DALL AS MUSEUM OF ART; NATHAN SCHRODER (2). OPPOSITE, CLOCKWISE FROM TOP: KEVIN TODORA, COURTESY OF NASHER SCULPTURE CENTER; COURTESY OF THE CHARLES; COURTESY OF THE ARTIST AND GAVIN BROWN’S ENTERPRISE, NEW YORK AND ROME; CL AIRE DORN, COURTESY OF GALERIE PERROTIN

Heart of Texas

Clockwise from top: Nicole Eisenman’s Sketch for a Fountain at the Nasher Sculpture Center.

Gnocchi at The Charles. Alex Katz’s Emma 3 (2017) at the Rachofsky Collection at the Dallas Museum of Art. Human Scale (Van Gogh’s Ear) by Elmgreen & Dragset is representative of the artists’ work, which is on display in an exhibition at the Nasher.

Rachofskys and the Nashers—whose holdings are found not only at the Nasher Sculpture Center but also throughout the family’s famous NorthPark Center shopping mall—has proved encouraging to a new generation. “We’ve met so many passionate, engaged collectors,” says Cole, who moved to Dallas a year ago with her husband, Joe, a creative consultant for Headington Cos. “It has inspired us to take our own collecting more seriously.”

Younger collectors are also embracing the city’s robust culture of philanthropy. “What distinguishes Dallas from other places with tremendous collectors is that people are cooperative and not competitive,” says Deedie Rose, a doyenne of the city’s arts community who made a game-changing joint commitment with the Rachofskys and Marguerite Hoffman to donate their collections to the DMA, establishing it as a top museum for modern and contemporary art.

For now the Rachofskys present rotating displays from their holdings at the Warehouse, a gallery space that is open to the public once a month. Other notable private art spaces include Janelle and Alden Pinnell’s Power Station, the Goss-Michael Foundation, and the Karpidas Collection—the latter two in the up-and-coming Design District.

The Design District is, as you would expect, where you find some of the city’s top shops and showrooms, from Sputnik Modern and B&B Italia to Michelle Nussbaumer’s Ceylon et Cie. But the area also has the adventurous Dallas Contemporary art space and a burgeoning gallery scene that includes Galerie Frank Elbaz, Conduit, And Now, Erin Cluley,

12.26, and Site131. A handful of these are clustered together in the new River Bend complex, spearheaded by developer John Sughrue, cofounder of the Dallas Art Fair. The fair opened its own space there, 214 Projects, as a way to have a year-round presence and to offer exhibitors more opportunities to show their artists in Dallas. “You don’t have a robust arts community without a local gallery scene,” says Cornell, “and the Design District is definitely the center of where the activity is happening.”

The neighborhood is getting a splashy Virgin Hotel, opening on December 15, with a rooftop pool and multiple bars and restaurants.

That means more options in an area that has some of the city’s buzziest dining, such as the Italian spots Sassetta (casual) and The Charles (glam) as well as the steak house Town Hearth, known for over-the-top decor (64 crystal chandeliers, a yellow submarine in a fish tank) and “steaks bigger than the plates,” says Cornell, adding, “It’s a Dallas experience.” Just one of many in this city on the rise. STEPHEN WALLIS GALERIEMAGA ZINE.COM

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Aline Asmar d’Amman’s design for the newly refurbished Jules Verne in the Eiffel Tower.

A SPECTACULAR REDESIGN AND

AN ESTEEMED NEW CHEF ELEVATE LEGENDARY EIFFEL TOWER RESTAURANT LE JULES VERNE

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STEPHAN JULLIARD

Towering F Achievement

rom the day it first opened in 1983, Le Jules Verne has captivated the world with its magical views of the City of Light from its romantic perch on the second floor of the Eiffel Tower, the iconic symbol of Paris. Now the intimate and supremely chic restaurant has reopened with a stunning new decor by Lebanese-Parisian architect and interior designer Aline Asmar d’Amman and a new Michelin-star chef, Frédéric Anton—and it’s better than ever.

“It was a challenge and an honor to do this project, because the tower transmits such a powerful and enduring message of progress, culture, and humanist values,” says Asmar d’Amman, whose firm, Culture in Architecture, has offices in Paris and Beirut. “These are the themes I wanted my design for the restaurant to communicate. I sought to create a decor that was modern but profoundly Parisian, and I was guided by the subtlety and restraint that give birth to elegance.”

The updated design gently echoes the architectural beauty of Paris with details that evoke the different visual idioms of the French capital.

Working in a serene color scheme of gray, silver, pearl, and stormy blue

Gerald Patrick, Gerald Patrick Arts

FEBRUARY 13-17, 2020 Palm Springs Convention Center

art-palmsprings.com

accented with black metals, silver, and gold, Asmar d’Amman conceived a look for the three dining rooms—Quai Branly, Trocadéro, and Champs de Mars, the latter offering the best views—that showcases the brute power of the monument’s engineering but refines it with the lightness of custom-designed furniture by Culture in Architecture. Black steel chairs in the bar area, part of the Iron Lady furniture line her firm developed for the project, are inspired by the allure of the Eiffel Tower.

In the main dining room, French brushed-oak tables with mother-of-pearl powder inlay are surrounded by dove-gray wooden tub seats with woven cane backs and velvet cushions or rounded gray velvet upholstered sofas. Seven white plaster circle lights inspired by the graphics of the Eiffel Tower’s mechanics on the hand-painted ceiling reference the massive mechanical wheels that power the tower’s elevators, including the private south pillar one that takes diners up to Le Jules Verne.

“This project was done in symbiosis with chef Frédéric Anton,” Asmar d’Amman explains. “My design also had to reflect his cooking, which is so subtle and refined, to create a cohesive aesthetic experience for people coming to the restaurant.” If she created the new setting of Le Jules Verne, Anton’s challenge as the fourth chef of the restaurant, which was most recently run by Alain 46

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Ducasse, was to overcome the considerable logistical constraints of offering a transcendent gastronomic experience in a space where security concerns prevent the use of gas in the very small kitchen or lit candles in the dining room.

Chef since 1997 at another one of the most romantic restaurants in Paris, the famous Pré Catelan in the Bois de Boulogne, the vast wooded park on the western edge of the city, Anton has held three Michelin stars there for more than a decade. The toque has spectacular technical skills in the kitchen and a signature talent for subtle modern French cuisine—his food is at once playful and elegant, sensual and cerebral. At Le Jules Verne, he’s placed Kevin Garcia, his sous-chef from Le Pré Catelan, to oversee the menus he’s designed.

Standout dishes of a recent five-course dinner included a suave crème Dubarry, a velvety and richly flavored cauliflower cream with a flan of baby leeks and caviar; and a chicken breast poached in foie gras bouillon with a sublime sauce Albufera, which is made from duck foie gras, Cognac, white port, Madeira, chicken bouillon, and cream.

Ultimately, the elegant, high-altitude collaboration of Asmar d’Amman and Anton has exquisitely renewed one of the most consummate experiences of Paris for the 21st century. restaurants-toureiffel.com ALEXANDER LOBRANO

CLOCKWISE FROM FAR LEFT: STEPHAN JULLIARD (2); RICHARD HAUGHTON

From far left: Custom Culture in Architecture furnishings, along with the firm’s ceiling-mounted circular lighting, echoes the tower’s engineering. Newly installed chef Frédéric Anton’s caviar and crème Dubarry. The bar’s black steel chairs are from Asmar d’Amman’s Iron Lady collection.

SPOTLIGHT

WINES TO COLLECT NOW CHARTOGNE-TAILLET

Thirst for Knowledge

OVERSEEING ONE OF THE WORLD’S FINEST WINE LISTS, ALDO SOHM SHARES THE

The Champagnes of ambitious young winemaker Alexandre Chartogne are worth celebrating.

Produced just north of Reims on slopes expanded by monks in the seventh century, they are crafted by hand with horses used for plowing and only natural fertilizers from the farm for the ultimate expression of terroir.

RAÚL PÉREZ

Revered Spanish oenologist Raúl Pérez is known for being absolutely in tune with nature.

His revolutionary wines constantly change as he uses no additives and manipulates the grapes as little as possible.

SECRETS TO BUILDING A MASTERFUL CELLAR

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SCHLOSS GOBELSBURG

On the grounds of a former Austrian monastery with vineyards dating back to 1171, Schloss Gobelsburg is revered for its meticulous dedication to traditional methods of creating wines with character that don’t follow a uniform profile.

LUIS SEABRA

Proving that the Douro isn’t just for producing port, Luis Seabra’s groundbreaking Portuguese wines have been most often compared with Burgundies since he founded his label in 2013.

THIERRY ALLEMAND

Eschewing new oak barrels and using a minimal amount of sulfur, Thierry Allemand has become the cult wine star of the northern Rhône.

With no formal education in wine and lacking ancestral plots, he produces mythical wines of great aromatic complexity and balance.

CLOCKWISE FROM TOP: DANIEL KRIEGER; COURTESY OF VERVE WINE (5); COURTESY OF ALDO SOHM

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or the past decade, Aldo Sohm has led the wine program at Le Bernardin in New York, cultivating the Michelin three-star restaurant’s 900-plus bottle list.

Developing this kind of collection comes with a wealth of experience and has earned Sohm a coveted James Beard Award. Despite all the accolades, the oenophile can be pretty down-to-earth when it comes to curating a home cellar, as verified in his recently released guide, Wine Simple (Potter). The book delves into the questions he’s asked daily at his namesake New York wine bar as well as the easy-to-follow answers he provides. “People are interested but often scared by the language,” he explains with a laugh. “It’s like when I go to the computer store.”

But knowing the terminology isn’t the only requirement for starting a collection.

Sohm recommends finding a brick-and-mortar wine store you like and establishing a relationship. “Begin by buying a sample case of minerally, round, off-dry whites, and then keep notes on what you liked and what you didn’t,” he suggests. “When you find the ones you like, buy an entire case, then drink them over a period of time to learn how they change.” Try another style next, broadening your personal database.

Sohm also encourages keeping an open mind. “If you care for label and brand, you pay. If you go a little off, you get stunning deals.” The sommelier advises exploring wines from Spain but not the classic areas—noting that there are lots of complex Albariños that will soon rise in value. “You find small, artisanal producers or regions that the market didn’t pick up on, but once they’re discovered, they skyrocket.”

At home, Sohm forgoes doing an inventory like he does at work. Instead, he prefers to unearth surprises that have aged simply because they were forgotten. “Then you look up the current price and you don’t want to drink it.” But he usually opens it anyway, knowing that there’s no such thing as specialoccasion bottles—the moment you pull out the cork, it becomes the celebration. aldosohm.com JACQUELINE TERREBONNE

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Dinner is served on the villa’s rooftop terrace. Right: The master bedroom features Hermès and Prelle fabrics. Below: Details in the living room include a hand-painted ceiling and 18th-century Neapolitan chairs.

Castle in the Air

A PRIVATE VILLA AT ONE OF ITALY’S MOST ESTEEMED RESORTS COMBINES AN UNEXPECTED ARRAY OF VINTAGE FURNISHINGS AND ANTIQUE OBJETS 50

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COURTESY OF BELMOND

S

et high above the Amalfi Coast in Ravello, where a maze of steps and sidewalks once inspired M. C. Escher, the Belmond Hotel Caruso has long lured savvy travelers up the cliffs to its limestone aerie. From its unmatched perch, the resort offers guests spectacular views of the boats gliding across the sea from the moment the sun crests the cliffs.

With the addition of Villa Margherita, the Belmond now includes a secluded sanctuary steps away from the hotel, but with all the same benefits as the main property. A collector’s dream, the two-story private villa is filled with special pieces curated by Milan-based designer Eric Egan, who had been acquiring objets for decades with his own fantasy Italian country house in mind. Realizing that such a home wasn’t on the horizon, he raided his personal trove to create rooms that speak to a life well traveled. “I had been warehousing these treasures I find at auctions,” he says of the cache of classic Italian works as well as French and English antiques. “It’s a mix of high and low, antique and modern.”

In the villa, 18th-century Neapolitan chairs upholstered in vintage Fortuny fabrics mingle with 17th-century gilt-wood Spanish mirrors beneath ceilings hand-painted with themes of the region. On the walls, artwork is just as varied and intriguing—a serigraph by Henri Matisse, framed in wood salvaged from the pilings of canals in Venice, and a Jean Dubuffet print from the 1970s are displayed alongside architectural fragments unearthed on the site of the hotel, which was originally an 11th-century palace.

The unparalleled attention to detail extends beyond the interiors. The villa includes private gardens, designed by a fourth-generation local gardener, and a rooftop terrace for impeccable alfresco meals prepared and served by the suite’s personal chef and butler. It’s hard to imagine a more ideal setting for a seemingly simple pasta pomodoro with a tomato sauce freshly made from four different local varietals, which proves once again, it’s all about the mix. belmond.com JACQUELINE TERREBONNE

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In the home of Bob Williams, a collection of miniature chairs with iconic designs.

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ANNA NAPHTALI

ART • FURNITURE • CARS • JEWELRY

BOB WILLIAMS M I N I AT U R E C H A I R S

Furniture designer Bob Williams is a collector of collections. A feature in a magazine that spotlighted copper Statue of Liberty souvenir figurines inspired him to pick up one at a flea market. Now he has a dozen, including two with working lightbulb torches. And then there are the 100-plus pieces of McCoy pottery he owns. “My interests will vary—usually I have two or three things I’m collecting at various times,” he says. “The whole idea of collecting and hitting antiques stores I find very relaxing. It’s like going on an adventure to discover something.”

His hunt now focuses on miniature chairs. It’s an apt obsession for the cofounder and president of design for furniture maker Mitchell Gold + Bob Williams, and it’s a passion he shares with his husband, Stephen Heavner. Heavner collects tiny versions of iconic designs, such as Ludwig Mies van der Rohe’s Barcelona chair, while Williams searches for unique, child-size ones.

“I get to make these big upholstered chairs, and then to find all these other amazing styles you’ve seen for a long, long time or handmade little wooden chairs with woven seats—it’s fun,” says Williams, citing an exceptional wire seat unearthed in an off-the-beaten-path junk shop in rural Tennessee as an unexpected treasure. “You have one item and it’s like, That’s interesting. You have three of them; now it’s a collection.”

—JILL SIERACKI

Mitchell Gold OUTSIDER ART

Back when Mitchell Gold was traveling the country to get his now-renowned furniture company, Mitchell Gold + Bob Williams, currently celebrating its 30th anniversary, off the ground, he was happy to stay in the guest room of any friend or family member who offered. On one such business trip, the chairman of the company was introduced to outsider art while staying overnight at his cousin, gallerist Judy Saslow’s Chicago apartment. “These are artists that are not formally trained, but there’s something in them that gives them this quirky, interesting artistic ability and sensibility,” says Gold. Today, his collection features work by such talents from the Southeast as Missionary Mary L. Proctor, Theresa Gloster, and Sam “Dot Man” McMillan, which he picked up at art fairs. A work by Fayette, Alabama, artist Jimmy Lee Sudduth was a surprising discovery at an out-of-the-way antiques store Gold stumbled upon during a drive from Raleigh to Taylorsville, North Carolina. In addition to paintings, his cache contains a number of woodcarvings by Shane Campbell, such as one of a devil with a base inscribed with “Whatcha looking here for?”

“Their stories really hit home,” he explains. —J.S. GALERIEMAGA ZINE.COM

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LOÏC LE GAILLARD TRIBAL ART

For Carpenters Workshop Gallery cofounder Loïc Le Gaillard, nothing pairs better with the fabulous artist and artisan pieces his atelier shows than tribal art— particularly the masks he has been collecting for the past decade. “I absolutely adore the mix and creating a dialogue,” he says of the juxtapositions he devises by placing these works next to Vincent Dubourg’s seemingly ruptured or exploded consoles and tables, or the harmony brought forth by pairing them with a complementary bronze bench by Ingrid Donat, who is known for similar motifs.

I’m obsessed with how tribal art has consistently influenced post-1900s art. At Frieze Masters one year, I saw a Picasso painting and realized that a mask had in a way sparked Cubism.

Picasso had loads of masks in his own studio and then put the two in parallel.

