WAG magazine - March 2015

LILLIAN AUGUST A WINNING COMBINATION OF FURNISHINGS AND FAMILY

DANIEL GREENE THE ART OF EVERYDAY MOMENTS MASTERFUL JOHN MASTERA BUILDING HOMES & CAREERS RESTORATION DRAMA OTTAVIO’S WOODWORKING & DUFINE FURNITURE MILTON SHERRILL PEN, INK AND PUBLIC FIGURES WORLD ORDER CHINESE ROBES AND PERUVIAN TEXTILES GOLF IN THE TECH SWING WESTCHESTER & FAIRFIELD LIFE MARCH 2015 | WAGMAG.COM

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CONTENTS

2015

What’s inside: 12 Designed to deceive 14 Masterful Mastera 18 Tapestries of life…

20 ‘Simple, powerful, clean’ 24 Against the grain 28 Man behind the camera 32 A timely tribute 34 Real to real 38 Designed to improve 42 Calico designs sleek changes 44 Cooper & Ella

49 COVER STORY: It’s all in the family – by design 57 Art on the wing Dylan poster, 1966; Milton Glaser, lithograph on paper; Gift of Richard Kusack. Cooper Hewitt, Smithsonian Design Museum. Photograph by Flynn © Smithsonian 2 Matt WAGMAG.COM MARCHInstitution.

2015

MARCH 2015

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What’s inside

FEATURES 53 WAY

Elegant living, by design

60 WEAR

Swing into spring

62 CHIC CHOICES

Gifts and new products

65 WANDERS

Ireland, rustic and regal

68 WONDERFUL DINING

My big ‘Fat’ international dinner

70 WINE & DINE

To decant or not to decant?

72 WHETTING THE APPETITE Vodka-infused, herb-crusted filet mignon

74 WHAT’S UP

The design problem solver

76 WHEELS

The tiny, mighty Fiat

78 WHAT’S NEW

In the (tech) swing of things

80 WELL

My own private yoga

86 PET OF THE MONTH Who’s the boss?

88 WHEN & WHERE Upcoming events

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We’re out and about

96 WIT

How would you design your future?

ON THE COVER: Lillian August with sons John and Dan Weiss.

LILLIAN AUGUST A WINNING COMBINATION OF FURNISHINGS AND FAMILY

DANIEL GREENE THE ART OF EVERYDAY MOMENTS MASTERFUL JOHN MASTERA BUILDING HOMES & CAREERS RESTORATION DRAMA OTTAVIO’S WOODWORKING & DUFINE FURNITURE MILTON SHERRILL PEN, INK AND PUBLIC FIGURES WORLD ORDER CHINESE ROBES AND PERUVIAN TEXTILES GOLF IN THE TECH SWING WESTCHESTER & FAIRFIELD LIFE

PASSION FOR

DESIGN

MARCH 2015 | WAGMAG.COM

Photograph © Lorin Klaris.

LISA CASH

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PHOTOGRAPHY Anthony Carboni, John Rizzo, Bob Rozycki

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’VE ALWAYS BEEN A FRUSTRATED INTERIOR DECORATOR, thanks in part to my beloved Aunt Mary, who feathered my white childhood bedroom with fabulous offerings from the late, lamented Krey’s in Eastchester. (Remember that store?)

I’d spend hours arranging my collection of paperweights in my bookcase, using them to punctuate the books.

As I grew up — and Aunt Mary grew older — she encouraged me to take over more of the decorating and responsibility of the house. Eventually, we arrived at that moment toward the end of her life when a 100-foot oak tree fell on the house in a late-winter storm, and I finally got my long-held wish — the run of the place. (Be careful what you wish for.)

As I’ve explained many times, including in these pages, transforming that house — with some help from Calico, formerly Calico Corners, profiled here — gave my life and my aunt’s end meaning. It was as if I were Hana in “The English Patient” — who shores up an Italian villa as a way to shore up her soul. Or Scarlett O’Hara, saving Tara as a way to hold on to her parents and a past that was gone with the wind.

We are all, then, designing creatures, feathering our nests as a way not only to express ourselves, but to nurture our relationships and preserve our memories. Design permeates everything we do and everything we are. It knows no cultural boundary, as you’ll see in Audrey’s superb contributions on the glories of the highly symbolic Chinese robes and Col. James W. Reid’s lifelong passion for feathered Peruvian textiles. (What treasures she and he are.)

Nor does design know any professional boundary, as Mary — our resident design maven, she of the exquisite taste — explains in her report on the revamped Cooper Hewitt, Smithsonian Design Museum in Manhattan.

