Connaissance des Arts French Art de Vivre #5 by SNA & la Biennale-Paris

The Salon New York

MIAMI BEACH / MAY 12-15, 2015 MIAMI BEACH CONVENTION CENTER

BONJOUR, WE ARE COMING TO THE AMERICAS

M&O MIAMI BEACH 12-15 MAI 2015 * AMÉRIQUES, NOUS VOILÀ !

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INFO@SAFISALONS.FR ORGANISATION SAFI AMERICAS LLC, UNE SOCIÉTÉ DE SAFI SALONS FRANÇAIS ET INTERNATIONAUX. SAFI, FILIALE DES ATELIERS D’ART DE FRANCE ET DE REED EXPOSITIONS FRANCE SALON RÉSERVÉ AUX PROFESSIONNELS / IMAGE © OCEAN, CORBIS / DESIGN © BE-POLES

EDITORIAL

Cover: Henry Valensi, Les Casbahs du Haut-Atlas, 1931, oil on canvas, 77,5 x 96,6 cm (©Archives Galerie Le Minotaure)

At the fOrefrOnt Of REDISCOvERy Special issues of Connaissance des Arts Publisher Francis Morel Editor-in-chief Guy Boyer Director of Development Philippe Thomas Production manager Anaïs Barbet Editor Benoît Lafay Layout Franck Zennaro Picture researcher Kim Gillier Translation Charles Penwarden ©Adagp Paris, 2014

Lookingatthelistofcurrentshows,youmightthinkmuseumsaretheplaceforalltoday’s artistic rediscoveries.The Grand Palais in Paris is paying homage to Niki de Saint Phalle, anartistwhowaslongoverlooked,theGuggenheimisexhibitingtheGermangroupZero, whose members, among them Günther Uecker and Otto Piene, have not enjoyed the recognition they deserve. But no, rediscovery is not the prerogative of museum curators. Antiquedealersandgallerists,too,aredoingseriousresearchinthearchives.Forexample, at this September’s Biennale des Antiquaires French dealers of 19th-century art showed rare pieces by Edouard Lièvre (Benjamin Steinitz), Daniel Lovati (Aaron), Christofle

Advertising: Les Échosmedias email: pubcda@lesechosmedias.fr President Patricia Levy Managing Director Cécile Colomb Sales Director, Art and Classics Frédéric Pion Deputy Advertising Director Magali Harmange Client Directors Sophie Lavigne, Charlotte Maurange, Virginie Roche, International Advertising Director Caroline Farin-Antebi Contributors to this issue Valérie Bougault, Axelle Corty, Michael Evans, Kim Gillier, Marie Maertens, Sophie Rosemont, Virginie Seguin, Franck Zennaro Special issues of Connaissance des Arts are published by Société Française de Promotion Artistique, SARL (limited company), capital: €150,000. Connaissance des Arts is a Groupe Les Échos publication. Chairman and CEO Francis Morel Delegate Managing Director Christophe Victor Delegate Director Bernard Villeneuve Director of Arts et Classique section Claire Lénart Turpin 16, rue du Quatre-Septembre, 75112 Paris Cedex 02 Tel.: +33 (0)1 44 88 55 00; Fax: +33 (0)1 44 88 51 88 e-mail: cda@cdesarts.com 304 951 460 RCS. Paris Joint Commission 1005 K 79964 – ISSN 1242-9198 Photoengraving: Planète Couleurs, Paris Printed by Etic at Laval, on LumiSilk 130 gr paper supplied by Storaenso, from certified sustainable forests.

Christopher Dresser, Teapot, 1879, silvered metal and ebony, 22.8 x 13 x 13 cm (Oscar Graf, Paris. ©Arnaud Carpentier et Didier herman)

(Chadelaud) and Christopher Dresser (Oscar Graf).And the Belgian dealerYves Macaux regularly exhibits Viennese treasures by Marcel Kammerer, Ludwig Jungnickel and Adolf Loos, with pedigrees featuring such illustrious names as Wittgenstein and Baron Stoclet.AtThe Salon Benoît Sapiro is introducing theAmerican public to HenryValensi, the master of musicalism, author of an incredible abstract “cine-painting” film, “Spring Symphony.” Thanks to their curiosity, patience and persistence, these dealers have acquired knowledge to match or even surpass that of the experts. The only problem with rediscovering all these treasures is that, once they are analysed and back in the public eye, their prices should rocket, much to the regret of buyers stung at not having taken an interest in them earlier. guy boyer, editor-in-chief of connaissance des arts, gboyer@cdesarts.com

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6 neWs NEW YORK 8 portraits 14 the salon Antiques, Modern Art, Art Deco, Non Western Art, Contemporary Art

32 interior DEsigN 36 Fashion COLOURs 42 Wine BORDEAUX 48 real EsTATE 50 MY neW York BY NiCOLAs BOs 42

News New York

1. John Singer Sargent, Lady Agnew of Lochnaw, 1892, Scottish National Gallery, Edinburgh (©Trustees of the National Gallery of Scotland) 2. Christian Megert, Mirror Shard Book, 1962, 42 x 30 x 2 cm, Collection Nicolas Cattelain, London (©2014 ArS/ Franziska Megert) 3. Chris Ofili, Afronirvana, 2002, 274.3 x 365.7 cm (©Chris ofili) 4. John Henderson, Proof (wall rip, verso), 2014, 193 x 132.1 x 3.8 cm (©Galerie Perrotin)

exhibitioNs: AuTuMN iN New York In counterpoint to the lively bustle of The Salon: Art + Design on the Upper East Side, the Guggenheim Museum is putting on a show about Zero, the group of German artists founded in 1957 by Heinz Mack and Otto Piene. Featuring nearly forty artists, the exhibition explores the experimental practices that show them to have been forerunners of Land Art, minimalism and even conceptual art. As for the Frick Collection, it is presenting a Virgin and Child by Botticelli for the first time in New York and the portrait of Lady Agnew of Lochnaw by John Singer Sargent, along with a selection of works from the National Gallery in Edinburgh. English artist Chris Ofili is celebrated at the New Museum with a retrospective of paintings, drawings 6

and sculptures made over the last twenty years. In the more recent pieces, the exotic figures, strange landscapes and folk myths may remind some visitors of the paintings of Matisse and Gauguin. Moving on to the gallery scene, Emmanuel Perrotin’s Madison Avenue space is showing A Revision, a collection of new pieces by John Henderson, including the work Proof (wall rip, verso), made by transferring painting done on the wall of his studio onto canvas. Henderson is continuing his exploration of abstraction by treating the studio as both raw material and integral part of the finished work. K.G. n

www.newmuseum.org

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« Jean-Marie ean-M F Fiori iori » THE WHIMSICAL WHIMSICAL WHIMSICA L

from October 29th to November 27th at Galerie DUMONTEIL New York 475 Park Avenue

POrTraITs new York DOMINIQUE LÉVY London/new York and back

www.dominiquelevy.com

jOhN rIcharDsON biographer of picasso Sir John Richardson, who was made a Commander of the British Empire in 2012, is the author of a monumental biography of Picasso. On February 22 last he celebrated his ninetieth birthday at a party organized by dealer Larry Gagosian, at the restaurant KBC. The hundred guests included Oscar de la Renta and Fran Lebowitz. Richardson’s two dreams have both come true: he wanted to write about art, and be at the center of the art world. Born in London, he befriended Lucian Freud and Francis Bacon in the 1930s, then spent the postwar years in a château in the South of France with his mentor, art collector Douglas Cooper, frequenting Braque, Picasso and Cocteau. In 1960, he opened the American Christie’s in New York. A true party boy – “I used to go out like crazy” –, he now lives a more sedentary life, spending six to eight hours a day in his 5,000 square-foot loft on Fifth Avenue, putting the finishing touches to the fourth and final volume of his Picasso biography and preparing “Picasso and the Camera”, to be put on by his friend Gagosian, starting on October 28. F.Z. n www.gagosian.com

picasso and John richardson, Vauvenargues, 1959 (©John richardson)