HIS COLLECTION: Many of my masks are in my office

Céline Assimon

Céline Assimon in the de Grisogono atelier. A 1934 Peugeot motorcycle similar to the one in her collection.

M O T O R C YC L E S

Vintage motorcycles may seem like an unusual obsession for someone who helms a high-jewelry and luxury timepiece brand, but for Céline Assimon, the new CEO of de Grisogono, it makes perfect sense. “I like things that are beautifully made. I appreciate the craft and the time taken to make something special,” says Assimon, who inherited a noteworthy collection of ten rare bikes from her father. “For me, there are many similarities in the two worlds.” Significant motorcycles in her collection include a 1934 Peugeot in chrome and red, which took years of working with specialists to restore to its original condition, and a 1961 Lambretta scooter, which is already promised to her nine-year-old daughter. “My collection is purely emotional—it’s about the relationship with my father and the memories of riding together.” Assimon, who splits her time between Geneva and Paris, stores them in a massive garage in her hometown in the South of France, where she regularly goes riding with her father’s friends—all of whom are avid car and bike aficionados. “It’s very social. Vintage bikes are definitely not a means of transport to get from A to B. In fact, you often don’t get to B because they can break down! You ride them slowly, almost as though on a carousel in an amusement park—and the noise is deafening.” She currently has her eye on a Norton Dominator Street, which was first created in 1947 in England and is now being rereleased with just 50 editions globally. “In the end, as long as I have the bikes, I have the memories.” LUCY REES 54

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in Mayfair. I display them as a cabinet of curiosities.

There’s something very human about them. I’m not alone with them; you have all of these interesting faces looking back at you. —JACQUELINE TERREBONNE

Clockwise from left: African Mbangu mask. Masque de Maladie. Masque (Peuple Timba).

FROM TOP: COURTESY OF DE GRISOGONO; WILLIAM CROZES, COURTESY OF L’AVENTURE PEUGEOT; COURTESY OF CARPENTERS WORKSHOP GALLERY (3)

HISTORICAL INSPIRATION:

(Untitled) Portrait of A Homeless Person, 1991 (26 x 22 inches; Oil on linen)

ROBERT PADILLA A NEW HOME: A RETROSPECTIVE NOVEMBER 30 – JANUARY 11

DETOUR GALLERY: info@detourgallery.com | detourgallery.com | 732.704.3115

ALAN FAENA

C R Y S TA L S

ART

Collecting art is above all about friendship for Daniel Humm, the Swiss-born chef behind such lauded culinary institutions as the Michelin three-star Eleven Madison Park and the Nomad. “I love to be surrounded by the works of artists who are close to me,” he says. The first piece he ever bought was a small painting on cardboard by his good friend Rita Ackermann, made during a trip to Martinique with her husband, artist Daniel Turner, whom Humm also collects. “I love it because it marked the beginning of a new series for her,” Humm explains. “When it’s personal, each piece becomes so much more than just a work of art.”

Revered for his refined elegance in the kitchen, Humm is unsurprisingly drawn to minimalist art, and he owns an important “Spatial Concept” canvas by Italian artist Lucio Fontana. “His work is so inspiring to me,” Humm shares. “I admire the restraint it requires. It’s much harder to take things away than it is to add. That piece has truly influenced me and my cuisine.” Art abounds in Humm’s restaurants, too. His latest venture, Davies and Brook at Claridge’s hotel in London, features works by Roni Horn. “I want to bring about a sense of intimacy in the dining space,” says the chef. “There is a link between the food on the plate and the art on the walls.” —L.R.

ELIZABETH LOCKE MICROMOSAICS

Clockwise from left: Daniel Humm. An Elizabeth Locke brooch with red spinels and a mosaic of the Basilica di San Marco. A 1959 “Spatial Concept” work by Lucio Fontana.

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The thrill of collecting often lies in the hunt.

Jewelry designer Elizabeth Locke would know: She has spent the past 30 years amassing one of the most impressive collections of micromosaics, many of which figure into her bold designs. These diminutive objects, crafted from thousands of tiny glass-enamel tiles, were originally sold as brooches and pendants to Victorian ladies in the early and mid- 19th century on what was known as the grand tour.

“The obsession began when I was living in Florence as a student and I discovered these dusty cases of micromosaics at the Museo Degli Argenti,” says Locke. “I was absolutely fascinated.” Years later, when she started her jewelry business, she chanced upon a micromosaic for sale at London’s Portobello Road flea market, sparking the idea to set them into bijoux. “I would be at Bermondsey Market at five o’clock in the morning with a flashlight, at all the church jumble sales.” As Locke’s interest in the subject grew, she found herself unable to part with many of her discoveries; realizing she had amassed almost 100 pieces, she donated the collection to the Virginia Museum of Fine Arts. In January they will go on display at the Gibbes Museum of Art in Charleston, South Carolina. But that doesn’t mean she’s stopped looking for more. “It’s a continual treasure hunt,” she says, “and just when you think, That’s it—bingo, you find something incredible.” —L.R.

CLOCKWISE FROM TOP: COURTESY OF FAENA; MATTHEW KLEIN, COURTESY OF ELIZABETH LOCKE JEWELS; COURTESY OF GAGOSIAN; COURTESY OF CL ARIDGE’S. OPPOSITE, FROM TOP: COURTESY OF FIRMDALE HOTELS; JESSICA GLYNN; COURTESY OF DDC

Daniel Humm

Alan Faena’s penchant for crystals is evident to anyone passing through the gates of his Miami home, where a fountain is filled with clear quartz, a stone that symbolizes power and is prized for its healing properties. This installation is but a visual amuse-bouche for the multilayered meal that awaits inside the hotelier and creative force’s abode, where groupings cover every surface. Over the decades these bits of amethyst, malachite, lapis, tourmaline, and pyrite remained in the same family but were divided among heirs in Europe.

Faena reunited them with help from Il Segno del Tempo gallery in Milan. “They bring a real energy from nature and the universe into the home,” Faena explains. But before installing them, he made sure to traditionally cleanse each piece—a practice many believe clears any bad energy from previous environments. “This collection is like art.” —RIMA SUQI

KIT KEMP

ART

When interior designer Kit Kemp was developing her Charlotte Street Hotel in London’s Bloomsbury district, she found herself wanting to marry the space’s aesthetic with the neighborhood. That simple quest whet a deeper interest in the works of the Bloomsbury Group, an early-20th-century bohemian circle of artists and intellectuals. “They made their portraits almost abstract, and the colors that they used are just perfect for an English light,” says Kemp, who bought works at auction by the set’s most established talents—Duncan Grant,

Roger Fry, Vanessa Bell, and Henry Lamb—when they were still relatively affordable. “I was very lucky; it was all about timing because they went out of fashion for a while, but now they’re very collectible.” Inside Charlotte Street, one of 12 properties in her Firmdale Hotels, Kemp displays their art (right) and decorative items alongside contemporary works to keep the overall design rooted in the present. A prized still life by Mark Gertler, a lesser-known Bloomsbury member, has pride of place in the designer’s own residence alongside other artworks by the collective. “There was a lot of romance and a lot of rebellion in their work.” —ASHLEY PETRAS

Siamak, Babak, and Daniel Hakakian DESIGN

LISA PERRY FURNITURE

In designer Lisa Perry’s world, fashion and interiors blend seamlessly to create a singular, modernist vision. “I know what I like,” says Perry, whose unshakable aesthetic was formed early, in part by her childhood home outside Chicago, which was designed by modernist architect George Fred Keck. Her exacting eye is evident not only in her namesake fashion line—boasting architectural cuts with fearless splashes of color—but also in her vintage furniture collection, which punctuates her Palm Beach home, a low-lying alternate reality in both magnitude and geometry. Take, for example, an enormous crescent-shaped white leather sofa by de Sede (above), which faces the showstopping ocean view. Other beloved pieces are by Vladimir Kagan and Pierre Paulin. “I was immediately attracted to Paulin as I’m completely aligned with his sensibility, including the fact that he used stretch jersey knits for upholstery, which is what I used for my first dresses,” says Perry. “I have my eye out for one of his long, winding Osaka sofas. I love the simplicity and the lines, and I admire the vision he had to make such a creative, beautiful, and fun statement.” —JENNIFER ASH RUDICK

For brothers Siamak, Babak, and Daniel Hakakian, collecting is a family affair. The trio, who own and operate the New York furniture mecca DDC Group, along with their father, Nader, focus on acquiring furniture pieces that have made a mark on design history. Before an item can enter their remarkable collection, all three must agree on its purchase. One standout in their fraternal trove is a pair of original doors by Antoni Gaudí for Casa Batlló in Barcelona (right). “Casa Batlló is an extraordinary project, and one that offered Gaudí complete and total creative freedom,” explains Babak. “It feels like we are the custodians of a real treasure.”

Clearly, this addition required no debate. “Gaudí continually pushed the envelope in pursuit of his own aesthetic, and each project has such a monumental quality,” adds Siamak. Daniel agrees: “His material selections and attention to detail were incredible.”

Of course, the doors are just one of the brothers’ many prized possessions— Babak is especially proud of a Zibaldone bookcase by Carlo Scarpa and Gaetano Pesce limited-edition chairs that were, he says, “basically made for us in red, white, and blue to honor 9/11.” And Siamak is

quick to endorse a Calatrava chaise as a major find. But the family’s enthusiasm is not only for pieces from the past; their NoMad showroom, where they regularly display their personal collection, proves there’s a dazzling design future ahead and a world of new talent still out there for them to discover. —J.T.

The Grusses in their prizewinning 1959 Ferrari 250 GT LWB Scaglietti Spyder California Competizione at the 2015 Pebble Beach Concours d’Elegance.

CARS

“Ever since I got my driver’s license at 16, I’ve been in love with European sports cars,” says financier and philanthropist Martin Gruss. In his late 20s, he bought his first

MARTIN KATZ WAT C H E S

Jeweler Martin Katz may have a world-class collection of rare and highly sought-after watches, but he doesn’t believe in keeping them ferreted away. “The one that’s on my wrist the most is my F.P. Journe tourbillion in platinum,” says Katz, who spied the watch in Geneva at a time when the master craftsman was still relatively unknown and made so few pieces they were almost impossible to purchase. “I thought, I’ve never seen such an unusual, gorgeous watch—I have to have it.” Now the tourbillion from F.P. Journe’s first year in production (left) is one of several in Katz’s reserve, 58

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PIERRE FREY

H AT S

Grandson of the French fabric and wallpaper company’s eponymous founder, with whom he shares a name, Pierre Frey serves as the firm’s international director of communications and as creative director of its Boussac collection. As recognizably sartorial and whimsical as the maison’s offerings, Frey details his penchant for hats: START OF A COLLECTION: I was given my first hat at 22 by a very elegant Italian girlfriend. We were shopping in a vintage market, and she bought it for me and said, “You should wear hats.” She was right, and now it’s a signature look for me.

STORAGE ISSUES:

I have over 100 hats that are stored on shelves and in boxes. Some are in my home, others are in my office, and I wear them back and forth, so they are often changing locations.

FAVORITE SHOP:

Veronica Marucci Chapeaux in Paris is a fabulous custom hat shop just in front of my son’s school. Three years ago for Christmas, my wife gave me a hat from there. The owner pushed me to choose white felt, which seemed very bold at the time, but this hat has become my favorite and the one I wear the most. There’s such a difference in a custom-made hat. —J.T.

which also includes watches by Baume & Mercier, Piaget, and Patek Philippe. “I tend to like some sort of complication, but sometimes, like with many of my F.P. Journe watches, there’s a simplicity to them,” says Katz. “One of my absolute favorites is a blue-dial, tantalum-case Chronomètre Bleu.”

While Katz rotates what he wears by occasion or attire, there are a few recent acquisitions— including a rare Philippe World Time 5131G with a cloisonné dial and a Greubel Forsey in stainless steel—that he’s still waiting to debut. “I haven’t awarded myself a watch in a year,” says Katz. “I don’t know what the milestone is, but I’ll know it when I feel it.” —J.S.

FROM TOP: COURTESY OF PIERRE FREY; KIMBALL STUDIOS, COURTESY OF PEBBLE BEACH CONCOURS D’ELEGANCE; COURTESY OF F.P. JOURNE

Audrey and Martin Gruss

real collector car, a gray 1958 Jaguar XK150 roadster with a maroon interior, and in the decades since, has been buying and selling autos, primarily European sports cars from the 1950s and ’60s, with Jaguars making up the majority of his collection. Today, alongside his wife, Audrey, the founder and chairman of the Hope for Depression Research Foundation, Gruss has amassed a fleet of 30 different marques and models, many of which he enters into some of the world’s most distinguished auto shows. Most recently, his 1938 Bugatti Type 57 d’Ieteren Cabriolet, a luxury touring car he discovered in Switzerland, won best in class at Audrain’s Newport Concours & Motor Week. He also has a Concours d’Elegance third-in-class award for his 1959 Ferrari 250 GT LWB Scaglietti Spyder California Competizione, that he won in 2015.

“They each have their own driving characteristics, and no two marques are the same,” he says. “They’re like my children— you can’t really pick a favorite.” J.S.

creating the difference

the next step.

noblessa.com

Architect William T. Georgis called on DMA Lighting to illuminate this Kips Bay Decorator Show House room.

T

he more you know about how a room is put together, the more you realize expertise matters. Collectors regularly rely on interior designers and art advisers.

But who do those experts in charge of masterfully displaying a collector’s valuable pieces rely on? It turns out, decorators and architects employ a whole field of specialists who help them get an artwork restored, moved, installed, and, finally, lit.

“One Richter painting is not like another Richter painting,” says art adviser Liz Klein, of the firm Reiss Klein Partners, who has worked with a number of mega-collectors.

“I’m a big believer in sticking with those core people with whom I’ve built a trusted network. They complement what I do and make me look good.”

We asked Klein and nine other discerning experts to recommend the best of the best across several key areas when it comes to enhancing any collection.

LIGHTING

WHEN ART AT HOME IS WORTHY OF MUSEUM-CALIBER TREATMENT, EXPERTS CALL ON THESE PROFESSIONALS

BY TED LOOS

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GEORGIS, GEORGIS & MIRGORODSKY

“Founder Joe Saint of IMCD Lighting does a lot of lighting for the fashion industry. It’s a hard field because it’s changing so fast—every two months there’s a new wrinkle. He stays on top of new technology.” imcdlighting.com THOMAS JAYNE, JAYNE DESIGN STUDIO

BJÖRN WALL ANDER

Display Panel

“Good lighting is all based on the human eye,” says specialist Nathan Orsman, who has established a whole business on the principle. “Any glare contracts your pupils, so you see less. The subtlety comes from the management of the darker areas in a room—what we call ‘the negative.’ ” More bright ideas—but not too bright—are below.

“DMA Lighting is extremely sensitive to museum-quality lighting in a residential setting, and Davis Mackiernan is a team player. He’s an asset to anyone who collects art. He’s also sensitive to how people look in these spaces too, not just objects. That’s key.” dmalighting.com —ARCHITECT WILLIAM T.

fabrics and trimmings clarencehouse.com

“Isometrix Lighting + Design’s founder, Arnold Chan, has worked with André Balazs and a lot of collectors. He’s just so good at lighting art. He works all the time, all over the world.” isometrix.co.uk —DESIGNER ROBERT STILIN “At Orsman Design, our primary clients are private residential collectors. The work is all about the subtle nuances that make residential lighting different from commercial lighting, working with anything from an Ellsworth Kelly canvas to a Rodin sculpture.” orsmandesign.com —LIGHTING DESIGNER NATHAN ORSMAN “Sean O’Connor Lighting takes a holistic, natural approach. Unlike some, the finished projects don’t make you feel like you’re in a lighting showroom.” seanoconnorlighting.com ROBERT STILIN

An interior by Robert Stilin featuring works by Danh Vo and Julian Schnabel showcases how framing, lighting, and installation come together.