“I also saw, in no particular order,” she writes, “a 1937 telephone model, a circa-1810 sampler, a stunning 1929 lacquered wood dressing table and bench, a circa-1880 French parasol cover, a 2004 garland lamp, 1830s Russian dinnerware, a 1960s Bob Dylan poster, a balcony grille from 1909-11 Paris, a 2012-13 Issey Miyake ensemble…you get the idea.”

We do indeed. So yes, as this is our annual house issue, there is an

Seated in the MacKenzie-Childs Shop, one of my great loves, at Neiman Marcus Westchester. Photograph by Robin Costello.

emphasis on home being where the heart is as Mary profiles Lillian August for our cover and explores how this textile designer became a staple of WAG country in a home furnishings and interior design business in which she’s joined by her two oldest sons.

And Jane weighs in with a masterful piece on John Mastera, who’s not content to design luxe homes for the likes of Glenn Close. He also shares his enthusiasm for architecture with female students in the hope that they’ll be inspired to take up a field that remains dominated by men.

But as per Mary’s visit to Cooper Hewitt, we have clothing design (see Danielle’s fine story on Kara Mendelsohn, whose cooper & ella brand serves underprivileged students in India). Tech design (See Leif’s excellent adventure at the new Clay SX Sports Labs in Port Chester, where golf pro Michael Manavian uses the unique GEARs motion-capture video system to dissect and rebuild a player’s game.) And artful dining at Le Fat Poodle in Old Greenwich. (And a big fat welcome to Condé Nast’s Jeremy Wayne, who’ll be covering Wonderful Dining and Wanders for us.)

Last, but never least, in an issue about the art of design, there’s the design of art as we visit with painter Daniel Greene, sculptor Milton Sherrill and our own shutterbug, John Rizzo, who does many of our great covers.

Take a bow, all.

Georgette Gouveia is the author of “Water Music” and the forthcoming “The Penalty for Holding,” part of her series, “The Games Men Play,” which is the name of the sports/culture blog she writes at thegamesmenplay.com.

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POWERING NEW YORK

DESIGNED to deceive

BY GEORGETTE GOUVEIA

Hermes, or Mercury, the trickster god of commerce, presides over one of its temples, Grand Central Terminal in Manhattan.

W

HEN IT COMES TO TALES OF DESIGNING MEN AND WOMEN — THE ARCHITECTS, MASTER BUILDERS AND INTERIOR DECORATORS — ART DOESN’T HAVE A WHOLE LOT TO SAY. What springs to mind are Henrik Ibsen’s “The Master Builder” — about a successful architect whose luck runs out when he re-encounters the young woman he once seduced; “The Fountainhead” — the Ayn Rand novel and subsequent film, in which a Frank Lloyd Wright type brooks no compromise to his creations;

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the battle-of-the-sexes comedy “Designing Woman,” with Lauren Bacall as an interior decorator in love with a sportswriter (Gregory Peck); “Designing Women,” a sitcom about interior decorators in the New South; and the film in which noble architect Paul Newman cannot stop his soaring skyscraper from becoming “The Towering Inferno.”

But art has a lot to say about designing men and women of another ilk — the trickster, conniver and schemer.

He’s Coyote to the American Indians, Raven to the Eskimos, the Mon-

key King amid the Chinese. He’s Loki in Norse mythology (and in the Marvel Comics universe, which extends to the “Thor” and “Avengers” movies).

He’s Hermes in Greek mythology — Mercury to the Romans — the wily messenger god and Apollo’s badass baby bro. A chunk of charm and a ton of trouble, the precocious Hermes not only steals his brother’s cattle while he’s still an infant, but he makes Apollo love him for it.

Whoever he is, he lives by his wits on the fringe and at the crossroads, bringing with him destruction at times but also adventure and transcendence.

“A trickster does not live near the hearth,” Lewis Hyde writes in his intellectually sweeping “Trickster Makes This World: Magic, Myth, and Art” (Farrar, Straus and Giroux, 1998). “He does not live in the halls of justice, the soldier’s tent, the shaman’s hut, the monastery. He passes through each of these when there is a moment of silence, and he enlivens each with mischief, but he is not their guiding spirit. He is the spirit of the doorway leading out, and of the crossroad at the edge of town. ...He is the spirit of the road at dusk, the one that runs from one town to another and belongs to neither.”

He is indeed invariably a he, Hyde writes, given our patriarchal history in which men have been the primary agents of change. But art, heretofore also essentially the work of men, has had it share of hair-cutting Delilahs, its head-hunting Salomes, its spying Mata Haris and other femmes who have been oh-so-fatale — their subterfuge a response and a path to male power.