©françois dischinger/courtesy dominique Lévy gallery

Nothing stops Dominique Lévy, who is opening a new space in London, two years after her first gallery on New York’s Madison Avenue. Equal parts charm and passion, this Swiss native ran private sales of modern and contemporary art for Christie’s from 1999 to 2003 then moved to New York and founded L&M Arts with the leading American dealer Robert Mnuchin (they opened premises in New York and Los Angeles). In 2013 she decided to go it alone. Specializing in post-war and contemporary art (Calder, de Kooning, Giacometti, Warhol, Soulages), she also represents the estates of Germaine Richier and Yves Klein in the U.S. This autumn, Lévy is innovating by offering an exhibition over two continents: curated by Linda Norden, “Local History” will present rarely seen works by Enrico Castellani, Donald Judd and Frank Stella simultaneously in her New York and London galleries. Inaugurating the Mayfair space in London where it runs to January 24, this transatlantic show opened this October, and the New York part ends on January 3. F.Z.

LEONarD LaUDEr historic patron of the met

33 Picassos, 17 Braques, 14 Gris and 15 Légers – in all, 79 paintings, most of them from the “heroic” period of Cubism, between its inception in 1907 and Braque’s departure for the front in 1914. That is the extraordinary donation made to the Met by Leonard Lauder – in his own words, “a gift to the people who live and work in New York and those from around the world who come to visit our great arts institutions.” This treasure trove, patiently assembled since 1996, is now being given its first exhibition at the museum. Its estimated value is a little over a billion dollars, or an eighth of the philanthropist’s fortune, as calculated by Forbes magazine. Now 81, Leonard is the elder son of Estée Lauder, eponymous creator of the cosmetics company. With his brother Ronald, he had already established a reputation as one of the most important collectors and supporters of art in New York, having gifted hundreds of works to the Whitney Museum. In 2006 Ronald paid the record sum of 135 million dollars for Gustav Klimt’s Portrait of Adele Bloch-Bauer, now on show at his Neue Gallery on Fifth Avenue. F.Z. n

www.metmuseum.org

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PORTRAITs neW YorK PETER MARINO alchemist of interiors

©Jason schmidt

With his leathers and moustache – a real bad boy look – he’s on the wanted list of all the big brands. A rebel in his profession, Peter Marino was one of the first architects to work on clothes stores, thereby breaking one of the great taboos of the trade. He imbibed his anticonformist spirit from his mentor Andy Warhol, whose house on the Upper East Side he renovated in 1978. This opened the doors of super-rich celebrities and then the big names of fashion, for whom he designed a series of always unique stores around the world: Louis Vuitton, Dior, Chanel, Fendi, Céline, Armani, Donna Karan, or Hublot all fought for his services, as did private clients and professionals in the hotel trade. This collector of Deacon, Prince, Hirst, Kiefer and Mapplethorpe makes it a point of honor to invite art into his realizations by means of commissions from the greatest contemporary artists. The felicitous marriage of art and architecture is, indeed, the theme of “One Way,” the exhibition about Peter Marino opening at the Bass Museum of Art in Miami this December. B.L. n

www.bassmuseum.org

As a worthy heir to the master watchmakers of the 18th century, François-Paul Journe makes jewels of precision in his manufactory in Geneva. In his constant quest for the perfect measurement of time, he multiplies innovations, such as the sonnerie souveraine, the chronomètre à résonnance and the remontoir à égalité. Symbolizing the alliance of refinement and technique, since 2004 all of the movements in the near-thousand pieces turned out by his atelier have been in 18 karat pink gold. But the multi-medaled talent of the Maison F. P. Journe also lies in its ability to offer series of watches wholly assembled by the same watchmaker.To celebrate the inauguration of its tenth boutique, in Beirut, this summer, the brand unveiled its Byblos blue chronometer adorned with Arabic numerals and signed with the Phoenician letter “Jodh.” François-Paul Journe is now turning to female clients with Élégante, his first women’s collection, for which he has developed a mechanism that stops time when the watch is no longer worn. B.L. n www.fpjourne.com

AMIN JAFFER the enchanter

©christie’s

One could listen forever when Amin Jaffer, International Director of Asian Art for Christies, gets onto the subject of the jewels collected by the Indian aristocracy and art in general. Born in the late 1960s into an Indian family in Rwanda, he says he has always known that his life would belong to that sphere ruled by the beauty of the world. His brilliant thesis on the furniture of British India between 1750 and 1830 earned him a position as curator at the Victoria & Albert Museum, where Christie’s came headhunting thirteen years later, in 2007. “Oddly enough, my commitment to museums is even greater now that I am working outside them,” he says. “I see myself as a kind of messenger between their world and that of the big collectors.” And there could be no better demonstration of this role than the exhibition devoted to the treasures of the AlThani collection that opened this October at the Metropolitan Museum in New York. Having advised the Sheikh on his acquisitions, Amin Jaffer suggested this event to Navina Haidar, curator of the department of Islamic Art at that venerable institution. V.B. n

www.christies.com

©fP. Journe

FRANçOIs PAul JOuRNE master of time

ARNAUD CARPENTIER

PORTRAITS Paris JeAn-cyRIlle bOuTmy at the helm

©studyrama

That a private individual purchased two of the markets within the vast Saint-Ouen flea market may have surprised some people. Yet, for Jean-Cyrille Boutmy, a keen collector and regular visitor to the Paul-Bert and Serpette markets, it was a natural thing to do and quite within the scope of his profession. “I run Studyrama, a media group that specializes in student guidance and organizes numerous trade fairs as well, thus highlighting creative crafts exclusive to France. For me, these markets are among the finest antiques fairs and people can visit them free of charge every weekend.” This events management specialist hopes to develop websites, an outlet where antiques dealers lag behind compared to auction houses. He also aims to be selective about the arrival of new dealers and to pay particular attention to the outer envelope of the markets, letting their architecture play a prominent role, so as to make them “an unmissable antiques venue in France”. A restoration scheme with the designer Philippe Starck is also on the drawing board. M.M. n