LIZ KLEIN

“ILevel tends to hire artists. They are technically proficient but with an artistic sensibility. For a Beekman Place apartment with 35 works of art from all eras—postwar to Egyptian antiquities—they handled it all with aplomb.” ilevel.biz THOMAS JAYNE “Art placement is probably my favorite part of the installation process. I love working with Gordon Curtis of Fred Worden Trucking. His impressive knowledge of art and artists’ works takes placement to the next level. He has a consistent, intuitive understanding of scale and proportion.” DESIGNER SARA STORY 62

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STEPHEN KENT JOHNSON, COURTESY OF VENDOME PRESS

MOVING & INSTALLATION

Moving might seem like a bread-and-butter issue, but do you really want that Roman bust or that complicated installation

by Sarah Sze mishandled? “Transportation is the easiest way to mess something up,” says Klein. “There’s no going back.”

So go with the pros below.

“We work with Theo Padavano at 10-31 on mounts for sculptures and vitrines. If you’re buying antiquities, they need to be displayed properly. He works with auction houses a lot because he has an extraordinary eye, enhancing the object and making it better. It’s a white-glove service, too.”

10-31.com —WILLIAM T. GEORGIS “I’ve known John Jacobs of Artex Fine Arts Services for maybe 20 years; the company merged recently with Crozier Fine Arts. A huge amount of Crozier’s clients are museums, so they are used to issues like climate control—even for overnight trips. They never leave the truck alone.” crozierfinearts.com

FRAMING

If you notice the frame before the picture, something’s wrong, says Jayne, a longtime master decorator. “The frame should be the handmaiden to the art,” he adds. The places below fulfill that rule, while also bringing an understated level of craft to the form.

“Mark Karnett of APF Munn Master Frame Makers makes an object look its finest, and he’s low-key about it. He’s a great resource. You know he’s good because he worked on the reframing for the new MoMA.” apfmunn.com —WILLIAM T. GEORGIS “Art & Frame of New York is a very small operation, but don’t let the size fool you—they get the job done, from smaller projects to very expensive artworks. It’s the kind of mom-and-pop operation that is local, accessible, friendly, and reliable.” artandframeofnewyork.com —ART ADVISER NATASHA SCHLESINGER, ARTMUSE “Bark Frameworks makes all of their frames to order in-house. The craftsmanship is incredible. I completely trust them.” barkframeworks.com —ROBERT STILIN

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Clockwise from left: A living room installation, including a painting by Sterling Ruby, at Sara Story’s country home. A work

by Jusepe de Ribera hangs in Colnaghi’s New York gallery space. A well-framed array in William T. Georgis’s La Jolla, California, home.

FROM TOP: MARCO RICCA; COURTESY OF COLNAGHI; ROGER DAVIES

“I frame a lot of things with City Frame. They’ll put a $200 frame on a photo or make a gold-leaf one with no attitude. They can handle anything.” cityframe.com —THOMAS JAYNE “I’ve worked with Drummond Framing happily for 20 years. David Hales there is wonderful, and they are the go-to for many artists, including Hiroshi Sugimoto.” drummondframing.com LIZ KLEIN

STILLNESS HAS NEVER BEEN THIS MOVING. In Santa Fe, you won’t just admire the art. You’ll be moved by it. It’s just one of the things that makes The City Different, but there’s still so much more waiting to be uncovered.

Uncover your different at SantaFe.org

CONSERVATORS

There is a fine line between restoration and conservation— a hot-button issue in the field. How do you get as close to the artist’s original intentions as possible, but also make a work look good? You need a knowledgeable hand, like those below.

“I have every artwork of a certain vintage examined by Sandra Amann and Elizabeth Estabrook of Amann + Estabrook Conservation Associates. They are exacting and rigorous and have sometimes resulted in my putting the brakes on a potential sale. A clean bill of health from them helps me sleep better at night.” amannconservation.com ART ADVISER KIM HEIRSTON

“Mary Gridley at Cranmer Art Group restored a Robert Slutzky painting that I own. She’s incredibly thoughtful in the way she approaches her work, and the results show. The painting’s canvas had become warped, and she was able to 66

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restore the integrity of the surface without impacting the subtlety of the colors.” cranmerartconservation.com —ARCHITECT DEBORAH BERKE, DEBORAH BERKE PARTNERS “Darius Shemaria is a generalist, but Darius has especially helped me with Greek and Roman bronzes. He worked on one that was very frail, and when we got it back, you couldn’t even see where the breaks were—that’s what I am looking for.” dariusshemaria.com CARLOS PICÓN, DIRECTOR OF COLNAGHI GALLERY IN NEW YORK

“EverGreene Architectural Arts specializes in architectural heritage, and we worked alongside them when we were doing the lighting for the refurbishment of the Art Deco ceiling mural of the Sherry-Netherland’s lobby. It was completely painted over, and they were unsung heroes for the way they fixed it up.” evergreene.com NATHAN ORSMAN

DON FREEMAN

A salon-style assemblage in Thomas Jayne and Richmond Ellis’s New York loft. The works include a portrait of Jayne’s mother

by Philip Guston.

Clockwise from top: A sapphire and diamond butterfly brooch rests inside a sterling-silver and glass jar. A gold bird brooch resides in a vermeil and sterling-silver birdhouse. An 18K-yellow-gold and platinum brooch with a five-plus-carat, emerald-cut diamond.

TIFFANY & CO.’S LEGENDARY BLUE BOOK INSPIRES REED KRAKOFF’S LATEST COLLECTION OF WEARABLE ART

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M

ail-order catalogues may be quickly becoming a thing of the past, but for Tiffany & Co. the legacy and craftsmanship of the brand’s venerable Blue Book live on. Inspired by the catalogue, originally published in 1845 as the very first of its kind, the Blue Book 2019 collection, Tiffany Jewel Box, features unique high-jewelry creations that are wearable works of art.

In designing the pieces, the company’s chief artistic officer, Reed Krakoff, naturally mined the archives for icons of the brand, then delved deeper for inspiration. “We wanted to create a collection that speaks to connoisseurs of the unusual and unexpected, to people who are looking for something they’ve never seen or worn before,” he explains. “It’s a collection that surprises, represents the best of what Tiffany has to offer, and brings beauty into their lifestyle.”

And surprise it does—with a variety of styles that spotlight the exceptional talents of Tiffany’s artisans who handcraft the remarkable pieces in the workshop above the Fifth Avenue flagship in New York City. “When I was designing my first Blue Book collection, I approached it as a laboratory for developing new concepts,” notes Krakoff. “It’s where our most creative, our most experimental, our most innovative concepts begin.”

Those innovations include a sizable array of bijoux destined to become modern classics. Several designs draw from nature. For

COURTESY OF TIFFANY & CO.

Storied Book

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515 WEST 29TH STREET

NOVEMBER 2019

instance, layers of flower petals are set with sapphires to achieve a stunning translucency, while another piece captures the weightless quality of butterfly wings. In the series called Frame, exquisite diamonds hover inside small boxes linked together by even more diamonds to produce an elegant punk rock effect. Another design draws on the traditional Tiffany motifs of hearts and stars, while the Ribbon series shows the craftsmen’s savoir faire conjuring fluidity from components as rigid as precious and semiprecious stones and metal.

But the Blue Book 2019 collection includes more than just extraordinary jewelry—many of the pieces in each of the series come complete with vessels to display them so Clockwise from top: A floral-inspired brooch with diamonds and sapphires. An archival 18K-gold necklace from Tiffany & Co. The original 1845 catalogue. The Fleur de Mer brooch designed by Jean Schlumberger and once owned by Elizabeth Taylor.

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the work can be admired even when not being worn. “These pieces straddle the worlds of jewelry and sculpture in an interesting way,” says Krakoff. “My favorite would have to be a jeweled butterfly captured in a glass jar, fluttering on an 18K-gold twig.” Other examples include a heart set with cracked-iced rubies in an 18K-yellow-gold-plated box, a gold bird brooch with a wing detail in sapphires and diamonds complete with its own birdhouse, and a platinum and diamond scarab beetle clutching a cushion-cut blue spinel that nestles inside a matchbox of 24K vermeil and sterling silver. There’s even a brooch of 18K yellow gold and platinum set with a five-plus-carat, emerald-cut diamond that is inspired by a handkerchief and rests within a sterling-silver and glass box.

These inventive twists are a stylistic departure from the parures of almost two centuries ago, when the Blue Book began, and that seismic evolution was absolutely intentional—just like everything Krakoff does. “Historically, high jewelry was meant to be worn for formal occasions, but our lifestyles have evolved drastically,” he remarks. “I wanted to create a collection that reflects a modern lifestyle, where formality no longer equates to luxury.” And the result of all this rigorous work—nothing but timeless, effortless style. tiffany.com —JACQUELINE TERREBONNE

CLOCKWISE FROM TOP LEFT: COURTESY OF TIFFANY & CO.; COURTESY OF THE TIFFANY ARCHIVES (3)

“It’s where our most creative, our most experimental, our most innovative concepts begin,” says Reed Krakoff

Va n D u y s e n ’s O t t i L o u n g e C h a i r a n d M e d i u m R o u n d C o f f e e Ta b l e .

Shown with Heatsail Dome | sutherlandfurniture.com

Fast Track

SOCO GALLERY’S CHANDRA JOHNSON REVEALS THE ART AND DESIGN FINDS THAT HAVE INSPIRED HER BURGEONING CHARLOTTE ART SPACE

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lthough much of the conversation around contemporary art in the U.S. hovers around major metropolitan cities like New York, Chicago, and Los Angeles, gallerist Chandra Johnson is carving out an exciting niche in the unexpected town of Charlotte, North Carolina. At her bright SOCO Gallery space and bookstore, Johnson has mounted exhibitions by Shara Hughes, Guy Yanai, and Clare Rojas.

Currently, the Haas Brothers’ spirited “beasts” are on view in the 72

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tongue-in-cheek show “I Saw Design, and Art Opened Up My Eyes, I Saw Design.” (The title is a riff on the ’90s Ace of Base earworm, “The Sign.”)

“I didn’t have a significant art background, and I didn’t grow up around art,” says Johnson, an Oklahoma native, who discovered a passion for the subject during her college years, then built a network of artists and gallerists while she was living in New York for a career in fashion. “When I moved to North Carolina, I really wanted to bring that creative conversation to Charlotte.”

After mounting a series of pop-up shows, Johnson launched SOCO Gallery five years ago in a refurbished bungalow that’s also home to a men’s fashion boutique, Tabor, and Not Just Coffee café. Outside the gallery, she collects modern and contemporary art with her husband, NASCAR superstar Jimmie Johnson, who is the impulsive collector yin to her contemplative yang.

Here, Johnson shares more about her passion for collecting and personal tastes.

One of the most special pieces we own is a Cy Twombly drawing we acquired pretty early on in our collecting days.

It’s an untitled 1972 work on paper that I feel we will never, ever sell.

My greatest find is a Murano glass chandelier I discovered crumpled on the floor of a Paris flea market. It just needed a little bit of cleaning. My interior designer, Barrie Benson, even offered to buy it off me. It’s moved

FROM FAR LEFT: LYDIA BITTNER-BAIRD, COURTESY OF CHANDRA JOHNSON; TIM HANS, COURTESY OF THE HAAS BROTHERS AND SOCO GALLERY; BRIE WILLIAMS, COURTESY OF CHANDRA JOHNSON AND BARRIE BENSON INTERIOR DESIGN. OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF THE ARTIST, SHULAMIT NAZARIAN, LOS ANGELES, AND BILL AND CHRISTY GAUTREAUX COLLECTION, KANSAS CITY, MO; CHRISTIAN HORAN; COURTESY OF THE END OF HISTORY; SOPHIE LLOYD, COURTESY OF MUSÉE DE LA CHASSE ET DE LA NATURE

From left: Chandra Johnson, whose SOCO Gallery is showcasing an exhibit of works by the Haas Brothers, including Ripple Thorn (center). A beloved red-lacquered study in the gallerist’s home.

around a few spots but now resides in my master bath so I see it every morning and every night.

The End of History in New York’s West Village is such a dream. They have tons of ceramics that they categorize by color. You can find German dishes, Murano glass, and Chinese porcelain.

My favorite space in our home is a red-lacquered study lined with books. It’s a cozy jewel box where I read the paper. We have a record player there, so we play the War on Drugs, Willie Nelson, Nina Simone, and Wilco on vinyl while my kids run around dancing.

I love to travel, and Paris is a city I continue to return to. Of course I adore the Centre Pompidou and Musée Picasso, but a few years ago I saw a Sophie Calle exhibition at the Musée de la Chasse et de la Nature (Museum of Hunting and Nature) that completely changed my perception of this Parisian treasure.

Summer Wheat’s artwork has such expressive colors and incredible texture. I’ve been following her for a few years, and now she has a solo show opening at the Kemper next year in Kansas City, Missouri, as well as some other soon-to-beannounced projects.

My gallery has shown at Untitled in Miami a few times, but I’ve been going for Art Basel every year for the past ten years. The Surf Club is one of the best hotels, combining Old Miami with a European feel. The Joseph Dirand interiors are very chic, the pool is amazing, and the restaurant Le Sirenuse is delicious.

In Miami, I always plan to spend a few hours at the Webster shopping its great mix of new brands and go-to labels. My other fashion favorite is Forty Five Ten. I also love Capitol in Charlotte.

I don’t have an art-fair uniform, but I always wear comfortable shoes. You’re doing so much walking and standing, so I typically wear white Common Projects. I’ve learned my lesson.

There are a lot of women in the art community I consider mentors. My friend María Brito is whip-smart and blazes her own trail. She’s put so many talents on the map that I tell her she is the godmother of emerging artists. soco-gallery.com INTERVIEW BY JILL SIERACKI

Clockwise from top: Summer Wheat’s Biting Nails (2018). Le Sirenuse restaurant at the Surf Club Miami. A ceramic vase from the End of History. The Musée de la Chasse et de la Nature in Paris.

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Gerhard Richter

WIDELY CONSIDERED ONE OF THE GREATEST LIVING PAINTERS, HE HAS SHIFTED BETWEEN PHOTOREALISM AND ABSTRACT EXPRESSIONISM FOR THE PAST SIX DECADES. ON THE OCCASION OF TWO EXCITING NEW EXHIBITIONS, WE SPOTLIGHT KEY WORKS

 Gerhard Richter in his studio, 1985 “Richter continues to be one of the most captivating artists,” says Millicent Wilner of Gagosian in New York, which is showing his prints through December 21. “At the heart of his practice is an ongoing attraction to the nature of images and the possibilities of what can be made by the camera and the paintbrush.”

 Kerze, 1982 The flickering, out-offocus candle characterizes the artist’s painterly practice. The image represents a sense of hope as well as sorrow and stands as silent protest against the Nazi regime, whose legacy Richter fled in 1961, when he defected from East Germany. A work from this series was featured on Sonic Youth’s 1988 Daydream Nation album cover.

Abstract Painting, 2016 In the 1980s, the artist established his now-signature style by dragging a giant squeegee across the surface of the canvas. This piece will be on view in a spring 2020 show at the Met Breuer; a similar work sold at auction in 2015 for a record-breaking $46 million.

Betty, 1991 A print of Richter’s famous painting of the same name, which itself was based on a photograph of his daughter. The artist juxtaposes the softness of her hair with the hyperrealism of her jacket for a final effect that blurs the lines between painting, photography, and printmaking. —LUCY REES 74

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FROM TOP: © GERHARD RICHTER 2019 (3); ROBERT M C KEEVER, COURTESY OF GAGOSIAN; © GERHARD RICHTER 2019

 Alpen (Stimmung), 1969 No subject has fascinated Gerhard Richter as much as the landscape. In this early painting inspired by German Romanticism, he heavily utilizes impasto, a layering technique, to create an abstract image when viewed up close.

CO L L E C T I O N NOUVELHERITAGE.COM

Illumination Fund founder Laurie Tisch in front of artist Ruth Litoff’s floral installation Ruth’s Dream at Bellevue, which is part of the NYC Health + Hospitals system.

Color Therapy

PHILANTHROPIST LAURIE TISCH’S ILLUMINATION FUND ENCOURAGES HEALTH AND HEALING THROUGH ART

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THOMAS LOOF

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n a brilliant autumn day, an animated group gathered in the garden at McKinney Hospital in Brooklyn for a painting party. As they worked on a series of panels for an outdoor mural, residents of the nursing home chatted alongside doctors, nurses, neighborhood community members, and the philanthropist Laurie Tisch, who made the project possible. Through her Illumination Fund, Tisch contributed $1.5 million to launch Arts in Medicine, an array of new and expanded programs that use art to benefit patients and staff throughout the NYC Health + Hospitals public health-care system, which is the largest in the country.