Not the least of these femmes but perhaps forgotten now is Gene Tierney’s Ellen Berent in the film “Leave Her To Heaven,” a woman so obsessed with her husband that she will tolerate no one else in his life. And if that means standing by as his disabled brother drowns or “accidentally” falling down a flight of stairs to terminate her pregnancy or pinning a criminal rap on her kid sister, well, then, so be it.

The designing woman in this sense of the term has also been played for laughs, notably in “I Love Lucy,” in which starry-eyed Lucy Ricardo (Lucille Ball) is always trying to put one over on husband Ricky — who disapproves of her attempts to break into show biz — often with the aid of her sidekick, Ethel.

Ultimately, inevitably, however, the world of the schemer has been male and tragic. Think of Milton’s Lucifer in “Paradise Lost.” Enraged at having to bow to God’s son, Jesus, he disguises himself as a serpent to destroy God’s other favorite, Man. Milton’s Lucifer owes much to that other great nihilist, Iago, in an earlier work, “Othello,” writes Harold Bloom in “Shakespeare: The Invention of the Human” (Riverhead Books, 1998). Like Lucifer, Iago is furious at being slighted by the boss and so decides to strike at Othello’s Achilles heel — his jealous love for his wife, Desdemona. Using a diabolically simple device — a handkerchief belonging to Desdemona that’s dropped by Othello and found

by Iago’s wife, Emilia — Iago is able to convince Othello that Desdemona has been unfaithful, leading him to strangle her.

For a brilliant distillation of Iago’s fatal trickery, see José Limon’s ballet “The Moor’s Pavane” on YouTube.

What makes Iago’s treachery tolerable — palatable even — is that while it’s true, it’s not real. “The truest poetry is the most feigning,” “Trickster Makes the World” notes, quoting Shakespeare. And offering this from Picasso: “Art is a lie that tells the truth.”

The artist, then, is the ultimate designing man or woman, the real trickster, making order out of chaos, beauty out of ugliness — holding out transcendence to those willing to succumb to its spell, just as Hermes does when he guides souls to the afterlife in Hades at the behest of his father, Zeus.

So just as some tricks are treats, some tricksters are fun, thrilling even.

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M

MASTERFUL MASTERA ARCHITECT DESIGNS LUXE HOMES AND BUDDING CAREERS

BY JANE K. DOVE PHOTOGRAPHS COURTESY OF JOHN R. MASTERA

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F

INE STRUCTURAL DESIGN COMBINED WITH THOUGHTFUL, STRIKING AND UNCOMMON DETAIL IS THE HALLMARK OF NEW CANAAN ARCHITECT JOHN R. MASTERA.

Mastera, who heads the firm of the same name, has designed for a variety of clients, including actress Glenn Close; a New Canaan resident who required an indoor basketball court and bowling alley; and the renovated landmark Congregational Church of New Canaan.

Since beginning his practice in l987 under the name of John R Mastera + Associates Architects, AIA, Mastera has completed hundreds of projects in the luxury residential, civic and commercial markets.

He has also undertaken a new initiative over the past year — reaching out to young women enrolled in private all-girls schools in New England about careers in architecture, a profession that has long been dominated by men but is now embracing more women.

STARTING OUT

Mastera received his initial training in architecture at the University of Nebraska, getting his degree in l984. He was selected from several top graduates around the country to complete an internship with Elizabeth Wright Ingraham, the granddaughter of

Frank Lloyd Wright. After completing the internship, he passed the difficult weeklong architectural licensing examination on his first try, a rare feat accomplished by only 5 percent of those seeking to be licensed in the profession.

“I started out my career as a Modernist,” Mastera says. “I wanted to become the next Frank Lloyd Wright. I was young and ambitious and wanted to develop my own style.

But after designing a single guesthouse and studio in Truro, Massachusetts on Cape Cod in the Modern style, I realized that not too many people in the Northeast want Modern architecture. I thought I could quickly go broke.”

Mastera says that like artist Pablo Picasso, he was able to translate his Modernist skills into the traditional styles that were in demand. “Picasso is known for his abstract works,” he said, “but produced many equally as famous that were traditional. I decided to do the same.”

Mastera says once he started to investigate different in-demand architectural styles — Colonial, Victorian, Queen Anne and Tudor — he realized they all had their own “rhyme and reason.”

“I realized I could still be creative and innovate within the realm of postmodern architecture. I did some hands-on work with a building of David Lloyd Wright, the son of Frank Lloyd Wright. I saw the attention he paid to detail. Every brick, piece of wood, screw and nail was part of the total design and executed to perfection.”

SUCCESSFUL PRACTICE

Once Mastera opened his New Canaan office, work came his way.

“One of the first nonresidential projects I headed up was the renovation and expansion of the 1839 Congregational Church of New Canaan. This was a very sensitive project, because we were adding 3,000 square feet of space to a vintage building and had to keep everything in historical context and harmony.”