www.marcheauxpuces-saintouen.com

With a PhD in Economics to his credit, Michel Janneau envisaged becoming a university professor. Instead, he went into the familyArmagnac business, before joining Louis Roederer. From 2003, he encouraged this prestigious Champagne house to become a patron of the BnF, France’s National Library. Eight years later, the Fondation Roederer was founded. “It is fundamental to conceive sponsorship as a long-term commitment,” recalls Louis Roederer’s Executive Vice President, Michel Janneau. The brand has since collaborated in Paris with the Grand Palais and the Palais deTokyo. “Our presence there is the fruit of a perfect coincidence between the birth of our foundation and the contact made by this museum at the same time.” OthercollaborativeeventsincludetheFestivald’ArtLyriqueinAixenProvence,theDeauville Photography Festival, Planche(s) Contact, and the 20th anniversary of the Café de Flore’s Literary Prize. “But we’re also keen on a discreet form of sponsorship, for example by awarding a grant for photographic research.We take great pleasure in this type of patronage…” M.M. n www.louis-roederer.com

lAuRenT dumAS or a seasoned collector

Founder and chairman of the real-estate company Emerige, Laurent Dumas made his appearance in the art world world ten years ago. He has since collected over 500 works by international artists. Always eager to learn new things, he is interested in the production of both young and confirmed artists as well as classic abstract painting. It was his powerful reaction to the work of the Dutch painter Bram Van Velde – “who took his passion to extremes with an honesty that I find very moving, in addition to the tremendous force of his painting” – that urged him to start collecting and set the tone for his future purchases. Combined with his love of travel, his curiosity about humanity, history and anthropology governs his choices. He is currently developing his corporate spirit in the field of art. The Villa Emerige, in the 16th arrondissement of Paris, will allocate a grant to an emerging artist, while Laurent Dumas’ own collection will be on show in the Marais district from October, and a book will present selected works from this ever-growing collection (featuring Elmgreen & Dragset, Buren, Garouste, Grasso…). M.M. n

www.emerige.com

www.villaemerige.com

mIchel JAnneAu urges ongoing Patronage

Jules Maeght gallery inaugural show opening

Art in Motion

November 14, 2014 - January 31, 2015 Pol Alexander Marshall Vassily Kirstie Joan Clovis Tracey Kal

Bury CAlder ellioTT KAndinsKy MACleod Miró PrÉVosT snelling sPelleTiCh

Jules Maeght gallery

149 Gough St. - San Francisco - CA 94102 www.julesmaeghtgallery.com

the Salon Art+DesiGN

eveN More international For its third edition, The Salon Art + Design is hosting 55 galleries from ten different countries, with no less than seven new dealers from Germany, England, France, Italy and the United States eager to come to Armory Park Avenue and be associated with the success of this young fair.

enoît Sapiro, co-founder of the Salon, evokes its creation: “With Christian Deydier, then president of the Syndicat National desAntiquaires (SNA), we started working on this idea of taking the excellence of the Biennale des Antiquaires abroad by creating satellite fairs that could also help attract a large international audience to Paris. In the end, with Robert Vallois, we created this association between the SNA and the American organizer of fairs, Sanford Smith.” It was a great success, thanks to the limited number of exhibitors presenting artworks and furniture from the 19th century to the modern era, plus design and a few sorties into the 18th century and tribal arts. The geographical situation was ideal, on the Upper East Side, attracting large numbers of New York collectors who came and returned as the neighbours that they were, and who appreciated the eclecticism on offer. Like the Biennale des Antiquaires, albeit with smaller booths, the Salon makes it possible to reconstitute history and present artists who, in their day, were shown in the same places, even if not all of them attained the fame of Miró, Picasso or Dalí.” This is particularly important to the director of Galerie Le Minotaure who loves to champion the avant-gardes of the 1910-1950 era, overlooked by art history. The quality of the ensemble also attracted prestigious new exhibitors, such as the Parisian galleries Kreo and Dutko, Ulrich Fiedler from Berlin, and the New York dealer DeLorenzo, who had never taken part in a fair before. M.M. n www.thesalonny.com

Left-hand page: Jedd Novatt, LX, 1999, painted steel, H. 70 cm (©Diane de Polignac) 1. Albert Paley, Custom Forged Steel Dining Table, 1984, H. 28 cm (©Lillian Nassau LLC) 2. Benoît Sapiro (©Archives Galerie Le Minotaure) 3. Mathias Bengtsson, Growth chair, 2013, solid bronze, H. 100 cm (© Galerie Maria Wettergren) 4. Hélène Binet, Christ Church in Spitalfields 03’, 2012, digital b/w silver print, H. 153 cm (©ammann // gallery)

THE SALON ANCIENT ART

Charms of the pre-modern The passion for ancient art is something that is handed down from one generation to the next, as evidenced by the handful of Parisian dealers who are showing their works in an intimate and eclectic spirit.

1. Paul-Elie Ranson, A woman under the Blossom Trees, 1895, ink, pencil, watercolor, H. 74 cm (©Galerie Beres) 2. Louis XVI marquetry upright secretary with chased, pierced and giltbronze mount (©Kraemer Gallery) 3. Marcel Kammerer, Side Table, 1904, bent solid beechwood, laminated wood, aluminum ﬁttings, glass top, H. 77 cm (©Yves Macaux) 4. Charles Cressent, commode, Régence period, 90 x 129 x 63 cm (©Kraemer Gallery)

Boosted by its success at the Biennale des Antiquaires, Galerie Kraemer is continuing its “Twins” adventure in NewYork by showing a photograph of a prestigious piece of furniture that may be found in the collections of the Met or the Frick Collection, alongside its very tangible pendant, which in this instance is presented in a container. Without false modesty, Laurent Kraemer, a descendant of the family that inaugurated the gallery in Paris in 1875, notes that “We are frequently mentioned in the New York Times and the Financial Times as the most important gallery in the world for this period, so American collectors know us well, but it’s always good to refresh contacts, especially during the hanging.” This is also a good moment to gauge the development of a more youthful, international clientele, one ever more inclined to match classical furniture with modern art. As for Oscar Graf, his gallery dates back no further than 2010, but he acquired a keen eye as a young man in the company of his decorator father and antiques dealer grandmother. He is offering a dozen pieces from the 1900s, a period that witnessed the arrival of Nordic lines in Austria and Germany and the development of Japanese inﬂuence in France and England. At Berès, founded in 1951, eclecticism is the name of the game, what with drawings by the Nabis and paintings by Simon Hantaï and Robert Motherwell. Says Florence Montanari Levy, granddaughter of the gallery founder, “We are seeing that collectors appreciate there being a new salon with strong paintings, championed by genuine French dealers.”. M.M.

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PALAIS BRONGNIART, PLACE DE LA BOURSE, PARIS 2 E

SPECIAL EXHIBITION: ARCHITECTS DRAWINGS FROM THE COLLECTION OF THE BIBLIOTHÈQUE NATIONALE DE FRANCE International Lectures of the Salon du dessin: Architectural drawings - a window on the architect’s inventiveness

INFORMATION: +33 (0)1 45 22 61 05 · INFO@SALONDUDESSIN.COM · WWW.SALONDUDESSIN.COM

the Salon MODERN ART

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The 1910 to 1950 period takes pride of place At the Armory collectors can revisit European classics from the first half of the 20th century, but also discover work by American artists often overlooked by art history.