“It’s taking what really smart and dedicated people have developed and making it bigger and more accessible,” says Tisch, whose recent grant is one of 13 made so far under the umbrella of her $10 million initiative, Arts in Health, announced last year.

Well-known in New York’s cultural world, Tisch first made her mark in arts education with her stewardship of the Children’s Museum of Manhattan in the 1980s, then followed up that success with her efforts to restore arts programs to New York City public schools through the Center for Arts Education in the late 1990s. A collector of American art, she has been a trustee at the Whitney Museum for some two decades and is vice chairman of the board at Lincoln Center.

With her Illumination Fund, founded in 2007, Tisch is committed to leveling the playing field for all New Yorkers, whether that means providing healthy food across the five boroughs or focusing on how the arts can be used as a tool for healing. Another program she supports is Arts & Minds: Begun at the

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RICHARD MILLE BOUTIQUES ASPEN BAL HARBOUR BEVERLY HILLS BOSTON BUENOS AIRES LAS VEGAS MIAMI NEW YORK ST. BARTH TORONTO VANCOUVER www.richardmille.com

Clockwise from right: Tisch painting the mural Bellevue Blossoms, designed by artists Patricia Cazorla and Nancy Saleme.

A detail of the mural Materials of Relaxation (1939–41) by David Margolis at Bellevue hospital.

The mural encompasses several panels.

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Studio Museum in Harlem, it guides dementia patients and their caregivers through discussions about artworks—something that was personal for Tisch, whose mother suffered from memory issues before her death in 2017. “Based on this experience with my mother, I found the program so compelling,” she says.

The vibrant carnival-themed mural at McKinney, designed by artist Peach Tao with input from patients, staff, and local residents, is one of eight new communal paintings at hospitals across the city (with eight more planned for 2020). These community projects aim to boost morale and civic pride in their host institutions, where staff burnout is a chronic problem. The murals join NYC Health + Hospitals’ collection of more than 4,000 works, first commissioned by the Works Progress Administration in the 1930s, which include pieces by such talents as Charles Alston, Romare Bearden, and Keith Haring.

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“The donation from Laurie Tisch not only brought a spotlight back on the art collection but is really showing how we could leverage it,” says Eric Wei, M.D., vice president and chief quality officer of NYC Health + Hospitals, who oversees the Arts in Medicine program. That leverage includes new audio tours of the collection, accessible via smartphone to family members in waiting rooms and patients walking the halls. Additionally, Tisch is helping fund the restoration of many preexisting murals that are in dire need of cleaning and repair.

It’s just the latest in a multitiered approach to bringing innovative programs to public hospitals without affluent boards and splashy galas. “The mission of the fund,” says Tisch, “is always grounded in access and opportunity.” thelmtif.org HILARIE M. SHEETS

THOMAS LOOF

“The donation not only brought a spotlight back on the art collection but is really showing how we could leverage it,” says Eric Wei

www.hickorychair.com\davidphoenix

Hickory Chair is a registered trademark. Š2019

EXPERTS REVEAL WHAT YOU NEED TO KNOW BEFORE BUYING A

CONTEMPORARY FARMSTEAD

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he classic proportions of a gabled barn evoke the romanticism of a simpler time yet can also capture the prestige of hard-earned success. But when it comes to actually owning a traditional farmstead or equestrian estate, there’s a lot more to it than most people realize. Even in horse-friendly communities like Greenwich, Connecticut; Middleburg, Virginia; and Wellington, Florida, securing the perfect setting for a multimillion-dollar stable of thoroughbreds can be a challenge, which is why it’s critical to enlist a real estate agent who has experience with the horsey set.

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One such agent is Douglas Elliman’s Sally Slater, who is based in the New York tristate area and has been riding and competing her whole life. “When I get someone interested in a horse property, one of the first things I ask is whether they compete or trail ride,” she says. The answer determines both the important characteristics of the compound as well as its location. (For instance, access to trails isn’t as essential as proximity to horse shows for a competitive rider.) There are also questions of zoning, which include whether you can build an indoor ring, add more paddocks, clear additional land, or use the estate for commercial purposes.

Perhaps the most crucial aspect to consider is occupancy. “Very often, permitting goes with the owner rather than the farm,” explains Slater, who recommends inserting a contingency agreement into the sale as a way of protecting the buyer should the proper paperwork prove elusive. A cap on the number of animals is also standard in many areas, like Bedford, New York, which generally requires two acres for the first horse and another acre for each additional one.

Renowned architect Peter Pennoyer, who grew up around horses and has renovated a polo property on Long Island, New York, believes the best equestrian complexes

FROM TOP: NICK HOISINGTON, COURTESY OF ATL ANTA FINE HOMES; FRANK DERAS, SOTHEBY’S INTERNATIONAL REALT Y; PÁUL RIVERA, COURTESY OF ROGER FERRIS + PARTNERS. OPPOSITE, FROM TOP: COURTESY OF CHRISTIE’S INTERNATIONAL REAL ESTATE; COURTESY OF COLDWELL BANKER; COURTESY OF DOUGL AS ELLIMAN

Farm Fresh

Great Hill Plantation in Bolingbroke, Georgia, listed with Sotheby’s for $15.3 million. Below: Architect Roger Ferris designed this minimalist barn as a live/work art studio in Connecticut.

“Part of the delight of having horses is being able to see them,” says architect Peter Pennoyer

“encompass a diversity of buildings built over the years and tied together through color and materials.” He also cautions that a farm’s orientation is key to its safety. “You need to separate horses from vehicles to avoid accidents,” he points out, adding that the views of the paddocks from the main residence can enhance the property’s charm and desirability. “Part of the A horse farm in Pound Ridge, New York, on the market for $8.5 delight of having horses is being able million with Douglas Elliman. Above, from left: The $18 million Toyon Farm in Napa Valley, for sale with Coldwell Banker. New to see them.”

Jersey’s Holly Farm is listed for $8.9 million with Christie’s.

In recent years, though, there’s been a rise in outbuildings that resemble barns but are used for other purposes, such as galleries, guest quarters, or poolhouses.

“Because barns have an iconic form and presence, clients see them as being complementary to any house they have, whether it’s traditional or more contemporary in style,” says architect Roger Ferris, who recently conceived a scarlet-hued structure in Connecticut that functions as an artist’s live/work space. “They make great additions whether they’re on larger complexes or not. There’s nobody on the planet who doesn’t like a barn.” GEOFFREY MONTES

Black Beauty

PIERRE HARDY’S LATEST COLLECTION FOR HERMÈS SPARKLES WITH THE ALLURE OF DARK GEMS

“B

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COURTESY OF HERMÈS

From top: Hermès Niloticus Lumière necklace and bracelet in rose gold and black jade with diamonds.

Chaîne d’Ancre bracelet in rose gold with 25.5 carats of black spinels.

lack is a color I have always loved, although it is not exactly an iconic color for Hermès historically,” admits Pierre Hardy, creative director for Hermès jewelry and shoes. The collection Black to Light—with over two dozen necklaces, bracelets, and rings featuring untreated jet-black jade and shimmering black spinels set in rose gold—represents a fairly dramatic stylistic departure for the brand.

“I wanted to find this feeling of ‘bright darkness.’ It’s an oxymoron, but that’s exactly what this modern collection is based on,” explains the designer, who is often seen sporting black from head to toe. His on-brand inspirations include the glistening coats of black thoroughbreds, which he describes as “so beautiful, so dense, but at the same time very shiny and bright.” He also makes the spot-on yet unexpected comparison of black jade to suede, noting that “there is darkness, but it is very soft.”

Four heritage forms in the existing Hermès jewelry repertoire are represented here: the signature oval-like Chaîne d’Ancre; Kelly, which incorporates the lock mechanism from the eponymous handbag; Galop, the horse head; and Collier de Chien.

Standouts include the spinel-encrusted Chaîne d’Ancre necklace and bracelet, and the Niloticus necklace, which brightens black jade with rose gold and pavé diamonds.

Incredibly sophisticated but with a refreshing edge, the collection proves the chic appeal of Hermès can resonate both uptown and downtown. That duplicity isn’t lost on Hardy, who notes, “Hermès is much less conservative than people sometimes think.” hermes.com RIMA SUQI

Infinitely New York A LIMITED COLLECTION OF ONE-TO-FOUR BEDROOM LUXURY CONDOMINIUMS PRICED FROM $1,545,000

Envisioned by FXCollaborative & Deborah Berke Partners SALES GALLERY: 17 STATE STREET, 21ST FLOOR NEW YORK, NEW YORK OCCUPANCY 2020 I (212) 514-7700 I 77GREENWICH.COM THE COMPLETE OFFERING TERMS ARE IN AN OFFERING PLAN AVAILABLE FROM SPONSOR. FILE NO. CD18-0179. ALL IMAGES ARE ARTIST’S RENDERINGS. THEY ARE PROVIDED FOR ILLUSTRATION PURPOSES ONLY. NOT ALL ITEMS DEPICTED IN ARTIST RENDERINGS ARE INCLUDED IN UNIT PURCHASE. PROSPECTIVE PURCHASERS SHOULD NOT RELY UPON THESE DEPICTIONS AND ARE ADVISED TO REVIEW THE COMPLETE TERMS OF THE OFFERING PLAN FOR FURTHER DETAIL AS TO TYPE, QUALITY AND QUANTITY OF MATERIALS, APPLIANCES, EQUIPMENT, AND FIXTURES TO BE INCLUDED IN THE UNITS, AMENITY AREAS AND COMMON AREAS OF THE CONDOMINIUM. SPONSOR: TPHGREENWICH OWNER LLC, C/O TRINITY PLACE HOLDINGS, 340 MADISON AVENUE, NEW YORK, NY 10173. ALL RIGHTS TO CONTENT, PHOTOGRAPHS, AND GRAPHICS RESERVED TO: TPHGREENWICH OWNER LLC.

Prime Time

TOO MUCH IS NEVER ENOUGH FOR THOSE HOOKED ON COLLECTIBLE TIMEPIECES

“Buy what speaks to you, what you find attractive, and what gives you pleasure,” says Ruediger Albers

DANIEL CAPPELLO 84

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FROM TOP: COURTESY OF WEMPE; COURTESY OF BUBEN & ZORWEG; COURTESY OF PATEK PHILIPPE

From top: Wempe’s New York showroom on Fifth Avenue.

Buben & Zorweg’s Solitaire Vision watch safe. Patek Philippe 5712/1A Nautilus in stainless steel.

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here’s no wrong way to go about collecting watches, at least according to Ruediger Albers, president of Wempe US. “A watch is something that you buy because you love it, because you enjoy looking at it, because you’re intrigued by the craftsmanship and artistry that go into making it.”

During 32 years working at the company, Albers has sold his fair share of timepieces to an equally fair share of enthusiasts.

Many acquire a new timepiece at the rate of one or two per year, while others routinely make purchases twice a month. For some, collecting watches is like collecting art: They tend to concentrate on one particular brand, one particular complication, or one particular style. Then there are the avid collectors for whom it’s a major sport—securing limited editions or nearly-impossible-to-find models, like the Patek Philippe Nautilus or the Rolex Daytona.

For Albers, these purchases are a way of memorializing life’s milestones. His personal reserve includes a Patek Philippe, several Rolexes, a Jaeger-LeCoultre Reverso (“probably the most attractive rectangle watch”), and a Panerai, among others. Each represents a special moment in his life. “I have a Patek Philippe that was made for Wempe’s 125th anniversary,” he recalls. “There are only 125 of them in the world, and I picked number 88—the year I moved to New York.”

If you’re among the fortunate who cannot count their watch collection on one, two, or even 200 wrists, Wempe collaborates with Buben & Zorweg, a firm that specializes in watch winders and safes in a wide range of sizes and scales. “We created a unit for one client that was custom-built and programmed to give every watch in his collection just the right amount of winding time that it needed,” Albers recalls of the bespoke safe.

Whether you’re collecting watches as you would works of art—putting them out of reach to appreciate over time—or seeking out sentimental pieces to pass down to the next generation, Albers’s advice holds true: “Buy what speaks to you, what you find attractive, and what gives you pleasure,” he says. “You only live once, so enjoy it.” wempe.com

Altman Siegel, San Francisco, CA Andrew Kreps Gallery, New York, NY Anthony Meier Fine Arts, San Francisco, CA Berggruen Gallery, San Francisco, CA Blum and Poe, Los Angeles, CA CONVERSO, Chicago, IL Crown Point Press, San Francisco, CA David Gill Gallery, London, UK David Zwirner, New York, NY Demisch Danant, New York, NY Fergus McCaffrey, New York, NY Fraenkel Gallery, San Francisco, CA Gagosian, San Francisco, CA Galerie Chantal Crousel, Paris, France Gallery Fumi, London, UK Gladstone Gallery, New York, NY

JANUARY 16–19, 2020 FORT MASON CENTER fogfair.com January 15, 2019 Preview Gala Benefiting the San Francisco Museum of Modern Art

Haines Gallery, San Francisco, CA Hauser & Wirth, Los Angeles, CA Hosfelt Gallery, San Francisco, CA Hostler Burrows, New York, NY James Cohan, New York, NY Jason Jacques Gallery, New York, NY Jenkins Johnson Gallery, San Francisco, CA Jessica Silverman Gallery, San Francisco, CA KARMA, New York, NY Kasmin, New York, NY kurimanzutto, Mexico City, Mexico Lebreton, San Francisco, CA Levy Gorvy, New York, NY Luhring Augustine, New York, NY Magen H Gallery, New York, NY Marian Goodman Gallery, New York, NY

Matthew Marks Gallery, New York, NY Mercado Moderno, Rio de Janeiro, Brazil Modern Art, London, UK Nathalie Karg Gallery, New York, NY Nicholas Kilner, Brooklyn, NY Pace Gallery, New York, NY Patrick Parrish Gallery, New York, NY Paula Cooper Gallery, New York, NY Perrotin, New York, NY R & Company, New York, NY Ratio 3, San Francisco, CA Reform/The Landing, Los Angeles, CA Sarah Myerscough Gallery, London, UK Spruth Magers, Los Angeles, CA Tina Kim Gallery, New York, NY Volume Gallery, Chicago, IL

Magic Hour LONDON DESIGNER

AN OTHERWORLDLY DINING ROOM INSPIRED BY HER MIAMI ROOTS

“The work of Hernan Bas is magical in the way it combines fantasy and reality,” says Natalia Miyar. “His dreamy landscapes and incredible colors remind me of my childhood in Miami. I envision this work in a dining room there, where its arresting quality could be set off by an equally graphic composition.”

NATALIA MIYAR Striking a balance between spaces that feel at once natural and glamorous, London-based designer Natalia Miyar is a master of the mix. She doesn’t shy away from utilizing a kaleidoscopic palette of colors or juxtaposing radically different textures such as velvet and stone. Often looking to art for inspiration, she made a major impression at this year’s Masterpiece London art fair by creating a private dining room sheathed in a custom Fromental wallpaper that channeled both the artwork of Wifredo Lam and her Cuban-American heritage. nataliamiyar.com

Artwork: Lost (2006) by Hernan Bas. Clockwise from top: Belterra chandelier by Tech Lighting; circalighting.com. RS Ceramic Vessel 10 vase by Reinaldo Sanguino; thefutureperfect.com. Conrad dining table by Palecek; palecek.com. Chair #2 by Chris Lehrecke; ralphpucci.net. Vertigo rug by Kyle Bunting; kylebunting.com. Daybed by Kevin Walz; ralphpucci.net. Paulownia box with red-gold leaf, mother-of-pearl inlay, gesso, resin, lacquer, and pigment by Nancy Lorenz; r-and-company.com.