Mastera also created the $5 million master plan for the Stanwich Congregational Church in Greenwich.

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tween 5,000 and 6,000 square feet. “This gives you all the space you need for multiple bedrooms and baths, big kitchen-family room, large public rooms and some extras of the clients’ choice like a study, library or exercise room. But I realize that everyone is different. I once designed a home for an art collector in Wilton that was 12,000 square feet in size with a single bedroom.”

OUTSIDE AND IN

When it comes to exterior design, Mastera says he is now doing a lot of Newport-type homes in the Shingle style. These homes are beautiful, with varied rooflines, dormers, gables, lunettes, porches and balustrades.

“I also attend to porches and porticoes and make sure they all integrate perfectly into the design. I believe a formal entry is very important to the design. There is nothing worse than a house with a poorly defined entry that leaves visitors figuring out how to get in.

“Inside my homes, I design rooms that are comfortable to live and work in, have a purpose and do not confuse the occupants or their visitors. Rooms should be welcoming and do not have to be huge. I believe every home needs some small intimate spaces, such as around fireplaces. Even a broad hall can be put to this kind of use.”

Mastera says his kitchens are always closely tied to family rooms and he recently designed a mid-century modern home where the kitchen, family room and study became one large room.

Mastera also does a lot of work in renovating existing dwellings. An example is his work on a white-trimmed, creamy yellow turn-of-the-20th-century Queen Anne-style home in New Canaan. Mastera came up with an innovative design for enlarging the house to suit its new owners and also move it a distance of 50 feet to accommodate the new addition that more than doubled its size.

The move went smoothly and the four-story home now sits graciously on its intown site, with all of its vintage architectural details preserved and enhanced. A walk through the 6,000-square-foot house reveals a wealth of painstaking detail and surprises, with nooks and crannies, unusually shaped rooms, unexpected twists and turns, wide plank floors, and broad crown molding throughout. Another special feature is the turn-of-the-20th-century window design, two panes over one.

“This was an interesting and challenging project that I take pride in,” Mastera says.

“It’s a comfortable home with every room used on a daily basis. There are no ‘walkthrough’ rooms. I always strive for homes that are functional and family friendly. Even though we do what we are called to do, most architects really don’t enjoy designing homes with rooms they know are never going to be used. I try to avoid that where possible.”

John R. Mastera

REACHING OUT

Designing new homes and renovations for residential clients is the heart of Mastera’s current practice. His work has been featured in the book “Dream Homes” and Life@ Home magazine. His design for a New Canaan home has also won a HOBI Award from the Home Builders & Remodelers of Connecticut Inc. Mastera says he believes his residential practice has flourished, because of his ability to work in harmony with his clients, many of who are strong-willed, highly successful individuals unused to compromise.

“For example, after we have decided on architectural style, the next question is size.

It is my belief there is no magic number for a perfect home. You have to take the lifestyle of the client into account when designing the space they need and then deciding on the square footage.”

That said, Mastera added that he sometimes starts his design journey with clients who want a 10,000-square-foot house and then has to “talk them off the cliff ” of demanding space they will never use.

“Some clients want a ‘ballroom kitchen’ but never cook,” he says. “I will try to talk them down to something more reasonable. Even if they insist on an extra-large kitchen, I can usually convince them they need a small, intimate space within the design where they can do something like sit down in comfort and watch TV while they eat, if that’s their custom. I firmly believe in striking a balance between grandiosity and livability.”

Mastera says his favorite size for his exquisitely designed luxury residences is be-

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Although his practice is a busy one, Mastera still finds the time to do some active mentoring. To this end, he has begun programs at several girls’ preparatory schools — the Westover School in Middlebury, Conn.; Miss Porter’s School in Farmington, Conn.; and the Canterbury School in New Milford, Conn., and is planning to do more.

“I have developed a presentation that is designed to pique the interest of young women with talents in engineering and design,” he says. “My profession has been traditionally dominated by men, with only 18 percent of American Institute of Architects (AIA) members women.”

Mastera says he believes he can have a real effect with his interactive presentations, which are held seminar-style. “I always get a positive response. “They start to see the possibilities for themselves. I am getting them started thinking along new lines.

“It is rewarding to see the light bulb go on over some heads. I encourage them to be totally creative and get away from thinking in terms of designing two-story Colonials.

Thinking of a spider web instead could be the way to go.”

Mastera says he tries to convey to his audience there is no reason they can’t do anything.

‘That’s always been my feeling about myself,” he says. “I have done work for many famous, wealthy and prominent individuals and have never been intimidated. Too many people are inhibited, because they think they will face criticism when putting forth their ideas. But I am happy to say I never hesitate to let my clients know what I believe is in their best interests.”