1. Matéo Hernandez, Maternity, 1936, black granite, H. 103 cm (©Galerie Dumonteil) 2. Henry Moore, Reclining Figures, 1931, pen brush and ink, chalk, and wash, 38.1 x 27.9 cm (©Connaught Brown) 3. Henry Valensi, Fès la Mystérieuse, 1924, oil on canvas, 132 x 200 cm (© Archives Galerie Le Minotaure)

The London-based Richard Nagy is showing Austrian and German expressionists, his speciality: Oskar Kokoschka, Egon Schiele, Otto Dix, George Grosz and Oskar Schlemmer. For this dealer active since 1980, “New York is still the centre for art, the place with the most active collectors.” Pierre Dumonteil, who has opened a gallery in New York after his Parisian space in the 7th arrondissement, is showcasing Matéo Hernandez, who already features in the collections of the MET, with a Motherhood showing a chimpanzee and her young. As for Benoît Sapiro, director of Galerie Le Minotaure and co-head of The Salon, he is linking different periods and specialities this year by joining forces with dealer Philippe Jousse in order to connect modernist furniture to the avantgarde and European abstraction. “I see the highly architectural and very spare furniture of Charlotte Perriand and Pierre Jeanneret as an extension of Abstraction-Création, a movement that is particularly close to my heart. We have therefore recreated a 1950s interior with paintings and sculptures from that period, or a few decades older.” Continuing in this same vein, the gallery Diane de Polignac is putting the emphasis on lyrical abstraction from France and also from America, with names such as Paul Jenkins, Sam Francis and Mark Tobey. But the real discovery is Loïs Frederick, an artist born in Nebraska in 1930 who died in Paris in 2013, and whose vigorous, richly textured brush evokes the memory of sweeping plains and rocky mountains. M.M.

Egon Schiele, Blond Girl in Underwear 1913, pencil on paper, 46.5 x 31 cm (ÂŠPrivate Collection, Courtesy Richard Nagy Ltd., London)

FERNAND LEGER (1881-1955), Femme au cordage, 1930 Oil on canvas, Signed and dated 'F. LEGER /30' lower right 41 x 33 cm

THE SALON : ART + DESIGN New York, Park Avenue Armory November 14th to 17th 2014 Opening November 13th Booth C2

GALERIE BOULAKIA 10 avenue Matignon 75008 Paris 0033 1 56 59 66 55 www.boulakia.net galerie@boulakia.net

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MAX ERNST (1891-1976), Les jeunes et les jeux twistent, 1964 oil on canvas (painted, paint applied with palette knife) Signed max ernst, inscribed on the reverse, signed and dated Twist max ernst 64, 116 x 89 cm, framed

BOULAKIA FINE ART

9 Wilton Street SW1X 7AF Londres 0044 207 235 55 99 www.boulakia.net daniel@boulakia.co.uk

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THE SALON ART DECO

Art Deco still riding high Art Deco and the great furniture designers of the 1950s are still in demand overseas, not least in New York, as can be seen in the choice of the Parisian galleries.

1. Alberto Giacometti, Pair of silvered-bronze Dompteuse table lamps (©DeLorenzo Gallery) 2. Jean Royère, Ours polaire armchair, 1947, wool, oak wood, H. 70 cm (©Galerie Chastel-Maréchal) 3. Jean E. Puiforcat, Art Deco centerpiece, Paris, c. 1930, silver and glass (©JVDM Fine Art Silver) 4. Paul Dupré-Lafon, Desk, (© Galerie Dutko)

She insists that it has nothing to do with the fact that her husband is the organiser, but still, Cheska Vallois is full of praise for The Salon: “It’s fantastic. American collectors love this joyous, light-hearted atmosphere which is so very French!” The gallery is presenting a selection of its heavyhitters, with names like Jean Dunand and Jean-Michel Frank, “in order to give an idea of Art Deco at its most sumptuous.” But for the occasion the celebrated gallerist on Rue de Seine is also letting out a dozen pieces by Eileen Gray, whom she considers the most important of all. The Anglo-Irish designer can also be found at New York dealer DeLorenzo, inaugurating his first participation at the fair, even though he has been around since 1980. Today, the gallery is also hosting eight contemporary designers and the booth is setting up a dialogue between generations, through the creative visions of Emile-Jacques Ruhlmann and Isamu Noguchi, but also Fernando Mastrangelo, born in 1978. At the Dutko gallery they are sticking with the classics, with a desk by Paul Dupré-Lafon from 1935. As Guillaume Savin remarks, “We noticed that in New York the younger generation of designers and collectors still has a strong interest in Art Deco, especially in this new age of mixing periods. With its perfect, timeless lines, this desk is both a functional object and a piece of sculpture, by an author who is of course much sought-after.” The same is true of the designers represented at L’Arc en Seine, which has built up a strong network of local collectors whom it provides with pieces by Jean-Michel Frank and Alberto Giacometti, whose creations

The Salon Art + Design New York Booth A2

31, rue de Seine 75006 Paris - T + 33 1 43 29 11 02 - arc-en-seine.galerie@wanadoo.fr - www.arcenseine.com

www.heliumpublicite.fr

Christian Boutonnet - Rafael Ortiz

THE SALON ART DECO

1. Jean-Michel Frank, Quartz Lamp (©Galerie L’Arc en Seine) 2. Alvar Aalto, Pair of armchairs, 1930’s (©Modernity) 3. Eileen Gray, Cup in black and silver lacquer, 1920 (©Vallois–Paris/Photo Arnaud Carpentier) 4. Jean-Michel Frank, Inverted U-shaped table sheathed in parchment, 1930 (©Vallois–Paris/ Photo Arnaud Carpentier)

are extraordinarily modern, yet date from the 1920s and 30s. But let us not forget the Ours polaire by Jean Royère, with their original velvet, hair and legs, acquired by the Chastel-Maréchal gallery from the family who commissioned the pieces and had kept them since 1952. This is also the vintage of the Présidence desk, one of Jean Prouvé’s most accomplished pieces in terms of its concept, its use and its design, displayed here by the Downtown Gallery. The first version was created for the director of the Chèques Postaux office in Brussels, but the model was developed and enriched by different ranges of colour, just as the architect and designer did with his buildings. “The Americans,” Hélin Serre points out, “were the first to appreciate this aesthetic. It goes well with minimal art while echoing the heritage of the industrial era, which remains important in the United States.” M.M.

2 RUE DES BEAUX ARTS - 75006 PARIS www.galerie-leminotaure.com

František Kupka, Study for “Ensemble Statique”, C. 1934. Gouache and watercolor on paper, 11,57 x 15 inches (29,4 x 38,1 cm), signed

Park avenue armory, new york november 13-17, 2014 Booth B-2

THE SALON desiGn

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Where functionality meets sculpture The appeal of Scandinavian design seems inexhaustible, all the more since a new generation is on hand, revisiting Arts & Crafts ideas. The same tendency, indeed, can be observed internationally.