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ARTWORK: COURTESY OF PERROTIN. PORTRAIT: DARREN CHUNG. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF CIRCA LIGHTING; COURTESY OF THE FUTURE PERFECT; COURTESY OF PALECEK; COURTESY OF CHRIS LEHRECKE AND RALPH PUCCI; COURTESY OF KYLE BUNTING; ANTOINE BOOTZ, COURTESY OF RALPH PUCCI; COURTESY OF R & COMPANY

NATALIA MIYAR CURATES

EXCELLENCY PRESENTED ON THREE FLOORS E X C L U S I V E C R E AT I O N S . U N I Q U E P I E C E S . L I M I T E D E D I T I O N S . V I N TA G E

GLUSTIN PA R I S

www.glustin.net – Instagram: @galerieglustin 140 rue des Rosiers – 93400 Saint-Ouen (Paris) – glustin@wanadoo.fr Openings on Saturday, Sunday, Monday and by appointments

Studio Glustin: armchair, dining table, chandeliers, mirrors, pouf / Erwan Boulloud: sideboard / Vintage 70’s: exceptionnal ceramic mural fresco, chairs

Against the Grain

TENNESSEE CRAFTSMAN CALEB WOODARD SCULPTS ONE-OF-A-KIND FURNISHINGS WITH A GLOBAL ALLURE

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aleb Woodard didn’t set out to be a furniture designer. But now he’s 14 years into a prolific career of handcrafting exquisite, sculptural woodwork: Think collectible pieces like a masterfully formed organic chair made from solid walnut or a side table hand-carved from a single piece of ash with intricate etched details on the top.

Raised in a family that encouraged him to make things with his hands, he gleaned a real penchant—not to mention talent—for woodworking. But he perceived furniture making was for people on the West or East Coast who went

From top: Caleb Woodard’s Roundelle cabinet. The designer handcrafts a wood panel.

An intricate detail from a hanging wall piece titled the Garden II.

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to design school, not someone from a small town in Tennessee. It never seemed like a viable career option—until it was.

With an unsatisfying corporate job in Washington, D.C., Woodard began working in a furniture maker’s woodshop at night and on weekends and eventually started creating pieces for clients.

Slowly a portfolio of impressive work emerged, and he committed to the craft full-time. His business took off through word of mouth—though now he attributes his global commission-based customers to social media. “Instagram has driven everything,” says the designer, who has been lauded as a “wood wizard” by one of his almost 40,000 followers.

Heavily influenced by sculptors and painters, the down-to-earth artisan—who moved his studio back to his hometown of Springfield six years ago and hired a team of three, including his woodworker father—says he designs instinctually from his gut, which is deeply satisfying. “There will be someone out there who will appreciate it. I’m not trying to do work for everyone,” he says. “This is far more authentic.” calebwoodardfurniture.com DANINE ALATI

CLOCKWISE FROM TOP: CALEB WOODARD (2); HEIDI ROSS

“I’m not trying to do work for everyone,” says Caleb Woodard.

“This is far more authentic”

2 0 1 9 C OL L E C TI ON

fu r n it u re | lig h t in g | acces s o r ies

Search Party

DISCERNING DESIGNERS SHARE THEIR FAVORITE PLACES AROUND THE WORLD TO UNEARTH ANTIQUE TREASURES

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FROM TOP: ROMAIN RICARD/ELLE DECORATION; COURTESY OF STAIR GALLERIES

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agle-eyed interior designers rank among the savviest collectors of antiques out there. Whether it’s a provenanced piece acquired from an off-the-radar dealer or a buried gem salvaged from a pile of junk at a flea market, these highly experienced professionals live for the thrill of the next big find and the hunt for that elusive item that makes a room sing.

“I’m a big proponent of antiques,” says Frank de Biasi, who worked in the estate and appraisals department at Christie’s New York and as director of interiors for architect Peter Marino before launching his own interior design firm, known from Palm Beach to Morocco for its knockout design. “They’re the way to set yourself apart by adding a unique, personal touch.”

That search takes discerning designers on quests to cities near and far. Obvious destinations, such as Clignancourt in Paris and London’s Portobello Road and King’s Road, remain mainstays. “I’ve bought some amazing vintage rattan Italian chairs by Franco Albini, ceramic lamps by Bruno Gambone, and so many fantastic unsigned pieces of great quality and Stair Galleries in Hudson, New York, is a popular scale,” says interior designer Jamie Bush of the shopping destination. open-air markets he visits in Paris, Montpellier, Above: The Paul Bert Serpette market in and Avignon, France.

Paris’s Saint-Ouen For these seasoned buyers, a number of lesseroverflows with small furnishings, home known places have also produced remarkable accents, and tableware. finds, including Vallauris ceramics discovered in L’Isle-sur-la-Sorgue, France; midcentury and retro furnishings found at the Sunday markets on Columbia Road in London’s East End; and Portuguese pottery encountered at the Feira da Ladra flea market in Lisbon.

“There are very few cities where I don’t scout out the antique flea market scene,” says interior designer Hubert Zandberg by phone from a shopping trip to Amsterdam, Antwerp, and Brussels. “The cornerstone of design is to create dialogues between objects and fashion environments where the objects become more than the sum of their parts.”

“Carlton Hobbs in London is a true secret,

Left: A Serpette market booth mixes an outfit from Papua New Guinea, a Olivier Gagnère chandelier for Bernardaud, and a Hubert le Gall Pot de Fleurs chair. Bottom: A vignette of ceramic vessels, vintage furniture, and sculptural lighting at JF Chen in L.A.

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FROM TOP: ROMAIN RICARD/ELLE DECORATION; YOSHIHIRO MAKINO, COURTESY OF JF CHEN

as it is hidden in an old carriage house tucked behind unmarked garage doors off Pimlico Road,” says designer Jamie Drake, recalling the purchase there of a massive dining table that had been commissioned in the 19th century for the Brazilian imperial family for a dining room designed by his New York firm, Drake/Anderson. “The pieces range across countries and centuries, the common thread being each is spectacular and breathtakingly unusual, and all are selected by the unerring eye of the erudite, eponymous owner.”

The early risers and intrepid explorers usually reap the greatest rewards, says Zandberg. The Friday market on Portobello and Golborne Roads as well as the Sunbury Antiques Market at Kempton Park Racecourse are often overlooked wonderlands. In Berlin, the small markets at Straße des 17 Juni and Arkonaplatz, and the twice-yearly pop-up at the KeramikMuseum yield delightful ceramics, while the serpentine streets of Istanbul’s Galatasaray and Çukurcuma neighborhoods (far from the Grand Bazaar) are perfect for buying exotic furniture, ikats, soaps, and handmade textiles, Zanberg says.

Spotting just the right antique, however, can be akin to noticing a needle in a haystack. Thankfully, the multitude of accent pieces available in many of the same flea market booths can turn a fruitless search into a bounty of riches. Designer Penny Drue Baird has been frequenting stores like Paris’s Au Bain Marie and Bachelier Antiquités at the Marché Paul Bert Serpette in Saint-Ouen for years to discover interesting tabletop pieces, small furnishings, and accessories. “This is an unusual store, because its merchandise centers only on cuisine,” says Baird of Bachelier. “There are bars, glassware, dishes, jugs, and copper of all

kinds.” She also relies on Le Monde du Voyage for classic Louis Vuitton trunks.

While these far-flung markets are invariably rewarding, prolific shoppers say the U.S. has its hot spots, too. Designer Charles de Lisle has discovered exciting accessories like antique cabbage-rose chintz fabric, a turn-of-the-century American Mannerist botanical still life, and army surplus jackets at such unique American stores as Reliquary in San Francisco and Paula Rubenstein in New York.

Both Steven Gambrel and de Biasi love Hudson, New York— particularly Stair Galleries and the Barn Star Antiques show, which happens each October in Rhinebeck. Zandberg has found diamonds and dinosaur bones at gem shows in Tucson, Arizona.

Bush stocks up on Brutalist jewelry from the 1960s and ’70s at Lisa Cliff Collection in Pasadena, and obtains works by California artists at the Landing and antiques at JF Chen in Los Angeles. “Joel Chen is hands down the most influential purveyor of antiques on the West Coast, if not the country,” says Bush.

And although most designers are shopping with projects in mind, the majority can’t help snapping up a few special pieces for themselves. Zandberg’s treasures often have pride of place in either his Notting Hill studio or Television Centre apartment, while de Biasi used a late-19th-century ebonized octagonal Calamander table by E. W. Godwin in a few of his own homes before placing it in a client’s library. “I almost always try to live with the things I buy, at least for a while,” says Bush. “Eventually, I can’t help but place things I love in a client’s home.” —JILL SIERACKI

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HOLLY HUNT The Full Bloom pendant, designed and made by Alison Berger Glassworks, is inspired by the blossoming of a flower. Each solid-glass piece is framed by a bronze armature, which envelops a central light. When illuminated, the combination of materials creates an effect reminiscent of an X-ray and the form appears to weightlessly hover in space as it takes a room from day to night. hollyhunt.com

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Mottahedeh’s Palma re-creates a circa-1840 dinner service referencing Celtic patterns and the interiors of mosques in Istanbul. mottahedeh.com

Casa Bugatti’s Aladdin 24K-gold-plated cutlery features a flurry of gold leaf cast in acrylic handles. artemest.com

Shimmer and Shine A TABLE SET WITH GLITTERING

The spirit of Palm Beach’s luxurious Worth Avenue is translated into Matouk’s geometric Mirasol napkins. matouk.com

GOLDS INSTANTLY CREATES A FESTIVE MOOD PRODUCED BY JILL SIERACKI

Elevate every toast with the St. Regis Midnight Supper set by Saint-Louis. The collection of five jewel-colored crystal glasses celebrates the long-standing tradition of opulent late-night feasts at the hotel. saint-louis.com

Flare napkin rings from Kim Seybert, shown in brass with a malachiteinspired resin, add their own fireworks to any table. kimseybert.com

L’Objet’s large Oro sculptural decanter gleams with a crackled gold-leaf orb in a sinuous tower of handblown glass. l-objet.com

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CLOCKWISE FROM TOP LEFT: COURTESY OF MOTTAHEDEH; COURTESY OF LES ATELIERS COURBET; COURTESY OF MATOUK; COURTESY OF SAINT-LOUIS; COURTESY OF L’OBJET; COURTESY OF KIM SEYBERT; COURTESY OF ARTEMEST

Designed by Otto Prutscher in the 1930s, this bud jug has been masterfully reconstructed in silver with gilding by Wiener Silber Manufactur. ateliercourbet.com

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Galerie Kreo founders Clémence and Didier Krzentowski in their Paris home.

Light the Way

GALERIE KREO CELEBRATES TWO DECADES WITH AN

ILLUMINATING NEW TOME ON OUTSTANDING DESIGN

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FROM TOP: MICHEL GIESBRECHT, EDITIONS FL AMMARION, BOTH COURTESY OF GALERIE KREO, PARIS

H

ow does a pint-size Parisian gallery evolve into a design-world powerhouse? “You have to dream,” says Didier Krzentowski, who founded the influential Galerie Kreo with his wife, Clémence, in 1999. “We wanted a laboratory where designers could be free of all constraints.”

Galerie Kreo’s innovative business model allows its roster of talent—which includes Ronan and Erwan Bouroullec, Marc Newson, and Hella Jongerius—to experiment without being restricted by time, money, material, or scale. Working with cutting-edge manufacturers around the world, the gallery produces and displays approximately 60 limited-edition pieces each year while also staging exhibitions of furnishings by late visionaries such as Gio Ponti, Ettore Sottsass, and Florence Knoll.

Early success with major collectors, such as the late über-tastemakers Karl Lagerfeld and Azzedine Alaïa, prompted the Krzentowskis to relocate to a larger space in the sixth arrondissement in 2008; a London outpost followed in 2014. Now, in celebration of the gallery’s 20th anniversary, the couple and editor Clément Dirié are releasing The Design Lab: Galerie Kreo (Flammarion), which encompasses highlights from their two decades of work, including more than 100 exhibitions and their always-buzzy presence on the international design-fair circuit.

Didier’s passion for collecting, however, extends much further back than Galerie Kreo’s legacy. “I began collecting key chains and watches as a young kid,” he recalls. Later, he developed an affinity for ancient flint tools and meteorite fragments. “A collection is like a puzzle,” he explains. “When it’s finished, you go to something else.” Ultimately, the esteemed dealer zeroed in on French and Italian lighting made between 1950 and ’70—he currently presides over a cache of around 700 models, including what he estimates to be the world’s largest collection of work by the late Italian modernist Gino Sarfatti, founder of Arteluce.

In January, Galerie Kreo’s two locations will host a show by Louis Vuitton’s Virgil Abloh, who is utilizing an uncommon type of light concrete to conjure functional design pieces. But while the Krzentowskis undoubtedly have their fingers on the pulse, they haven’t discarded the classics to capitalize on a current craze. “We don’t care about trends,” says Didier. “We care about tomorrow.” galeriekreo.com GEOFFREY MONTES

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FASCINATING SALES FROM AROUND THE WORLD

ALEX KATZ | BLUE UMBRELLA 1 (1972)

Sold at Phillips London (October 2) The oldest work in Phillips’s contemporary sale, which kicked off a week of auctions coinciding with the Frieze London art fair, this painting was also the top lot, bringing £3,375,000 ($4,152,600). An iconic portrait of Alex Katz’s wife and muse, Ada (the first of two oils and later reproduced as a print in 11 colors), it smashed the £947,250 record set for the 92-year-old American artist in March.

GERRIT RIETVELD | ELLING SIDEBOARD (CIRCA 1962–65)

Sold at Christie’s London (October 16) A unique first production of this 1919 cabinet was destroyed in a fire, and a single surviving drawer, along with the original plans, was used to reconstruct it for Amsterdam’s Stedelijk Museum in 1951. This example, the only other commissioned by the Dutch designer and executed in his lifetime, for British modernist architect Brian Housden, sold for £125,000 ($159,625).

In 2019, Cassina reintroduced the piece in collaboration with Rietveld’s heirs 100 years after the original.

CHINESE ENAMELED PORCELAIN VASE | (CIRCA 1723–35)

Sold at Doyle New York (September 9) Notwithstanding its modest dimensions, faded colors, and three chips in the rim, this lotus flower vase, estimated to bring $2,000– $3,000, sparked a bidding war that drove its price to $387,000. Bearing the six-character mark of the Yongzheng period, it is a pretty example of the doucai technique, which is distinguished by underglaze cobalt blue outlines and overglaze enamels in other colors.

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ANNA HU | YELLOW DIAMOND AND DIAMOND NECKLACE (2018)

Sold at Sotheby’s Hong Kong (October 7) The fashionable designer reportedly set yet a new world auction record for a contemporary Chinese jeweler when this piece, commissioned by the auction house, fetched HKD45,348,000 ($5.8 million). Its centerpiece is a detachable pendant in the form of the traditional Chinese instrument known as a pi-pa, featuring a cushion-shaped fancy intense yellow diamond weighing 100.02 carats.

CLOCKWISE FROM TOP LEFT: COURTESY OF PHILLIPS; COURTESY OF ANNA HU AND SOTHEBY’S; COURTESY OF CHRISTIE’S IMAGES LTD. 2019; COURTESY OF DOYLE

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In Kenny Schachter’s eclectic dining room, Tom Dixon’s Extruded chairs are grouped with a Martino Gamper– designed table and velvet-upholstered seating; a Ricci Albenda artwork punctuates the wall while a Ben Burgis and Ksenia Pedan sculpture doubles as a centerpiece.

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Elizabeth Margulies and her father, Martin, are surrounded by artworks from the family’s extensive collection, which includes a vase by Joan Miró and Josep Llorens Artigas.

Paintings by Franz Kline (left) and Mark Rothko back sculptures by Manuel Neri; a Tony Smith work rests on a Karl Springer table.

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n their distinct spheres, Martin Margulies and his daughter, Elizabeth Margulies, quietly but powerfully exert a serious influence over two generations of art collectors. As the founder of the Margulies Collection at the Warehouse, one of a handful of Miami private art spaces that helped elevate the city into a premier destination for collectors, Martin presides over a major cache of blue-chip modern and contemporary works.

“We have a tremendous amount of work,” says Martin of his holdings, which run the gamut from paintings and sculptures by Roy Lichtenstein and Frank Stella to photography by Walker Evans and installations by Barry McGee and Ernesto Neto. “It’s a big collection put together with love and with scholarly enterprise.”