For more, call (203) 966-6696 or visit masteraarchitects.com.

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Tapestries of life found in Chinese robes

C

BY AUDREY RONNING TOPPING PHOTOGRAPH BY BOB ROZYCKI

CLOTHING IN ALL CULTURES IS THE MOST OBVIOUS MANIFESTATION OF DESIGN IN WEARABLE ART. Various kinds of apparel also

represent the distinction between social classes. In the highly stratified society of Imperial China, the dress code was so rigid that a person’s clothing not only revealed the wearer’s place in the imperial hierarchy but a man’s rank within the civil service sector and his wife’s or concubine’s status. The designers in the palace workshops in Peking’s Forbidden City created artistic masterpieces in silk, embossed with iconographic symbols relating to topography or cosmic phenomena to be worn by the aristocrats and Mandarins of the imperial court.

When we were kids in Canada, my sister and I would sneak up to the attic on Halloween night, open our parents’ camphor trunks, put on old robes from the collection our missionarygrandfather brought back from China and wear them to trick or treat. We were a great success. But one “dark and stormy night,” we ran into Father. Uh, oh. He escorted us back home, confiscated our loot and gave us a serious lecture on the wonders of Chinese robes. I have been in awe of them ever since.

I learned, for example, that the imperial yellow silk Dragon Robe (gifu) I was wearing to pirate Halloween candy symbolized the universe. Wow. I later discovered that similar ones were once worn by emperors and empresses in the Qing (Ch’ing) Dynasty (1644-1912). The universe or cosmos was symbolized in the design elements inherent in most dynastic robes. A border of finely embroidered wavelike stripes rising from the hem represented the deep sea (lishui). The Eight Treasures of Buddhism were stitched or embroidered among the waves, undulating above the hem. These floating treasures included a wheel, a conch shell, the endless knot, an umbrella and flowers, all representing good fortune. Rock formations rising from the waves signified the earth. The four main five-claw dragons stitched with golden thread onto the chest, shoulders and back denoted the emperor’s semi-divine authority and all these cyphers, including red bats symbolizing longevity and happiness, coiled exquisitely amid the clouds of heaven.

Only when the robe was put on, making it a three-dimensional work of art, was the symbolism complete. The body of the wearer became the world axis. That Halloween, my father made it perfectly clear to me that neither my figure nor my social position was worthy enough to represent an axis that holds up the cosmos.

The Chinese designers used traditional motifs along with symbolic colors, stylized shapes and stunning fabrics, including silk brocades, cotton and raw silk. The handiwork, mostly done by women, was as subtle as it was beautiful, carrying its message most effectively. The ceremonial textiles not only revealed individual and collective aesthetic values but also exhibited the spiritual needs and political dynamics of each imperial dynasty.

Most ceremonial robes that survived are from the last one, the Manchu Qing Dynasty. The yellow color of the silk in a dragon robe meant that it could only be worn by the highest members of the imperial family — the emperor, the empress, the empress dowager (the emperor’s mother) and the favorite imperial concubines.

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Audrey Ronning Topping in one of the Chinese robes she and her family have collected.

According to China scholars and contrary to popular myth, it was the brilliant yellow hue and not the embroidered five-claw dragons that made a robe imperial. The 12 symbols woven into the front, back and shoulders, representing special sacrificial rites performed by an emperor, can actually tell the connoisseurs which emperor wore it and in what period.

Twenty extraordinary royal robes were displayed in an exhibition called “Ceremonial Robes and Suits of Armor from the Imperial Court of China,” presented in 1980 at Bloomingdale’s department store in White Plains. The collection, representing five different imperial reigns spanning 1736 to 1908, was selected by the curators of the Palace Museum to salute the relationship between the People’s Republic of China and Bloomingdale’s. It was the first time these magnificently designed costumes had been seen outside the walls of the Forbidden City in Peking (Beijing). I was mortified to discover that one of the dragon robes, similar to my Halloween costume, had actually been worn by the Emperor Jia Qing (1796-1821).

During the last reign of the Qing dynasty, a large number of synthetic dyes derived from aniline and coal tars were introduced into China from the West. This changed the textile industry dramatically. After the 1870s, bright purple, magenta and orange became part of the artists’ repertoire and freed the designers to experiment with mixing colors. They used their artistic licenses to design stunning nonconventional robes for the emperors’ concubines. One dominant symbol was the white satin crane stitched amid elaborately embroidered golden

clouds. Cranes are ancient symbols of immortality associated with the philosophy of Taoism. But rather than embroidering the birds in the traditional, stiff stance, the cranes began to fly. In various stages of flight, the cranes appeared beautifully naturalistic. The overall image created an ethereal, almost magical quality.