1. Gerrit Rietveld, Zig Zag chairs, 1950’s, stained pine (© Modernity) 2. Mikko Paakkanen, Grand tabouret, 2012, solid oak (© Galerie Maria Wettergren) 3. Ingrid Donat, Large chest of drawers with 5 gears, 2013, bronze, H. 90 cm (©Carpenters Workshop Gallery)

Landmark moments in Scandinavian design are on show at The Salon, notably at the Modernity gallery from Stockholm. Classics such as Finn Juhl, Alvar Aalto and Otto Schulz are sure to find takers in spite of the hike in prices – as Isaac Pineus explains: “This market has moved on considerably in the last few years, with growing interest reflected in record auction sales. Consequently, the prices for rare pieces have risen.” Maria Wettergren illustrates this Nordic spirit in Paris through the work of Danish, Norwegian and Finnish designers who play a great deal on functional ambiguity. “These pieces,” she points out, “are located between design and art, while offering a fresh reading of Arts & Crafts. Often made using new technologies such as 3D printing and digitally controlled Jacquard looms, they are notable for their crafts skills and use of natural materials.” The art-craft distinction is also uncertain in the designs of Ingrid Donat at Carpenters Workshop, in Paris and London. She even uses the term “sculpted furniture.” Working mainly in bronze, she draws on references such as Art Deco, Gustav Klimt, Armand-Albert Rateau and tribal tattoos. As for Todd Merrill Studio in New York, they have opted for a new series by Joseph Walsh in which, once again, the language of design engages in a strong dialogue with sculpture, working on the texture and qualities of the material. Which, in her way, is what Hélène Binet does in her close-up photographs of Le Corbusier’s concrete surfaces, offering an original and sensuous vision of the material at Cologne’s Ammann Gallery. M.M.

JANSSENS VAN DER MAELEN Fine Art Silver Decorative Arts - XX th

THE SALON + DESIGN New York, Armory Park November 2014 Booth A18

TEFAF Maastricht (NL) March 2015

www.fineartsilver.com

ph : objetdartstudio.com

Booth 266

THE SALON NON WesterN Art

expanding the imagination The gallerists presenting art from other worlds feel like privileged guests at The Salon, all the more so because of their small number. They enjoy meeting collectors from outside their specialist world.

1. Senufo woman, Ivory Coast, late 19th century, wood, beads, H. 28 cm (©Galerie Lucas ratton) 2. Teke mask, Congo, late 19th Century (©Galerie Lucas ratton) 3. Incised fish mortar, Olmec, 1100-500 BCE (©throckmorton Fine Art, Inc.)

Bearing a surname to conjure with in the world of African arts, Lucas Ratton was well satisfied with his first participation at The Salon last year. “The adventure appealed. True, I had local connections, but I felt it was a good opportunity to go further both with collectors who might offer me pieces and with those looking to buy, especially as The Salon is held during the big sales of modern and contemporary art, giving us the chance to meet international clients.” Today, the market for tribal arts has seriously expanded, thanks to a new breed of collector who likes to mix periods and specialities. “The market for African art was very active in the United States in the 1970s, then it slowed down a little. Which means there’s plenty of room to regain ground!” Active for over twenty-five years, the New York-based Throckmorton Fine Arts is more interested in consolidating the market for pre-Columbian objects, Chinese jade and antiques, but also promotes vintage and contemporary photography. For them, the fair is a chance to show some Maya ceramics from prestigious American collections. As Kraige Block points out, having been around the event in the last two years as visitors, we thought we could work alongside all these important galleries.” Also based in New York, Joan B Mirviss is offering her booth to the Japanese ceramist Ogawa Machiko, born 1946, who is one of only six women to have won the prestigious Japan Ceramic Society Award. M.M.

GALERIE

BERĂ&#x2C6;S

Simon HANTAI (1922 - 2008), Tabula, Acrylic on canvas H. 236 W.200 cm. Signed and dated lower right S.H. 80

25 quai Voltaire, 75007 Paris, France T : 00 33 1 42 61 27 91 beres@galerieberes.com - www.galerieberes.com

THE SALON : ART + DESIGN New York, Armory Park 13 - 17 November 2014 Booth B5

THE SALON CONTEMPORaRY aRT

Focus on Italian artists 2

1. Gérard Schneider, Opus 45C, 1957, oil on canvas (©Galerie Diane de Polignac) 2. Enrico Castellani, Superficie grigia, 2002, acrylic on canvas, 100 x 80 cm (©Vivian Horan Fine art) 3. Lucio Fontana, Concetto spaziale Attese, 1968, watercolor on canvas, 60 x 60 cm (©Robilant + Voena, London and Milano) 4. Alighiero Boetti, AELLEIGIACCAIEERREOBIOETITII, 1973, ballpoint pen on card on paper, 70 x 100 cm (©Mazzoleni Galleria d’arte)

Starring in fine exhibitions in France and the United States, Italian artists also enjoy a strong market over the Atlantic, where they are particularly well represented atThe Salon this year. Lucio Fontana will be the main attraction on the booth of Robilant + Voena Gallery, which has spaces in London, Milan and Saint-Moritz. “Ten years ago,” recalls Alessandro Galli, “the market for this artist was concentrated mainly in Europe and New York, but now he is known all over America, and even in China and the United Arab Emirates. This is what you would call a fast-moving market, because the lure of the prices impels some players to put works back on sale only a few years after acquiring them. But if you compare it to the American artists of the same generation, there’s still that missing zero, and we can predict that prices for the most attractive post-war artists will continue to climb!” Galleria Mazzoleni from Turin is coming to The Salon for the first time with Lucio Fontana and Alberto Burri. “We are also going to put a special focus on Arte Povera,” says Stefano Dalla Villa, “a movement that is enjoying great success at international fairs. In parallel we are showing works by Giacomo Balla, one of the major figures of Futurism who featured in the masterly exhibition at the Guggenheim Museum in New York.” At Galerie M.F. Toninelli, from Monaco, the Italian sequence begins with Gino Severini and continues with Giorgio De Chirico, Marino Marini and Giorgio Morandi. “As an exhibitor I go back even before The Salon,” recalls Louis Toninelli, “because I took part with Sanford Smith (organizer of the American fair) in the 1988 exhibition, celebrating the 75th anniversary of the Armory Show, which in fact was held on Lexington Avenue, not Park Avenue, where we are now, but it still brings back good memories.” M.M.