Martin was raised in the New York neighborhood of Washington Heights. After moving to Miami and getting in on the ground floor of the burgeoning city’s real estate market, he started collecting in the 1970s. From there, things moved fast— both his net worth and his collection soared. He set up his private museum in 1998, expanding it several times, and today the 50,000-square-foot space includes a portion of the family’s 104

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4,000 works by some of the most important talents of the 20th and 21st centuries, such as Willem de Kooning and Olafur Eliasson. Photography is a longtime interest and a major element of the collection, with recent shows of Helen Levitt and Stephen Shore drawing an appreciative audience.

“We have a lot of Noguchi, a lot of Lichtenstein, a lot of Motherwell. We have a strong abstract collection and a strong Pop collection,” says Martin, who is regularly rediscovering pieces he owns. “All of a sudden something comes to light and you say, ‘Oh, I want to see this work again,’ and you recall your fondness for it.”

Helping keep it all sorted, Damiani published a book of his holdings in September 2018; a second volume spotlighting the collection was released in November. And Martin is still acquiring.

“I’m focused on certain things that would fit into the collection,” he says. “Last night, I went to David Zwirner and I bought a couple of Anni Albers prints. They fit well with my Bauhaus collection.”

Martin finds his relationship with gallerists, such as David Leiber at David Zwirner, adds not only to his holdings but also to his understanding of contemporary art. “You get knowledge from people like that,” he says. “It’s not just about acquiring; it’s about learning.”

It’s a curiosity that Martin has passed on to Elizabeth, who is blazing her own trail in New York as an art adviser, working with young collectors and up-and-coming artists.

Recently she assembled a collection for the Hudson Yards offices of Stonepeak Infrastructure Partners, a private-equity firm. In the company’s 30,000-square-foot space, she mixed pieces by known quantities like Sue Williams and Ugo Rondinone with a sculpture by the emerging Bushwickbased talent Kennedy Yanko. “It was important to me to feature both female and male artists, as well as works by artists from all backgrounds and walks of life, from many different parts of the world,” says Elizabeth.

Inside her Manhattan loft, Elizabeth has assembled her own collection of largely lush and colorful abstract paintings, consisting of pieces by Federico de Francesco, Abby Leigh, and Stefan Hirsig, as well as a representational work by Ivy Haldeman. “Obviously my aesthetic and what I know about art is because of my dad and growing up around art,” she says. “We like a lot of the same things, though not everything.”

In her work as an adviser, Elizabeth collaborates with a range of galleries, including smaller, newer spaces like Downs & Ross and Spencer Brownstone, but for an emerging talent that she absolutely loves, like painter Angel Otero, she’s happy to connect with his powerhouse dealer, Lehmann Maupin.

Putting quality over resale value is something she witnessed firsthand during visits to art fairs and galleries alongside her father, and growing up in a house with modern and contemporary masters on the walls influenced her eye. “I think it gave me a pure appreciation for art.”

Today, father and daughter enjoy visiting many of the same collections, such as the Hudson Valley’s Magazzino Italian Art Foundation, founded by Nancy Olnick and Giorgio Spanu. Paris-based Surrealist expert Sylvio Perlstein, and Irma and Norman Braman, who possess notable modern and contemporary pieces, also receive rave reviews for their holdings. When they see a top-notch collection, they instantly sense what’s special about the selection, says Martin. “It has a rhythm to it. You don’t need to analyze it—it just comes to you immediately.”

Recently, the pair traveled together to Japan to see a number of different art collections. “It’s a fun thing we do as a family,” says Elizabeth. “What it all comes down to is that we’re passionate about art.”

A Roy Lichtenstein “Brushstroke” painting is a colorful counterpoint to Isamu Noguchi’s Square Ring and a tower of Andy Warhol’s Boxes: Heinz Tomato Ketchup Box; Campbell’s Tomato Juice Box; Del Monte Peach Halves Box; Brillo Soap Pads Box; Kellogg’s Corn Flakes Box. Opposite: F*****g Asterisks by John Chamberlain overlooks Igloo by Mario Merz, and lining the walls are (from left) Frank Stella’s Bene Come il Sale, Number Two by Brice Marden, and Western Deep, also by Stella.

A Gerhard Richter painting presides over a sitting area designer Stewart Manger composed in the salon of a Paris residence. Arrayed around a Fredrikson Stallard acrylic table are a Jouffre sofa and lounge chair, an HervĂŠ Van der Straeten cabinet, and a dark-marble side table by the Campana Brothers. The rug is by Beauvais Carpets. For details see Sources.

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few years ago, a London-based couple with two children and a predilection for historic architecture set out to find the perfect Paris pied-à-terre. In the Left Bank’s atmospheric sixth arrondissement— home to the Luxembourg Gardens, the Odéon Theater, and the storied Café de Flore and Les Deux Magots, where the likes of Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus once held court—they fell in love with a quintessentially Parisian apartment.

Tucked inside a 19th-century Beaux Arts building accessed via a gracefully columned entrance court, the four-bedroom residence was blessed with generously proportioned rooms and soaring ceilings. Though it was in dire need of renovation, the couple saw nothing but possibility. So they called in Stewart Manger, a New York designer they had worked with many times, to help come up with a plan. For starters, they agreed the apartment should retain its sense of place and history but also appeal to the owners’ preference for pared-down interiors. The overall feeling would be more Art Deco refinement than classical grandeur, with sensuous modern pieces marked by superior craftsmanship deployed throughout.

Manger’s first step was to tweak the floor plan, adding closets and baths, while installing an HVAC system and restoring decorative moldings. A jog in 108

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Above: In the entrance hall, a painting by Per Kirkeby faces a Serge Roche mirror mounted above a Louis Cane commode; the sconces are by Hervé Van der Straeten, and the chairs are by Mattia Bonetti.

Opposite: A Van der Straeten light fixture hangs in the library above Émile-Jacques Ruhlmann– style lounge chairs by Jouffre and a leather-clad table by Marc du Plantier; next to the window with custom-embroidered curtains by Linge au Coeur is an artwork by Victor Vasarely, while Taj Monjardo bookshelves and Patrice Dangel floor lamps flank the fireplace.

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From left: A+B Kasha, the firm responsible for the architectural renovation work, created the library’s cerused-oak paneling, which plays host to a Pablo Picasso still life and a work by Marc Chagall; a Kate Malone ceramic sculpture stands atop a Patrice Dangel side table at left.

Plaster pendants by Dangel twist above the kitchen’s marble island with Jouffre stools; a David Hockney work hangs by the window, the ceramic vessels are by Pippin Drysdale, and the range is by La Cornue.

the hallway was transformed into an intimate family space with bookcases, cozy seating, and a television. One of the biggest decisions was not to create a stand-alone dining room. “The apartment is a pied-à-terre, so we didn’t need it,” says Manger, who collaborated with the Paris firm A+B Kasha on the renovation.

“Instead, we furnished the main salon with a dining table for family meals at home.”

The dining table occupies one end of the multifunctional salon, joined by an Art Deco–inspired folding screen with polar bear scenes by lacquer artist Anne Midavaine and a distinctly Deco-ish straw marquetry credenza by Lison de Caunes.

“Clients who want to work at a certain level, with everything custom, are a rare opportunity,” says Manger, a veteran of the offices of designers Bunny Williams and David Kleinberg. At the room’s opposite end, a carved plaster panel created by Atelier Mériguet-Carrère in the manner of Deco master Armand-Albert Rateau overlooks a seating area animated by such contemporary pieces as a strikingly striated Hervé Van der Straeten cabinet and Fredrikson Stallard’s acrylic Gravity table, which appears to have been sculpted from ice.

In the master bedroom, the tone is set by de Gournay scenic wall panels hand-painted in a graphically decorative style inspired by Rateau and an exquisite rock-crystal chandelier by Alexandre Vossion. Curtains and bed linens, here and throughout the apartment, are hand-stitched. “The client and I agreed, when at all possible, we would use local artisans and ateliers,” says Manger. That meant innumerable trips to Paris and Lyon workshops, something that never phased the unflappable designer. “After all, Lyon is the food capital of the world,” he says sportingly. “I travel light, with carry-on luggage and a canvas bag for paperwork.”

The couple continue to expand their art collection, buying from galleries and auctions based on “what they like,” says Manger. The entrance hall features a painting by the Danish Neo-Expressionist Per Kirkeby as well as a piece by London ceramist Kate Malone. In the library, a Pablo Picasso still life and a Marc Chagall work hang near an Op Art painting by Victor Vasarely. A bold Gerhard Richter abstraction presides over the salon, while a Damien Hirst “Butterflies” print adds a splash of whimsy—and color—to the playroom.

When the project was completed, the clients invited Manger for a meeting to share important news. Thrilled with the Paris apartment, they announced they had another project, an island vacation home, and asked if he would help. Manger, without hesitation, let them know that his trusty carry-on would be at the ready.

Above: In the marble-clad master bath, Line Vautrin mirrors add an exuberant note above a Vosges dressing table, an Alexandre Biaggi rock-crystal lamp, and a Jouffre chair upholstered in a Jim Thompson silk. Opposite: Handpainted de Gournay scenic wallpaper elegantly encircles the master bedroom, where an Alexandre Vossion chandelier descends above a bed and bench by Vosges; the curtains are by Lauren Wang, the desk lamp is by Patrice Dangel, and the rug is by Beauvais Carpets.

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PAINTER PAT STEIR’S NEW YORK TOWNHOUSE BRIMS WITH MEANINGFUL ARTWORK BY FRIENDS ASSEMBLED OVER FIVE DECADES

BY HILARIE M. SHEETS PHOTOGRAPHY BY MELANIE DUNEA 114

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A wall drawing by Sol LeWitt brings color to the living room, which is adorned with a Bambara elephant and monkey mask from Africa and a collection of fossils.

Opposite: Pat Steir’s home is a highly personal mix of art, like this gouache-on-paper work by LeWitt, and antiquities, including a sculptural Moroccan door.

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Clockwise from left: An Anish Kapoor etching backs a table adorned with a Kiki Smith sculpture, a Isamu Noguchi lamp, a George Ohr ceramic work, and various stones that were a gift from Joan Jonas. A sculpture by Lynda Benglis is encircled by more of Steir’s collection of fossils and ancient ritual spearheads. An embroidered work by Alighiero Boetti.

nown for the “Waterfall” canvases she makes by pouring and throwing paint, Pat Steir produces monumental works that are prominently displayed in some of the world’s most prestigious museums. Conversely, her townhouse in Greenwich Village’s MacDougal-Sullivan Gardens, where she has lived since 1990 with her husband, publisher Joost Elffers, is its own group show of sorts.

Here, a vast and intimate array of creations by her network of friends and colleagues in the New York art world reflects a life well lived among a creative community that has included Sol LeWitt, Ross Bleckner, and Kiki Smith.

Meandering from room to room, Steir points out gifts and trades collected over the past five decades. There’s an etching by Brice Marden, her classmate at Boston University, and a glazed ceramic by Mary Heilmann, an artist with whom Steir began exhibiting in group shows in the early 1970s, as well as a work by Alighiero Boetti. A sculpture of a giant fly clinging to the wall is by 116

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A collection of ceramics combines the old and new, including two colorful creations by Betty Woodman.

friend Rob Wynne. A tabletop sculpture of a human head on a bird’s body and an etching with women’s legs floating off the page are by Smith, who comes regularly to Steir’s townhouse for holiday meals. “I found it stuffed in my mailbox,” says Steir, pointing out the creases still visible in the print.

Most abundant in the warmly furnished home are LeWitt’s conceptual abstractions based on simple sets of parameters. A wall drawing of a white circle on a yellow background was done as a housewarming gift; a gouache painting on paper with a continuous free-form white line on a dark background was given as a birthday

present. “I could spend forever figuring out where he stopped and started,” says Steir about the work by LeWitt, her one-time partner who remained a close friend until his death in 2007.

She credits both LeWitt and her friend John Cage, who is represented by a smoke etching in which he used the I Ching to determine its composition, with influencing a dramatic shift in her painting. “They each had a system that operated itself,” says Steir.

In the late ’80s, Steir liberated herself from decisions about imagery. She set up basic rules and began experimenting with pouring and throwing layers of paint onto canvases. Her largest painting installation to date, Color Wheel, is on view through the summer at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. For the exhibition, the artist transformed the museum’s inner circular gallery with 30 nine-by-seven-foot canvases, which create a color wheel when seen together.

Back in her kitchen, Steir points out a series of photographs of industrial structures by Bernd and Hilla Becher that are tied to one of her memories of LeWitt. “When Sol and I were a couple, he couldn’t drive a car and I could barely drive, but I drove him around Europe, where he had lots of shows.

One night I entered the Autobahn in Düsseldorf on the exit side and ended up facing a big truck at midnight,” Steir recounts.

Somehow, the artists avoided a crash and showed up at the Bechers’ door completely frazzled. “They gave me a lot of photographs,” she says, “and I never drove again.” Just one more adventure in a life history told through art.

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A Jeff Elrod painting is mounted on the marble-clad fireplace in G. T. Dave’s radically revamped entertaining pavilion located next door to his home in Beverly Hills. Working with architect Otoniel Solis, designer James Magni masterminded the renovation and oversaw the furnishings, installing a table from his own Magni Home Collection and Poltrona Frau chairs in the dining area. For details see Sources.

MAJ E ST I CA LLY

MINIMAL

At his hillside compound in Los Angeles, kombucha king G. T. Dave teams up with designer James Magni to create an artfilled entertaining space that is strikingly spare_but far from simple

By Michael Slenske Photography by Matthew Millman

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PORTRAIT BY DYANA CARMELL A

Consulting with art adviser Michael E. Thomas, Dave (pictured opposite) has built an impressive collection that includes the 2012 mirrored wall sculpture Untitled by Anish Kapoor overlooking the fireplace area and the Mark Grotjahn drawing in the hallway beyond. Magni designed the daybed and marble side table, which sit atop a Decorative Carpets rug.

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mom never threw anything away—she was essentially a hoarder,” recounts G. T. Dave, founder of the billion-dollar kombucha empire GT’s Living Foods. The youngest of three brothers, Dave was raised in a modest Bel Air, California, home, which, he says, had an East-meets-West vibe and was utterly filled with tchotchkes. Though his parents were both vegans who followed the teachings of the spiritual adviser Sathya Sai Baba, their sensibilities couldn’t have been more different. His father, an attorney and accountant, was a minimalist who prized quality over quantity, while his mother, a bon vivant jeweler, believed in the bounty of thrift and regularly indulged her sons with splurges at Pick ’n Save.

Looking around the arrestingly spare, immaculately white compound Dave has created high up in the Trousdale Estates section of Beverly Hills, it seems safe to conclude that he inherited his father’s taste. But the passionate acquisitiveness with which the entrepreneur approaches his impressive art collection hints at the influence of his mother, whom he calls his “bosom buddy.” (It was her success with kombucha during a battle with cancer that prompted him to start his business at age 15.)

The property, which enjoys spectacular views overlooking Los Angeles out to the Pacific Ocean, is actually the combination of two adjacent homes, both single-story postwar structures that Dave radically stripped down and reimagined as serene minimalist temples with the help of interior designers James Magni and Jeremy Graef. The first one, which serves as the primary residence for Dave and his husband, Allan Fanucchi, was completed a decade ago, featuring ten-foot-tall sliding glass windows, stainless-steel kitchen cabinetry, white Thassos marble niches, and, of course, an infinity pool offering scenic swims.

“When I finished the house, I thought I was going to use it as an entertainment space,” Dave says, dressed in jeans, a white T-shirt, and a camo Supreme hat, with a lot of bling on his wrists.

“It was my temple, but at the same time I wanted to socialize because my dream came true.” But during his first housewarming party a month after moving in, someone spilled a drink on his white Eurostone bridge, while others left marks on the walls and counters. The soirees quickly ceased.