One beautifully embroidered orange silk robe exhibited in the Bloomingdale’s exhibit was worn by a favorite concubine of Emperor Dao Guang (1821-1850).

While it was constructed like a dragon robe, the dragons depicted were different, enclosed within round medallions. Each dragon had been painstakingly worked in gold foil wrapped around a central thread, which was then sewn onto the robe. The long, contrasting navy blue “horse hoof” sleeves, made separately and sewn on at elbow length, were vestiges of the traditional Manchu riding costume. (They were originally long enough to cover the hands of the cavalry riders as their horses thundered triumphantly across the freezing northern steppes and over The Great Wall to conquer all of China.)

Informal robes and “ordinary dress” worn by the empresses or the imperial concubines, at home or strolling in the gardens of the Summer Palace, were also outstanding examples of Imperial design and craftsmanship. Patterns of flowers made with standardized stencils revealed a close observance of nature. Lotuses, peonies and orchid and magnolia blossoms were among the favorites. Chinese orchids, unlike the Western species, are not showy flowers, but they are highly symbolic. To the Chinese, the small flower with the

strong fragrance represented the humble but brilliant scholar. Winter robes were padded with sheep’s wool and often woven with butterflies and five bats embroidered in petit point using silk floss. The combination has a special meaning, symbolizing longevity and happiness. In Chinese, the word for “bat” is “fu,” a pun on the Chinese word for happiness, which is also fu.

The art of design was apparent as well in suits of armor and military dress uniforms. A Qian Long Period (1736-1796) uniform shown in the exhibition at Bloomingdales’ followed the construction of simplified suits of armor dating from the 17th century. Such uniforms were worn by bannermen, or soldiers of the eight-banner system, who served to conquer China in 1644. This system became the united establishment of Manchu military, administrative and commercial forces for 300 years. The uniforms were made in four color combinations — red with white trim, yellow with red, blue with red and white with red trim. These dress costumes were designed for mobility when marching or riding horseback. Metal studs represented the actual suits of armor. The most spectacular Qing coat of mail I saw in the Palace Museum of the Forbidden City was made of 600,000 gold and silver links.

TO MY DELIGHT, ON SPECIAL OCCASIONS, LIKE CHINESE NEW YEAR, MY FATHER WOULD WEAR ONE OF THE CHINESE ROBES HE HAD COLLECTED IN CHINA. HIS FAVORITE WAS A FULL-LENGTH NAVY BLUE COAT EMBROIDERED WITH TERRIFYING DRAGONS. IT IS NOW LOCKED, WITH MANY OTHERS, IN MY CAMPHOR TRUNK IN CASE MY GRANDCHILDREN GET ANY CRAZY IDEAS.

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BY GEORGETTE GOUVEIA PHOTOGRAPHS BY JOHN RIZZO

F

OR MANY ARTISTS, DRAWINGS SERVE AS PREPARATORY SKETCHES FOR WORKS IN OTHER MEDIA.

For sculptor Milton Sherrill, however, a recent series of drawings has been an end in itself.

“They’re simple line drawings, the idea being that less is more,” he says. “My sculpture influenced the drawings, not the other way around.”

Indeed, Sherrill’s drawings were inspired by his “Knowledge of Man I” and “Knowledge of Man II” series. These bronzes, many of which have an amber patina, possess a quality that evokes both the ancient and the futuristic. The heads are egg-shaped, recalling the elongated heads of Egypt’s pharaohs and queens as well as the headdresses of West African women while also suggesting creatures in a sci-fi movie.

The bodies — spindly and angular yet round of belly — echo the shrouded fi gure in Martha Graham’s solo dance “Lamentation” and the sheathed royal women of ancient Egypt.

Working with pen and ink, Sherrill wanted to distill the sculptures to their essence.

“You get a sense of the form. It’s very simple, very powerful, clean. …You’re going to the core of the form and its work.”

While these drawings would grace any home or office, Sherrill, like many artists, says, “I have no thought of this when I’m doing the work. It’s the aesthetics, the flow of the work that matters.”

In any event, these drawings are now a closed chapter. Sherrill is a sculptor, and it is the three-dimensionality of sculpture — along with its tangibility and connection to humanity — that continues to excite him.

Viewers know Sherrill’s work, perhaps without even realizing it. If you’ve seen the powerful, gesturing sculpture of the Rev. Dr. Martin Luther King Jr.

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outside the Westchester County Courthouse in White Plains — a piece that offers the visual equivalent of King’s oratory — then you know Sherrill’s work. If you’ve seen what he calls his “futuristic totems,” one of which stands outside the Bank Street Commons in White Plains, then you know Sherrill’s work.