A x e l Ve r v o or dt w w w. a x e l-v e r v o or d t . c o m Pa r t i c ip a nt a t T he S a lon : A r t + D e s i g n, Ne w Yor k , Nov e m b e r 13 -17 t h 2 014 , b o ot h A4

Pr ot ot y p e o f ‘ E g y p t i a n C h a i r ’ b y Mo g e n s L a s s e n (19 01-19 8 7 ) Ma n u f a c t u r e d b y A .J . Iv e r s e n , D e n m a r k , 192 8 C a n v a s b a c k a n d a r m r e s t s , o a k f o o t r e s t , 6 3 x 70 x 74 c m

interior DESign

PiErrE Yovanovitch art and material In a career stretching barely more than ten years, he has become one of France’s most sought-after interior designers. From the United States to Egypt, Pierre Yovanovitch makes a very “couture” impact.

ierreYovanovitch says that he works “to make people happy”. In his Parisian offices, a stone’s throw from the Madeleine, he pins up thank-you messages from his clients. They give him energy. His approach to interior design is similar to a great couturier’s as he creates his collections: “It’s an eternal new beginning. I don’t systematically add a touch of ‘Yovanovitch style’. I feel strongly about respecting the atmosphere of a place.” When tackling a new project, he begins by outlining a structure, then focuses on natural light. “Once these two fundamentals have been established, the decor comes very quickly.” His unique manner of balancing the straight lines of the architecture and the curves of the interior decor was something he learnt from Pierre Cardin. “I admired his way of creating geometry in three lines.” He worked with the couturier on his men’s fashion collections for ten years. It was a trade that he entered almost by accident, as a result of the people he met, but this was where he discovered his love of fabrics. “I adored visiting Italian luxury textile factories.” His signature traits include contrasting plush silk velvet upholstery with natural wood parquet floors and polished marble with shiny metal doors. He uses this process to design interiors that are always grandiose yet comfortable, extremely luxurious without being ostentatious. And how does the man top home decoration magazines call the most prominent

Left-hand page: Exhibition design for the AD Intérieurs 2010 show, in Paris, at Artcurial, on the theme “French Style” (©Jean-François Jaussaud Luxproductions) 1. Main lounge (detail) in a chateau in Provence (©photo: Jean-François Jaussaud, Luxproductions) 2. Pierre Yovanovitch (©Matthieu Salvaing) 3. Kitchen in a chateau in Provence (©Matthieu Salvaing)

interior design

1. Exhibition design for the AD Intérieurs 2012 show, in Paris, at Artcurial. Sofa designed by Pierre Yovanovitch (©Jean-François Jaussaud Luxproductions) 2. Front door of an apartment in Place des Ternes, Paris, in raw steel with gold leaf finish (designed by Pierre Yovanovitch) (©Jean-François Jaussaud Luxproductions) 3. Lounge of an apartment (detail) in Place des Vosges, Paris, with burnished steel “bubble” chimneypiece, designed by Pierre Yovanovitch (©Jean-François Jaussaud Luxproductions)

exponent of French style define it himself? “Rigorousness!” he exclaims from the heart. “My collaborators are almost all architects.” Yovanovitch also respects the French tradition of grand decorative schemes and calls upon craftsmen of the highest calibre. The famous ceramic artist Armelle Benoît, based in Normandy, works with him on swimming pools straight out of a fairy tale. Last year, he commissioned a huge carpet for a Parisian townhouse from Robert Four, the renowned weaver of Aubusson rugs and tapestries. “For me, some great craftsmen are true artists. I feel very close to their creative process.” Meeting artists is one of Yovanovitch’s great pleasures in life. He is currently working on a project that fills him with delight: a collector has asked him to turn his private mansion into a showcase for contemporary artworks. “They are being specially made for the place that will house them. I’m working directly with the artists, Daniel Buren in particular.” Yovanovitch’s artistic fibre is expressed in the furniture he designs for his projects: bubble-shaped metal chimneys, shiny as mirrors, vast sofas with organic forms and cloud-like alabaster suspension lights. “A line of products is currently on the drawing board,” says the man who dreams of making his agency into the ultimate symbol of French lifestyle. Axelle Corty

COLLECTING DESIGN INGRID DONAT COMMODE AUX 5 ENGRENAGES 2013 BRONZE H90 L160 W48 CM / H35.4 L63 W18.8 IN LIMITED EDITION OF 8

fashion colours

fashion with very apparent motifs For the past few seasons, prints and patterns, once considered risky, have become sure-fire hits on the catwalks. Not only do they convey the designers’ own sources of inspiration but also proclaim the fashion houses’ artistic identity.

ssisted by a certain Azzedine Alaïa in 1965, Yves Saint Laurent designed a collection called “Homage to Mondrian”… epitomized by a short shift dress imitating the Dutch painter’s aesthetics and colours. Throughout his career, the couturier would, in his own way, exhibit the works of Nicolas de Staël and Serge Poliakoff. Nearly fifty years on, motifs, whether abstract or figurative, borrowed from artworks or animal stories heard in childhood, are making a (permanent?) comeback. To quote couturier Maxime Simoens, “Motifs enable us to tell a different story at each fashion show. They define the mood of the clothes by leaving a real impression on us. They recall things from our past; they convey a message.” More than simply being visually pleasing, they affirm a fashion house’s identity. While Kenzo is a notorious aficionado of tigers and other wild beasts and Jean-Charles de Castelbajac has never been shy of showing his ongoing attachment to Pop Art, some formerly overcautious fashion designers are now daring to try bolder prints. At Givenchy, Riccardo Tisci really made people sit up and take notice with

Left-hand page: Chanel spring 2014 prêt-à-porter fashion show (©chanel) 1. “Lady Dior” bag in handpainted python leather (©Dior) 2. Givenchy spring 2014 prêt-à-porter fashion show (©Givenchy par riccardo tisci) 3. Cher Dior “Fascinating Emerald” ring, in yellow gold, diamonds, emeralds, sapphires, tourmalines, rubies and garnets (©Dior)

FASHION COLOURS

1. and 2. Valentino spring 2014 prêt-à-porter fashion show (©Valentino) 3. Prada spring 2014 prêt-àporter fashion show (©Prada) Right-hand page: 1. Chaumet “Catch me… if you love me” collection, limited edition watch (©Chaumet Paris) 2. Cartier “Ballon Bleu” ﬂoral marquetry parrot watch, limited edition of 20 (©Vincent Wulveryck/Cartier 2013) 3. Van Cleef & Arpels, “Extraordinary Butterﬂies” watch, permanent collection (©Van Cleef & Arpels) 4. La Dior VIII Grand Bal “Plissé Soleil” watch (©Dior) 5. Vacheron “Fabulous Ornaments” watch, Indian manuscript model (©Vacheron) 6. Piaget “Limelight Dancing Light” watch (©Piaget 2014) 7. Boucheron violet “Crazy Jungle Hathi” watch (©Boucheron Paris) 8. Bulgari “Diva” watch, inlaid with 366 diamonds (©Bulgari)

his ferocious Rottweiler print in 2011 and his innocent Bambi print in 2013. This year, he has found his inspiration in African tribal masks. “By using a motif on one or several of his garments,” continues Maxime Simoens, “the designer can express himself in a more personal manner, can reveal what he really likes. Castelbajac’s naive Pop Art, Tisci’s neo-Gothic look please people because they can feel the passion behind such and such a coat or such and such a sweatshirt.” Longstanding obsessions or current crazes thus find themselves associated with clothes paraded down the catwalks. At Chanel, Karl Lagerfeld attested to his interest in culture by recreating the interior decor of an art gallery for his spring-summer 2014 fashion show. Not content with dressing his models in Pantone colours, he gave them packs of drawing paper to carry instead of handbags. The same season, Miucca Prada teamed up with six grafitti artists (El Mac, Mesa, Gabriel Specter and Stinkfish) and illustrators (Jeanne Detallante and Pierre Mornet) for the backdrop to his fashion show, elements of which were reiterated on his dresses. Through her clothes, the Italian designer thus became a patron of the arts. At Céline, Phoebe Philo drew on the graffiti once photographed by Brassaï, producing a fantastic picture-within-the-picture effect. Other experts in patterns and prints include Valentino’s two creative directors, Maria Grazia Chiuri and Pier Paolo Piccioli. For them, each season has a new source of inspiration, such as their Rome Opera workshops (spring-summer 2014), the Garden