“I REALIZED I LOVE FINE FINISHES, DETAILS THAT ARE HARD TO ACCOMPLISH, A SENSE OF CRAFTSMANSHIP,” SAYS G. T. DAVE

As fate would have it, a few years later the home next door became available and Dave snatched it up and promptly gutted it. His idea was to revamp the house as a pavilion for entertaining guests and displaying artworks from his expanding collection. Paintings by artists such as Jeff Elrod, Charline von Heyl, Sterling Ruby, and Georg Baselitz mix with sculptures by Anish Kapoor, Antony Gormley, Chris Burden, and Jaume Plensa as well as a large group of works by Joel Morrison—known for his wide-ranging creations in shimmering stainless steel. With minimal time for gallery and studio visits (Dave oversees the brew of every batch of kombucha at his 40,000-squarefoot factory in nearby Vernon), he has relied on the help of art adviser Michael E. Thomas. But when Dave sees an artwork that truly affects him, his response is visceral.

“I came up with an equation of what inspires me the most, and I realized I love fine finishes, a detail that is very hard to accomplish, a sense of craftsmanship, and when a piece is not common,” he says. “I like the fragility of art but also the strength.”

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That dual nature of art can be found in many museum-grade pairings throughout Dave’s homes: Robert Mapplethorpe photographs flanking a Donald Judd anodized-aluminum “Stack” sculpture; a dark-bronze Thomas Houseago bust surrounded by a rainbow-tinted Olafur Eliasson mirror work; a Giuseppe Penone piece made with marble and acacia thorns near a Tomás Saraceno suspended sculpture using carbon fiber and monofilament.

While some of the artworks may be delicate, this new “party house,” as Dave refers to it, was designed to be durable. “The interiors are all about simplicity, so it has seamless terrazzo floors, the kitchen has thick white Lucite cabinets, and there are a lot of man-made materials that are low-maintenance, so they can be flawless at all times,” says Magni, who has created similar art fortresses for the likes of Eugenio López and Vivian Buehler Dannes. The designer outfitted the interior with trim, modern furnishings—including pieces from his own Magni Home Collection—featuring lots of steel and leather in soft, neutral tones.

A terrace sitting area’s sofa and armchairs (upholstered in a Sunbrella fabric) are by Room & Board, as is the rectangular table; the long table and chairs next to the outdoor bar are by Janus et Cie. Opposite: Large artworks by Tara Donovan (left) and Jeff Elrod command walls in the living area, where a Magni Home Collection sofa and tables are joined by Cedric Hartman floor lamps, Knoll armchairs and barrel-back swivel chairs, and a rug by Decorative Carpets.

The crowning achievement was the “engineering and architectural feat” of creating the open views, says Magni, who worked closely with the project’s architect of record, Otoniel Solis.

“In the end it looks so simple, but it’s so complicated to get right.”

Solis says the roof was conceived “as wings taking off, with only the tips touching the floor on both extremes.” The interior layout, he adds, “was rearranged to maximize the new entertainment program of the house.” That might mean watching movies in the theater with friends or throwing full-scale parties that take advantage of the seamless connection between the indoor spaces and the expansive terrace, which features a pool lined in black Bisazza tiles.

For Dave, one moment that perfectly synthesizes what the house is about can be found on the terrace, where Chris Burden’s Small Steps Skyscraper, an Erector Set–like stainless-steel tower, is set amid a bed of river stones. “We got this a month or two before Chris Burden passed, and it clearly has a relationship with this city,” says Dave, surveying the view beyond.

Walking across the bridge to the driveway, Dave remarks that “the next thing may be kids,” pointing to a neighboring hilltop where he and Fannuchi just purchased another home. Not that they’re giving up their serene refuge. “It’s just that kids can’t exist in this space, at least for a while,” he says. But there’s no doubt they will learn to appreciate the finer things soon enough.

PHOTO CREDIT TK

Left: In the bedroom, a David Musgrave drawing adds graphic punch above the bed, while a work by Alexandra Grant makes a subtler statement between the windows; the chair is by CB2, and the stool is by DAO. Below: One of Dave’s many Joel Morrison sculptures rises from a reflecting pool at the entrance, where a Charline von Heyl painting greets visitors just inside the glass door.

From top: An Erector Set–like stainless-steel structure by Chris Burden stands in a bed of river stones at the edge of the terrace.

Dornbracht fittings are used throughout the bath, which features a custom-made Caesarstone tub and a DAO stool.

On the parlor floor, Adam Charlap Hyman composed seating areas arrayed with standout midcentury French pieces. A sofa and armchairs

by Pierre Jeanneret, upholstered in suede by Edelman, join a Barberini & Gunnell stainless-steel side table around a marble-top table by Jean ProuvÊ and a work by Luc Tuymans. Haegue Yang created the installation of Venetian blinds and LED tubes that hangs in the two-story space beyond. Opposite: Kim stands in the parlor’s front area, where a Sterling Ruby painting backs a Jeanneret armchair and stools by Charlotte Perriand. For details see Sources.

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rom the street, it looks like a typical Victorian-era brick townhouse on Manhattan’s Upper West Side. One hint that something special might lie behind its curtained bay windows is the home’s distinctive exterior ironwork, which is both totally in keeping with the traditional blackened railings of its neighbors and quietly striking in its refined, minimalist design. Welcome to the carefully considered, artful world of Tina Kim. Kim is a Korean-born Chelsea gallerist who is well-known for introducing American collectors to established and emerging Korean artists like Suh SeungWon (whom she currently represents) and Haegue Yang, the creator of shimmering conceptual sculptures now animating the atrium of the newly reopened Museum of Modern Art. Kim’s husband, Jaewoong Chung, founder of the design firm Vintage20, is an authority on midcentury furniture and decorative arts by such icons as Jean Prouvé and Charlotte Perriand.

When the couple—college sweethearts who met while they were students at Pepperdine University— purchased the five-story townhouse a handful of years ago, they initially had ambitions to gut and expand the residence. They wanted additional space to better accommodate their family of four as well as to display their standout collections of contemporary art and vintage furnishings.

But they decided to first test-drive the home by living in it for a couple of years while plans were drawn up for the renovation, which was to include another story and a rear addition. “The more we lived in it, however, the more we liked the way the interiors were,” recounts Kim.

“We wanted to keep the integrity of the original.” Luckily, their trusted interior designer, Adam Charlap Hyman—a principal of the red-hot firm Charlap Hyman & Herrero—is something of an old hand, even though he’s still in his 20s, at interpreting and adapting to their needs. Kim was his very first client after he graduated from the Rhode Island School of Design in 2011, when she tasked him with remodeling and staging her previous apartment. Since then, they have also collaborated on her namesake West 21st Street gallery (the noted firm SO-IL did the architectural work) and a renovation of the family’s Long Island beach house.

Working within the confines of the 1890s townhouse, however, had its challenges. For one thing, the narrow living spaces weren’t exactly conducive to flexible seating arrangements or large-scale artworks. “We gave Tina three options for everything, representing different stylistic approaches, and she just chose,” Charlap Hyman recalls.

“She is extremely communicative and clear, with a very distinct vision.”

Left: In an office painted in Benjamin Moore’s Decorator’s White, a Damien Hirst “Spin” painting makes a splash above a cabinet by Charlotte Perriand, who also designed the armchair and stools. The aluminum-top table and arm light fixture are by Jean Prouvé. The curtains are Rogers & Goffigon fabric. Below: A Kim Yong-Ik dotted painting pops against the parlor floor’s pristine white backdrop.

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Above: Small floralthemed works by Andy Warhol (top) and Louise Bourgeois join an abstract painting by Ha ChongHyun in a corner of the master bedroom, which is furnished with a George Nakashima wall-mounted cabinet and a Pierre Jeanneret chair. Opposite: Beneath the Haegue Yang installation in the double-height formal dining area, an Anselm Kiefer work hangs near a Pierre Jeanneret table surrounded by Jean Prouvé chairs.

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The parlor floor, a continuous, open space from front to back, is delineated with groups of choice furnishings and objects that seem to float within the pristine white envelope.

Spare, modern sofas and chairs by Pierre Jeanneret—all clad in graphic hide upholstery—are joined by a colorful collection of Georges Jouve ceramics displayed inside the minimalist fireplace, while rare Perriand consoles are installed beneath a mesmerizing video work by Bill Viola.

On the garden level below, Charlap Hyman covered portions of the kitchen walls in wainscoting for a more traditional look and created a cozy banquette in the bay window. Family meals are in the adjacent Red Room, an intimate space named for the color of its slender Prouvé table and crimson-hued accents. A second, more formal dining area is notable for the massive Haegue Yang lighting installation—crafted from window blinds and LED tubes— that fills the double-height atrium above a Jeanneret teak table and Prouvé chairs. Partially enclosing the space on one

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side is a pair of prized corrugated-steel brise-soleil screens designed by Prouvé in the 1960s for a school in the Congo.

Art, of course, is everywhere. Abstract paintings by Anselm Kiefer and Sterling Ruby are two of the many works by blue-chip Western artists that were purchased from Kukje Gallery, the legendary Seoul art space that Kim’s mother, Hyun-Sook Lee, launched in 1983. “She was a pioneer, opening the first gallery to show Western art,” Kim says.

“Whenever my mom had a show, she would let me have the first pick, and I was able to buy some great pieces this way.

When my husband and I were young, we couldn’t afford some artworks so we would pay in stipends.”

Since opening her own gallery in New York in 2001, Kim has regularly collaborated with Kukje Gallery on shows, and the two galleries have previously shared a booth at major art fairs, although Tina Kim Gallery shows independently at many international events. In the past, Kim and her husband never had enough space to collectively display their art and design gems—until, that is, they chose a quintessential New York brownstone with an old soul, and Charlap Hyman, a young designer who had the imagination to make it all work.

Above: A sculpture by Gimhongsok stands on the garden terrace.

The table and chairs are by Teak Warehouse; the umbrella and lanterns are RH. Opposite: Lalanne-style sheep add a whimsical note to the master bedroom, where 1960s sconces are mounted above the Mira Nakashima bed on a rug by the Rug Company; the artwork at left is by George Nakashima, the bedside tables are by Eva Hesse, and the chest is a 1930s Louis Vuitton steamer trunk.

2 Jaewoong Chung’s office features a refined mix of museum-quality furnishings, such as a Jean Prouvé desk and a cowhide chair by Charlotte Perriand. But the most personal element is the teal-framed 1994 portrait by Matthew Barney, acquired from Paula Cooper Gallery. “It’s one of the first pieces Jae and I bought together,” recalls Kim. “We were students and couldn’t afford anything, so Paula let us pay in installments.” paulacoopergallery.com

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3 Designed by cutting-edge Italian studio Barberini & Gunnell, this mirrorpolished, stainless-steel side table made a splash when architect Peter Marino used a series of them in Dior’s London flagship.

Kim’s edition graces her parlor, where the sculptural piece provides a striking contrast to the medley of modernist French furniture. barberini-gunnell.com 4 Chung presides over a sizable trove of vessels by late French ceramist Georges Jouve, who is known for his clean-lined forms and experimental glazes. “Jae loves the simplicity of the design and the colors,” says Kim. “Every time he goes to Paris, he brings some back.”

5 In the main dining area, a wall-size aluminum installation by Prouvé counterbalances a grayscale painting by Korean artist Lee Ufan that was created for the 2015 Venice Biennale.

“The whole room was dictated by the wall painting,” says Kim. “I invited Lee over for dinner, and he was so pleased and surprised.” studioleeufan.org

(1, 2, 5, 7) TIMOTHY DOYON; (3) COURTESY OF BARBERINI & GUNNELL; (4) COURTESY OF ARTCURIAL; (6) COURTESY OF TINA KIM GALLERY

1 Occupying the soaring double-height atrium, a custom installation by Korean artist Haegue Yang, who is represented by Kukje Gallery, is the home’s focal point.

Approximately 14 feet tall, the piece is made of Venetian blinds, steel wire, and LED tubes. “Haegue represented Korea at the 2009 Venice Biennale,” notes Tina Kim of the artist, who is also a close friend. “It’s very important to have her work in our home.” kukjegallery.com

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6 Born in Seoul in 1940, artist Wook-Kyung Choi came to the U.S. in the ’60s to study at Michigan’s Cranbrook Academy of Art, and she immersed herself in American Abstract Expressionism. “She had an amazing palette and strong brushstrokes, but as a minority and a woman, she struggled to build a career,” says Kim. “Unfortunately, she died young and isn’t really seen outside of Korea.” In 2017, Tina Kim Gallery staged a show of Choi’s work and plans another one for 2021.

“She’s someone I’m very excited about—I really want people to see her work.” tinakimgallery.com

7 “Being Korean, I like doing barbecue right on the table,” explains Kim, “so I needed somewhere with good ventilation.” A narrow room with a door to the terrace fit the bill, but its challenging proportions limited the width of any potential furnishings.

Luckily, the couple’s scarlet-hued Compas table

by Jean Prouvé perfectly anchors the space. (A desk version is still made by Vitra.) “We call it the Red Room now,” says Kim, who added artwork by Ghada Amer and Park Soo-Keun, plus a pair of towering cacti. vitra.com

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LifeImitates Art

The dazzling cabochon ruby and diamond Wrapped Heart brooch was originally commissioned by actor Tyrone Power as a Christmas gift for his wife, French actress Annabella; 78 years later the romantic design, enhanced with 18K gold and platinum, is still one of Verdura’s signatures; verdura.com. Opposite: Equally mesmerizing in mirror-polished stainless steel, Jeff Koons’s monumental sculpture Hanging Heart (Red/Gold) (1994–2006) seemed to float weightlessly in Venice’s Palazzo Grassi despite measuring over nine feet tall and 3,500 pounds; jeffkoons.com.

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COURTESY OF VERDURA. OPPOSITE: COURTESY OF THE ARTIST

B Y S T E FA N I E L I

COURTESY OF GIVENCHY. OPPOSITE: COURTESY OF SAM FRANCIS FOUNDATION, CALIFORNIA

Abstract Expressionist Sam Francis often conjured his dynamic paintings by blending obscure colors and layering different types of paint. His Bright Web, 1973, a lyrical mix of highly saturated acrylics, is grounded in experimentation and controlled accidents; samfrancisfoundation.org. Opposite: For Givenchy’s fall/winter 2019 show, artistic director Clare Waight Keller paraded a multitude of dramatic florals down the runway, including this floor-length pleated satin dress with explosive clusters of vivid blooms; givenchy.com.

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COURTESY OF L ANVIN. OPPOSITE: HV-STUDIO, BRUSSELS, COURTESY OF THE ARTIST AND XAVIER HUFKENS, BRUSSELS

Transforming the traditional still life into a fantastical feast, Nicolas Party uses unexpected hues and biomorphic shapes to bring attention to the often-overlooked importance of everyday objects, as in Still Life (2016). The Swissborn artist’s “Pastel” exhibition is mounted at New York’s Flag Art Foundation through February 15, 2020; flagartfoundation.org. Opposite: Pear-shaped minaudières become wearable sculptures in dappled shades of red, yellow, and violet in Lanvin’s fall/winter 2019 collection; lanvin.com.

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COURTESY OF MARCEL WANDERS. OPPOSITE: COURTESY OF AI WEIWEI STUDIO

Light dances off the delicate handcrafted porcelain petals of Lladró’s pendant, part of the Nightbloom collection

by Dutch design studio Marcel Wanders; lladro.com. Opposite: Ai Weiwei utilizes items such as bicycles and sunflower seeds to portray universal symbols of humanity in his impactful installations, many of which will be on view at the Kemper Art Museum’s “Ai Weiwei: Bare Life” exhibition until January 5, 2020. For his 2014 work Blossom, the contemporary artist and activist looked to make a statement about freedom by blanketing the fixtures in Alcatraz’s old medical wing with thousands of delicate ceramic flowers; aiweiwei.com.

Self-confessed hoarder Kenny Schachter considers the roots of the collecting impulse just as he embarks on some overdue clearing out

By Kenny Schachter Photography by Dylan Thomas Styled by Philippa Brathwaite

Veteran dealer, artist, writer, collector, curator, and lecturer Kenny Schachter sits on a chair of his own design next to a Rachel Harrison sculpture in his new Manhattan home.

Hanging in the stairwell behind him are a work by Joe Bradley and a poster of a Christopher Wool text painting. To the left is a small canvas by his son Kai Schachter.

Works by artists such as Mika Rottenberg, Peter Hujar, Pope.L, and Paul Thek line shelves in Schachter's office, where a prototype for a seating element by Zaha Hadid is grouped with a pink Mary Heilmann chair and a wicker armchair by the Campana Brothers; the floor lamp at left is by Martino Gamper.