His sculpture has even found a home at the White House. Sherrill was moved by the election of President Barack Obama to do a head of the president that

Milton Sherrill and his bust of President Barack Obama.

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Milton Sherrill and his works.

captures the curving planes of his face for his “Legends” series, which includes tennis’ Althea Gibson and Arthur Ashe, politics’ Adam Clayton Powell, basketball’s Michael Jordan and entertainment’s Michael Jackson.

How the sculpted head made it to the White House is a winding road, somewhat like the creation of Sherrill’s sculptures, which begin with clay models, move on to rubber molds and wax positives and then are cast in bronze at such foundries as Tallix in New Windsor, Cavalier Renaissance in Bridgeport and Bedi-Makky in Brooklyn.

Sherrill has a friend who knew an Obama neighbor in Chicago. From there it was a matter of the work passing muster with the White House staff before it was seen by the president himself, who wrote Sherrill a thank you note he still has.

He has been portraying people ever since he was a 5-year-old in Kannapolis, N.C., fashioning a life-size Santa Claus — right down to his cottony hair, beard and accessories — for the door of his grandmother’s home. He divided his time between North Carolina and his mother’s place in Mount Vernon.

Sherrill went on to boarding school at the former Alice Freeman Palmer Memorial Institute in Sedalia, N.C., where his “artistic interests took off.” He even sold works to the parents of his classmates.

“I had been doing paintings, but I wanted to do something in the round. To

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me, it’s more realistic.”

Sherrill’s family had its share of doctors and it seemed as if he might carry on in that tradition. But while anatomy classes give an artist a good grounding for the human fi gure, he soon recognized medicine was not for him and it was off to the Air Force. After an honorable discharge, Sherrill pursued art at Stony Brook University and The Cooper Union for the Advancement of Science and Art before graduating from The College at Old Westbury, which like Stony Brook is part of The State University of New York on Long Island. He also holds a master of fi ne arts degree from Pratt Institute in Brooklyn.

At fi rst, Sherrill tried combining teaching with his own work. But then the commissions started coming in and he was on his way. Today, he works out of Long Island City, which has been a vibrant center of contemporary art for roughly a quarter of a century. He’s working on a new series and experimenting with a foundry in China, which has been another focal point for contemporary art.

One thing that never gets old — the rush he gets from connecting through his work with people he may never meet.

Says he of his public art: “To get a sculpture out there where everyone can see it and be inspired by it, well, that’s something.”

For more, visit miltonsherrill.com.

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John DeVivo works stain into wood using cheesecloth.

Photo by Bob Rozycki.

Against the grain

BY FRANK PAGANI

Frank Savastano at work in his Bronx business.

Photo by John Rizzo.

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DUFINE AND OTTAVIO’S BUCK THE TREND OF MASS-MARKET FURNITURE

“

F

OR AS LONG AS FACTORIES CAN EFFICIENTLY SPIT OUT OBJECTS, CRAFT HAS BEEN AN ANTIDOTE TO THE CHILLY UNIFORMITY OF MASS PRODUCTION,” wrote Julie Lasky in her May

23, 2012 New York Times article, “Going With the Grain.” But the cookie-cutter approach has had its effect, perhaps nowhere greater than in the area of home furniture.

“People used to care a lot more about their furniture, how it looked, the quality of the materials used and its upkeep,” says Frank Savastano, owner of Dufine Furniture at 546 E. 170th St. in the Bronx, one of two venerable, family-owned and operated fine furniture businesses featured here that have adhered to Old World principles by creating one-of-a-kind pieces. The other is Ottavio’s at 711 Main St. in New Rochelle.

Both have much in common. Foremost, they are led by artisans with a reputation for making distinctively beautiful furniture for highly appreciative customers — homeowners, entrepreneurs, business owners, interior designers/decorators, restaurateurs, even celebrities. Their satisfaction is so high that the source of new busi-

ness for Dufine and Ottavio’s has come entirely through word-of-mouth, referrals and repeat work.

Remarkably, over the decades of being in business, neither has ever spent money on advertising or marketing. It wasn’t until two years ago that Dufine launched a website (dufinefurniture.com), and Ottavio’s is planning to join the Internet this month with ottavioswoodworking.com. Both have been using Facebook to help showcase their workmanship.

The fierce pride and passion in the craft that the descendants of Ottavio’s and Dufine are continuing have their origins in Italy, where the tradition for quality, handcrafted furniture runs strong.

“My father, Ottavio DeVivo, learned how to work with wood from his father in Serino, Italy before he came to America,” says his son, John.