FASHION COLOURS

1 2

1. Maxime Simoëns 2014 “Resort” collection (©Maxime Simoëns) 2. Chanel “Constellation du Lion” watch inspired by a 1932 Chanel collection (©Chanel joaillerie) 3. Louis Vuitton autumn 2014 prêt-à-porter fashion show (©Louis Vuitton Malletier)

of Eden (summer couture 2014) and the commedia dell’arte (autumn-winter 2014-15). In the press release presenting their latest fashion show, they explained: “The clothes are basically simple… on which decorative elements appeal to the sense of sight and touch, by suggesting escapism and personal interpretation.” Where luxury really excels is in the quasi-sacred alliance between the printed motif, which does not always have to be discreet, and the fabric, which must, on the contrary, always be noble. Hence the multiplicity of the materials chosen. Take, for example, those playing host to Nicolas Ghesquières’ energizing ﬂoral prints at Louis Vuitton (autumn-winter 2014-15). By splashing luscious plant and animal prints all over their capes, dresses, coats and other outﬁts, Dolce & Gabbana have reinvented fairy tales without playing the “bling” card, which has become this two-man team’s signature. The economic crisis has clearly had a massive impact, even in fashion. What is needed is sense and sensibility – exactly what printed motifs add to a garment, one of their prettiest roles no doubt being to reassure people. The garment thus appears familiar to potential buyers, making them even more eager to purchase it. In every sense of the term, prints illustrate semiotician Roland Barthes’ theory (expressed in his book The Fashion System, 1973): fashion is a language. Sophie Rosemont

Olivier Gagnère - Tokyo, 2014, ceramics Olivier Gagnère - Tokyo, 2014, ceramics

GALERIE MAEGHT

Olivier GAGNERE Ceramics september 5th to november 1st 2014 42, RUE DU BAC 75007 PARIS

TÉL. : 01.45.48.45.15 - FAX : 01.42.22.22.83 www.maeght.com - paris@maeght.com

Wine BordeAux

2 3

world-fAmous bordeaux Wines “The glory of Burdigala (Bordeaux) and its universal renown comes from its wines,” wrote the poet Ausonius back in the time of the Romans. The vineyards of the region were founded by the city of Bordeaux. In return, all the wealth and beauty of the town, now a Unesco World Heritage Site, are the fruits of the vine and its related trade.

he great Bordeaux wines originated in the angry waters of two rivers: the Garonne and the Dordogne, which grow calmer as they flow into the Atlantic Ocean, in the Gironde estuary. Europe’s largest estuary, bordered in the south by the forest of Les Landes, tempers the oceanic climate by moderating temperature extremes, thus ensuring mild winters and warm summers that enable the vines to mature to perfection. The very poor soil, composed of pebbles or gravel (hence the word “Graves”) and clay, in which only vines can grow, gives rise to the singularity and complexity of these wines. The three main red grape varieties grown in this soil are Cabernet Sauvignon, Cabernet Franc and Merlot. The masterly blending of these varieties is what characterizes Bordeaux wines. Cabernet Sauvignon reigns over the left bank of the River Garonne, in the Médoc region, north of Bordeaux. This pebbly soil has given birth to some of the world’s most famous red wines. Names such as Margaux, Mouton, Lafite and Latour tantalize the taste buds of wine lovers across the globe. These

Left-hand page: The vineyard and Château PichonLongueville, in Pauillac, in Médoc. Vines aged thirty years old on average grow in a soil composed of sand, gravel and clay called graves (©Axa) 1. Château Pape Clément, in Pessac, on the outskirts of Bordeaux, owes its name to its most famous past owner, Pope Clement V (1305-77). In the 1980s, entrepreneur and wine lover Bernard Magrez took over the reins of the château and gave this grand cru classé a more worldly aura (©Château Pape Clément) 2. Tasting a bottle of Château La Dominique, Saint-Émilion Grand Cru (©J.B. Nadeau) 3. A map of the Bordeaux vineyards (©CIVB)

Wine bordeaux

Grand Cru classé on the label of Château LynchBages guarantees the excellence of this superb wine from Pauillac ©Pierre Grenet – astoria Studio)

Bordeaux Wine claSSification The great Bordeaux wines have a hierarchy all of their own. Grand Cru classé printed on the label indicates a prestigious vintage. In 1855, wishing to display the finest Bordeaux wines at the Paris Universal Exposition, Emperor Napoleon III asked winegrowers and merchants from the region to draw up a classification system that was

A bottle of the celebrated Château d’Yquem, the only Sauternes in the premier cru supérieur category. The magic of this dessert wine comes from a fungus called Botrytis cinerea, also known as noble rot, which intensifies the sweetness and aroma of the white wine. D’Yquem wines may be kept for an extraordinary length of time (©Yquem/Photo Jean-Pierre bost)

as exhaustive and easy-to-understand as possible. This system was based on the longstanding reputation of the châteaux and the trading price of the best crus (“growths”). Ranked in order of importance from Premiers Crus (First Growths) such as the Châteaux Lafite-Rothschild, Latour and Margaux to the Cinquièmes Crus (Fifth Growths), the list included 60 Médoc red wines, 27 sweet wines from Sauternes (Château d’Yquem is the only Premier Cru Supérieur from the Sauternes region) and Barsac, and a red Graves (Château HautBrion, appellation Pessac-Léognan). Still used today, this official classification has only been changed once, in 1973, when Mouton-Rothschild arrived at the top of the list. On the right bank, the wines of SaintEmilion only joined the other great vintages in 1959. The classification system is reviewed every ten years. In 2012, the Châteaux Pavie and Angélus climbed to the highest position, alongside Châteaux Ausone and Cheval Blanc (Premier Grand Cru classé A).

highly complex, very elegant red wines will improve in quality if left to mature, and to those who know how to wait, will reveal a rich aroma beyond compare. Grown on the right bank of the River Dordogne, in vineyards stretching as far as the eye can see, Cabernet Franc and Merlot grapes dominate in Saint-Emilion. Sixty per cent of the grapes used to make Château Cheval Blanc are Cabernet Franc. Adjacent to the SaintEmilion vineyards, the Pomerol estate is most conducive to Merlot grapes, from which intense, opulent, voluptuous wines are made. Take, for example, Château Pétrus (over 80% Merlot), one of the most soughtafter and expensive wines in the world. But without man’s help, the land would not be so fertile. Generations of winegrowers have toiled to make the great Bordeaux wines into the epitome of excellence. In the 12th century, the Duchy of Aquitaine, of which Bordeaux was one of the major cities, passed into English hands. The city became England’s principal wine supplier. In the 14th century, when England lost control of the province, the export of Bordeaux wines across the Channel was Europe’s most profitable trade. The fame of Bordeaux wines has continued to spread ever since. A major turning point came in the early 17th century when the Bordeaux aristocracy invested massively in viticulture. Noble families acquired vast estates in Médoc and had châteaux built for themselves in the midst of the vineyards. From then on, wine was identified with the place in which it was produced, the château that