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someone who has had a long involvement with art and design—as a dealer, an artist, a curator, and, yes, a buyer—I have tried to understand what drives the bottomless compulsion to collect. In doing so, I turned to Sigmund Freud. Who else?

Dismissing his (dubious) theories of unresolved toilet-training issues as the cause, I considered his ideas about longing for the comforts of childhood, from our mother’s breast to the accumulation of cuddly stuffed animals—which, funnily enough, often crop up in contemporary art and may go far in explaining the popularity of market phenoms like KAWS, Murakami, and Nara.

In my youth I was never overly acquisitive, though I did accumulate magazines that I still love. I would incessantly cut out and collage images onto a cork wall in my bedroom, a practice not unlike what I do today, only digitally, with the artworks I use to illustrate my writings.

For me, the collecting compulsion came later, when I visited my first gallery after stumbling into Andy Warhol’s estate sale in 1988. Up to that point, I had no notion of art being bought and sold, having only experienced it hanging in museums during college. But soon I found myself taking out an unsecured loan to buy some Cy Twombly prints. Gradually, I transformed into the worst kind of hoarder, stockpiling not only works of art and design but also old newspapers and bills, a condition that had intensified during the past 15 years I’d spent living in London.

Recently, I decided to leave London—due to the notable deterioration in the quality of life, from high levels of crime to an escalation in taxes and running animosity against foreigners—and return to New York. To pack up all of my crap (I say that with affection) and ship much of it to my new brownstone rental, it took no less than three months with a half-dozen movers, to say nothing of the expense.

In the garden-level living room, Schachter designed a wall collage of his articles and various photo works that serves as a backdrop to his sculpture Selfie Man. Opposite: A figurative sculpture by the collective Forcefield stands in the entrance hall near a Lucky DeBellevue pipe cleaner work and the painted plaster L Dog by Ilona Rich, Schachter's wife.

Fifteen crates have made the journey (so far), and that includes no furniture other than a handful of design pieces by Zaha Hadid, Maria Pergay, the Campana Brothers, and Tom Dixon, all of whom I worked with curatorially in the past (especially my beloved friend Zaha). To help cushion the shock of the move, I enlisted Martino Gamper, commissioning him to make my dining room table, chairs, and bed.

The art packed into my new home ranges from conceptual works of the 1960s and ’70s—notably by Vito Acconci and Paul Thek, whom I have organized exhibits for and written extensively about—to the latest creations by emerging contemporary artists I adore, such as Cheyenne Julien and Ebecho Muslimova. Other stalwarts I’ve collaborated with over the years and can never live without include Joe Bradley (whose first solo show in New York I curated in 2003), Cecily Brown, Wade Guyton, and Pope.L, whose artwork was the subject of two shows I staged in London in 2005 and 2007. It’s a pleasure to be surrounded by so many great things I care passionately about, especially in a city bustling with so much art, design, and creativity.

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A velvet-upholstered 1960s sofa and armchair by Franco Albini and a sofa by Ole Wanscher are joined in the living room by a playful Max Lamb cocktail table and a mirror-polished brass side table by Arik Levy.

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Left: A Maria Pergay graffiti bench rests on the top-floor landing overlooked by a colorful Adrianne Rubenstein painting and a ceiling panel work by Devon Dikeou. Below: Schachter installed one of his own text photos above his bed and a Max Lamb side table; the objects on the window ledge include pieces by Richard Prince, Rachel Harrison, and Urara Tsuchiya, and the extruded-plastic chair is

by Tom Dixon.

But exactly what I will do with everything in two years, when my present lease expires, I have tried not to think about. It hasn’t taken much time to get to full capacity. (I just hope the building doesn’t sink into the foundation from the weight of it all!) Most collectors worth their salt at some point find themselves in a similar predicament—i.e., home erupting at the seams, costly storage obligations far and wide—and my move from London forced a reckoning of sorts. It’s about time to prune my holdings, especially those stashed in warehouses in Zurich, London, and New York.

As a result, I am organizing a series of exhibitions and sales titled, fittingly enough, “The Hoarder.” The first will take place at gallery S|2 in London December 11 to 18 and feature a range of design and art pieces that have been the focus of my collecting habit. This will be followed by a New York sale at a date to be determined.

Of course, while I am doing some much-needed letting go, hardly a week passes when I don’t add to my collection. My latest acquisitions include some stools by Irish sculptor Eva Rothschild and a Paul Thek sculpture composed of 23 tiny bronze mice. And I’ve got my roving eye on plenty more. Old habits die hard—or, in my case, not at all.

Items pictured but not mentioned are from private collections. (T) means item is available only to the trade.

All of the following images are © Artists Rights Society (ARS).

Cover, page 102: 2019 The Franz Kline Estate/ARS, New York. Cover, page 102, 103: 2019 Estate of Tony Smith/ARS, New York. Cover, page 103: 2019 The George and Helen Segal Foundation/ licensed by VAGA at ARS, NY. Cover, page 103: 1998 Kate Rothko Prizel & Christopher Rothko/ARS, New York.

Pages 12, 105, 130: 2019 The Andy Warhol Foundation for the Visual Arts, Inc./licensed by ARS, New York. Pages 12, 105, 116: 2019 The Isamu Noguchi Foundation and Garden Museum, New York/ARS, New York. Pages 16, 125: 2019 Chris Burden/licensed by The Chris Burden Estate and ARS, New York. Page 30: 2019 ARS, New York/ADAGP, Paris.

Page 30: 2019 ARS, New York/AUTVIS, São Paulo. Pages 32, 90: 2019 Calder Foundation, New York/ARS, New York.

Pages 43, 98: 2019 Alex Katz/licensed by VAGA at ARS, NY. Page 43: 2019 ARS, New York/VISDA. Page 56: 2019 Fondazione Lucio Fontana/ARS, New York/SIAE, Rome. Page 98: 2019 ARS, New York/c/o Pictoright Amsterdam.

Page 102: Successió Miró/ARS, New York/ADAGP, Paris 2019. Page 104: 2019 ARS, New York/SIAE, Rome. Page 104: 2019 Frank Stella/ARS, New York. Page 104: 2019 Brice Marden/ARS, New York.

Page 104: 2019 Fairweather & Fairweather Ltd./ARS, New York. Page 108: 2019 ARS, New York/ADAGP, Paris.

Page 109: 2019 ARS, New York/ADAGP, Paris. Page 110: 2019 Estate of Pablo Picasso/ARS, New York. Page 111: 2019 ARS, New York/ADAGP, Paris. Page 111: Pippin Louise Drysdale/Copyright Agency. Licensed by ARS, New York, 2019. Page 112: 2019 ARS, New York/ ADAGP, Paris. Pages 114–15: 2019 The LeWitt Estate/ARS, New York. Page 116: 2019 Lynda Benglis/licensed by VAGA at ARS, NY. Page 116: 2019 ARS, New York/SIAE, Rome. Pages 116, 120: Anish Kapoor. All Rights Reserved, DACS,

London/ARS, NY 2019. Pages 126–27, 129, 131, 135: 2019 ARS, New York/ ADAGP, Paris. Pages 126, 128–29, 131, 134–35: 2019 ARS, New York/ADAGP, Paris. Pages 127–29, 134: 2019 ARS, New York/ADAGP, Paris. Pages 128–29: Damien Hirst and Science Ltd. All rights reserved/DACS, London/ARS, NY 2019.

Page 130: 2019 The Easton Foundation/ licensed by VAGA at ARS, NY. Page 135: 2019 ARS, New York/ADAGP, Paris.

Page 139: 2019 Sam Francis Foundation, California/ARS, NY. Page 149: 2019 ARS, New York/ADAGP, Paris. Page 152: 2019 ARS, New York/ADAGP, Paris.

DECO IN THE DETAILS Pages 106–13: Interiors by Stewart Manger Interior Design; stewartmangerdesign.com. Architecture and select furnishings by A+B Kasha Paris; abkasha.com. Pages 106–07: In salon, Campana Brothers side table and Fredrikson Stallard cocktail table from David Gill Gallery; davidgillgallery.com.

Bronze floor lamp and side shelf by Patrice Dangel; alexandrebiaggi.com.

Armchairs upholstered in fabric by Toyine Sellers (T); toyinesellers.com.

Lounge chair and sectional by Jouffre; jouffre.com. Lounge chair upholstered in fabric by Chapas Textiles (T); chapastextiles.com. Sectional upholstered in brown bouclé by Lauren Hwang New York; laurenhwangnewyork.com.

Credenza by Hervé Van der Straeten; vanderstraeten.fr. Rug by Beauvais Carpets (T); beauvaiscarpets.com. Page 108: In entrance hall, sconces by Hervé Van der Straeten. Mattia Bonetti chairs from David Gill Gallery. Page 109: In library, light fixture by Hervé Van der Straeten. Floor lamps by Patrice Dangel.

Shelves by Mongiardo Studio; mongiardostudio.com. Elizabeth Garouste chair from Avant-Scene; avantscene.fr. Chair upholstered in fabric

by Toyine Sellers (T). Ruhlmann-style chairs by Jouffre. Rug by Beauvais Carpets (T). Mattia Bonetti side table from David Gill Gallery. Page 110: In library, lamp by Atelier Midavaine; ateliermidavaine.com.

Table by Mongiardo Studio. Sofa by

GALERIE (ISSN 2470-9964), Volume 4, Issue 5, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman; Adam I. Sandow, Chairman, SANDOW. Principal office: Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178. Editorial and advertising offices: GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178.

Subscriptions: Visit galeriemagazine.com, or call 818-4872019 (in the U.S.) or 855-664-4228 (toll-free, outside the U.S.).

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Jouffre. Sofa upholstered in fabric by Yoma Textiles; yoma.com. Candleholders from Galerie Hervouet; galeriehervouet.fr.

Side table by Patrice Dangel. Page 111: In kitchen, plaster pendant by Patrice Dangel. Curtains in fabric by Jerry Pair (T); jerrypair.com. Stools by Jouffre.

Range by La Cornue; lacornueusa.com.

Pippin Drysdale ceramics from Adrian Sassoon; adriansassoon.com. Page 112: In master bath, Line Vautrin mirrors from Galerie Chastel-Maréchal; chastel -marechal.com. Curtain in fabric by Pietro Seminelli; seminelli.fr. Rock Crystal lamp from Galerie Alexandre Biaggi.

Chair by Jouffre. Chair uphosltered in silk

by Jim Thompson Fabrics (T); jim thompsonfabrics.com. Page 113: In master bedroom, chandelier by Alexandre Vossion; vossion.com. Curtains in fabric by Lauren Hwang New York.

Wall covering by de Gournay; degournay .com. Lamp by Patrice Dangel. Bed by Jouffre. Bed upholstered in fabric by Chapas Textiles (T). Linens by Linge au Coeur; maisonduchenoy.com. Mattia Bonetti desk chair from David Gill Gallery. Rug by Beauvais Carpets (T).

MAJESTICALLY MINIMAL Pages 118–125: Interior design and select furnishings by James Magni and Jeremy Graef of Magni Kalman Design; magnikalman.com. Architecture by Otoniel Solis; otonielsolis.com. Pages 118–19: In dining room, Aster X armchairs by Poltrona Frau; poltronafrau.com. Page 120: In living room, rug by Decorative Carpets by Stark; starkcarpet.com. Page 122: In living room, floor lamps by Cedric Hartman; cedrichartman.com. George armchairs by Walter Knoll; walterknoll. de. D’Urso Swivel chairs by Knoll; knoll .com. Armchairs and swivel chairs upholstered in Sabrina leather by Spinneybeck (T); spinneybeck.com. Page 123: On terrace, Neutra dining table and chairs by Janus et Cie; janusetcie .com. Finn lounge chairs, Oasis sofa, and Cooper cocktail table by Room & Board; roomandboard.com. Lounge chairs and sofa upholstered in fabric by

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Sunbrella; sunbrella.com. Acara side table by Crate & Barrel; crateandbarrel .com. Planter by Empty Vase; emptyvase .com. Countertop by Caesarstone; caesarstoneus.com. Page 124: In bedroom, Specs chair by CB2; cb2.com.

Stool by DAO–Design Around Objects; daohome.com. Rug by Anthony Monaco Carpet & Textile Design; amctdesign .com. In entryway, Lithocrete paving by Over the Top Terrazzo & Tile, Inc.; overthetopterrazzo.com. Page 125: On terrace, daybed upholstered in fabric by Sunbrella. In master bath, shower and tub fittings by Dornbracht; dornbracht .com. Custom tub by Ceasarstone. Stool

by DAO–Design Around Objects.

CALM, COOL, AND COLLECTED Pages 126–35: Interiors by Adam Charlap Hyman of Charlap Hyman & Herrero; ch-herrero.com. Architecture

by SO-IL; so-il.org. Hair and makeup by Sandrine Van Slee; art-dept.com. Pages 126–27: On parlor floor, walls in Decorator’s White paint by Benjamin Moore; benjaminmoore.com. Fireplace surround and travertine flooring by Chelsea Arts Tile (T); chelseaartstile andstone.com. Armchairs and sofa upholstered in cowhide by Edelman (T); edelmanleather.com. Get Lost! side table by Barberini & Gunnell; barberini-gunnell.com. Curtains in fabric by Rogers & Goffigon (T); rogersandgoffigon.com. Pages 128–29: In Jaewoong Chung’s office, curtains in fabric by Rogers & Goffigan (T). Walls in Decorator’s White paint by Benjamin Moore. Chair upholstered in cowhide

by Edelman (T). Page 131: In dining area, travertine flooring by Chelsea Arts Tile (T). Page 132: In master bedroom, walls in Nimbus paint by Benjamin Moore.

Curtains and sheers in fabric by Rogers and Goffigan (T). Rug by The Rug Company; therugcompany.com. Page 133: On terrace, umbrella and lanterns

by RH; restorationhardware.com. Table and chairs by Teak Warehouse; teakwarehouse.com. Pavers by Chelsea Arts Tile (T).

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A lamp (left) made by André Arbus for the 1955 exhibit “Le Génie de Paris” now hangs in the master bedroom of shoe designer Christian Louboutin (right).

AHEAD OF A MAJOR EXHIBITION AT THE PALAIS DE LA PORTE DORÉE IN PARIS,

enough to wait for plants to grow. I missed shoes. He asked me why I didn’t go back to it and suggested I THAT INSPIRED HIM TO START HIS SHOE COMPANY rent a vacant store space at the end of the Galerie Véro-Dodat arcade, where his gallery was located. I think he was trying to get rid of me because I was still pestering y company began because of a lamp by André Arbus. him about that lamp, which, it turned out, had since been sold to There was a gallery I used to visit all the time run by the the London art dealer David Gill. fabulous antiques dealer Eric Philippe, who specializes in I told myself if I can get that lamp, I can open my own store. I decorative arts from the 1920s to the ’60s. Back in 1991, I spotted a was determined. So I got on a plane to London and bought it off beautiful lamp that had been created for the exhibition “Le Génie de David. Now it’s in my bedroom, and I look at it every day. I love the Paris” in the Marsan Pavilion of the Louvre in 1955; it featured a mix of rough and polished elements and the crossover of industrial large bronze hand clutching two black cones. I tried to buy it design, art, and craft. I opened my first store in Paris that year, and immediately, but it had been promised to someone else. it’s still there today. We could have moved to a bigger space so The next time I visited with Eric, our conversation turned to me. many times, but I will never do it. I really believe in the energy of a I was fed up working for other people, so I’d given up and was doing place and the energy of an object. AS TOLD TO LUCY REES landscape design instead. However, I was only 27 and wasn’t patient

M

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SIMON WATSON/TRUNK ARCHIVE

CHRISTIAN LOUBOUTIN SHARES THE OBJECT

KIM TSCHANG-YEUL New York to Paris

Kim Tschang-Yeul, Composition, 1970. Acrylic and cellulose lacquer on hemp. 63.78 x 53.54 inches (162 x 136 cm).

ART BASEL MIAMI BEACH 5-8 DECEMBER 2019 BOOTH E15

TINA KIM GALLERY | NEW YORK