6, rue de lâ&#x20AC;&#x2122;OdĂŠon 75006 Paris / +33 1 55 42 92 10 serierare@serierare.com / www.serierare.com

wine Bordeaux

2 1. Christian de Portzamparc’s white wave for Château Cheval Blanc amid the St-Émilion vineyards (©Cheval Blanc/Photo. erick Saillet) 2. Philippe Starck's project for a new wine cellar for Château les Carmes HautBrion (©Les Carmes Haut-Brion)

the new wiNe CeLLarS Prestigious wine estates are calling upon top architects and designers to bring their wine cellars up to date. Over the past few years, wine cellars

4 3. Mario Botta’s “cathedral of wine" for Château Faugères. The owner of the château, Silvio Denz, wanted a contemporary building to house today’s most innovative vinification technology (©J.B. Nadeau) 4. The ageing, blending and vinification cellar at Château Pavie, with decor and lighting designed by Alberto Pinto (©J.B. Nadeau)

and other storage facilities have been given some of the boldest overhauls. In 2008, Jean-Michel Wilmotte designed an underground wine cellar in steel and glass for Château Cos d’Estournel, in Médoc. The following year, at Château Faugères, Mario Botta designed a 15-metre-tall cathedral of wine, overlooking the SaintEmilion vineyard. In 2010, at Château Cheval Blanc, Christian de Portzamparc created an elegant white concrete wave set against a verdant backdrop. At Château Dominique, the new futuristic, winecoloured building was commissioned from Jean Nouvel. In 2013, Château Pavie entrusted the design of its new winery to Alberto Pinto, while at Mouton Rothschild, set designer Richard Peduzzi teamed up with Bordeaux architect Bernard Mazières to create a stunning new vat room by blending tradition and modernity. Lastly, at Château les Carmes Haut-Brion, a wine cellar designed by Philippe Starck is scheduled for the 2015 harvest.

guaranteed its quality and reputation. This was a remarkable innovation in the history of wine producing. At the same time, people discovered one of the characteristics of great Bordeaux wines: the fact that they improve with time. Since the late 17th century, they have enjoyed pride of place on the dining tables in great European capital cities and have become a symbol of the French art of living. The search for excellence is still ongoing in the Bordelais region today. Over the past ten years, major advances in vinification methods have further improved the quality of the wine. In the new wine cellars (see box, left), natural gravity is used in the vinification process. The grapes from the harvest are placed above the vinification vats. Grape juice flows down naturally to the bottom of the vats, without being crushed or pumped as it was previously, until it is put into barrels to age. Since the fruit is treated more respectfully during vinification, the wine gains in elegance and aromatic complexity. Another major innovation is the assembling of grapes from different plots of land. Assembling, or blending, is an exciting phase in winemaking that involves separating, testing and analysing the wine produced from each plot of the vineyard, and then composing the best possible vintage for that year. The new wine cellars contain vats large enough to hold the wine from each of the estate’s different plots. The elaboration of a wine is extremely finely-tuned, so as to create a style, an emotion and a personality peculiar to each grand cru. Franck Zennaro

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Real estate

living in a piece of fRench histoRy A far cry from the property market in large French cities like Paris, where the cost per square metre may be over 10,000 euros, there are several little gems of provincial heritage that are not only reserved for billionaires.

wing to its national policies in favour of the preservation of historic buildings, France abounds in exceptional residences, scattered all over the country. Although the market for second homes has collapsed in the last few years, chateaux, manor houses, windmills, hunting lodges and other properties of architectural or historical interest still find purchasers. From listed medieval ruins in the Dordogne to early-20th-century houses architects built for themselves along the Rhine, it is hard to draw up a precise typology for these homes whose prices vary between 100,000 and several million euros (averaging between one and two million euros). “For connoisseurs of these buildings, which often require major restoration and upkeep, the “love-at-first-sight” element overrides the purely speculative dimension,” explains Patrice Besse, an estate agent who specializes in character properties. These clients may be English, American, Russian, Chinese or French, are often well-informed and all share the same passion for national heritage. Combined with their personal sensibility is the idea of enhancing a site that may have an impact on the cultural heritage of the region. “One must look outside the stereotyped view of converting these properties into bed-and-breakfasts or renting them out for weddings,” declares Patrice Besse. “By researching their history and highlighting their architecture, interior decor or gardens, one may envisage a cultural vocation for these buildings.” Michael Evans n www.patrice-besse.com n www.emilegarcin.fr n www.sothebysrealty.com

Left-hand page, top: House on Gerzido beach, on the Isle of Bréhat, Brittany (©emile garcin Bretagne) Bottom: Chateau in Languedoc (©immobilier Foch, sotheby’s internationnal Realty) 1. 17th-century manor house in Luberon (©emile garcin aix-en-provence) 2. Prestigious residence in Uzes la Boissière, built around a 9th-century Templars’ fortified tower (©immobilier Foch, sotheby’s internationnal Realty) 3. 18th-century manor house, 35 minutes from Deauville, Pays d’Auge (©emile garcin) 4. Architectural prowess in the Cathar Country, unique reconstruction of a listed fortress and its outbuildings, on a 92-hectare estate (©agence patrice Besse)

My new york BY Nicolas Bos

1. Nicolas Bos (©Van cleef & arpels/Photo. Patrick swirc) 2. Van Cleef & Arpels Fifth Avenue boutique, ground Floor (©Genevieve Garruppo/Van cleef & arpels) 3. Strand Bookstore (©strand Bookstore) 4. Drawing party at New York Academy of Art (©NYaa)

Nicolas Bos’s new york treasures This 42 years-old Parisian and art lover is chairman of jeweller Van Cleef andArpels. If Nicolas Bos is such a connoisseur of NewYork, that is because he lived on the Upper East Side between 2010 and 2013 when serving as chairman of Van Cleef and Arpels North America. He oversaw the renovation of the store on Fifth Avenue, firstopenedin1942,gettingPatrickJouin/SanjitMankutodesignan extremely elegant space where each detail is a homage to NewYork Art Deco. A collector of photographs and designer furniture, Bos frequentstheWrightsalesroomon MadisonAvenue and visits the New Museum, the Guggenheim and the New York Academy of Art, plus the eminent Metropolitan Museum – “especially the CostumeInstitute,whichhasjustbeenrestored.”Haute-couture was a major source of inspiration for his jewellery. Reading-wise 50

Bos swears by the packed shelves of the Strand Bookstore, an EastVillage institution opened in 1927. He also enjoys the Proustian atmosphere of Albertine, the French Embassy bookstore on Fifth Avenue. Nor does our aesthete neglects earthly sustenance. He favorstheorganicFatRadishonLudlowStreet–“alreadyaclassic”– and Gato, for its delicious Mediterranean cuisine. And when it comes to French gastronomy, his port of call is Daniel, flagship of chef Daniel Boulud, another Frenchman who has found that the U.S. agrees with him. A.C. n vancleefarpels.com n wright20.com n newmuseum.org n guggenheim.org n nyaa.edu n metmuseum.org n strandbooks.com n albertine.com n thefatradishnyc.com n gatonyc.com n danielnyc.com

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