The talented and ambitious immigrant founded Ottavio’s Woodworking in 1977 in the New Rochelle location. His two sons, John and Thomas, who worked for their father’s enterprise when they were young, entered the business in the ’90s. Together the brothers run the business today.

“After many trips to Italy with my father visiting various woodworking shops, my brother and I developed a love and appreciation for all things made from wood,” John recalled.

Like his grandfather, Nicholas Savastano, who established Nicholas Dufine Furniture Decorators in 1947, and his father, who followed in the business, Frank Savastano was smitten by the craft at an early age.

“I loved working with my hands when my grandfather showed me how to carve and then I continued by working in my father’s workshop after school and during

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summer vacations.”

The origin of the name, Dufine, speaks to the quality of the craftsmanship of the business’ founder.

“The story goes that when my grandfather started the business, everyone exclaimed that he did such fine work and thus he decided to incorporate using the name Nicholas Dufine,” Savastano says. A few years ago when his father retired and Frank took over the business, the name was shortened to Dufine Furniture to underscore the Dufine brand and tradition.

To say that Ottavio’s and Dufine feature master wood carvers is an understatement.

“My father says we have sawdust in our blood,” says Ottavio’s John DeVivo, adding, “We have worked with virtually all species of wood throughout the world and in almost every style of design.”

Much of the wood that Dufine uses is milled in Yorktown.

“We look at trees that have fallen like old walnut trees to see which parts will make for a gorgeous custom-designed table or wine cabinet,” Savastano says.

But this art requires more than creative wood carvers.

“It’s the finishing touches that make the difference,” notes DeVivo. “How the accents are treated — gold leafing, hand painting, staining, colors used —create a unique look and feel to the piece.”

Savastano explained further: “There’s a wealth of knowledge that I learned from my grandfather and father about how the different lacquers amalgamate and how a certain color is achieved by mixing colors that go into the totality, creating something that is one-of-a-kind.”

Like any business, both started small and have grown over time. Ottavio’s initially focused on built-in cabinetry, including kitchens, bathrooms, libraries and general millwork. Today, the nature of the projects is more high-end and considerably more expansive than before.

“We are undertaking paneled libraries and multiple bathrooms in estate homes Frank Savastano. Photo by John Rizzo. and have ventured into the commercial sectors as well with custom projects for a restaurant and café,” DeVivo says.

Dufine’s custom and antique restoration business started out small as well, but as noted decorators and architects discovered the high quality of the work, the business began to grow substantially. Its talents today have been enlivening the spaces of Old Greenwich mansions and have found their way to Chef Nick Di Bona’s Madison Kitchen in Larchmont and the LIC Beer Project in Long Island City among others. Looking to new marketing horizons, Savastano is exploring a custom line of Dufine furniture.

The wonderful thing about a great reputation is its power to attract celebrities as clients. Frank Sinatra was the first notable client of Dufine followed by Alex Rodriguez and design firms such as Eva’s Design and Decorating.

Baseball great Joe Torre and the late actor couple Ossie Davis and Ruby Dee of New Rochelle have been among Ottavio’s celebrity clients. Shortly before she passed away, Ruby Dee brought an end table to Ottavio’s that needed to be restored.

“When she picked it up, she was especially excited about the results,” DeVivo recalled. “She explained that the table had special meaning for her, because it had once belonged to Humphrey Bogart.”

There is no time clock for the passion that goes into the work of these talented business owners. It seems like there is always a fire in the belly. In his spare time, Savastano loves to draft and design different pieces.

“I am so proud of our family heritage and get tremendous satisfaction in knowing that I am creating something people can’t get anywhere else.”

DeVivo agreed. “Once I get excited about a design concept, I can’t stop obsessing about it until it becomes a reality. To know that, like my father, I am creating something that is going to be around and admired many years from now is a wonderful feeling.”

John and Tom flank dad, Ottavio DeVivo, at the family shop on Main Street in New Rochelle. Photo by Bob Rozycki.

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MAN BEHIND THE CAMERA

BY GEORGETTE GOUVEIA PHOTOGRAPHS BY JOHN RIZZO, COURTESY OF THE PHOTOGRAPHER

I

IF YOU KNOW WAG MAGAZINE, THEN YOU ALREADY KNOW SOMETHING ABOUT PHOTOGRAPHER JOHN RIZZO. He’s the man behind the striking portraits of actress Condola Rashad, fashion designer Rubin Singer and Realtor Shelly Tretter Lynch — along with the double portrait of Congressman Sean Patrick Maloney and real estate entrepreneur Randy Florke — that have graced many of our covers since last August. And that’s just for starters.

For John, who has a studio in Dobbs Ferry, it’s all about the instant personal connection that is the difference between a “meh” photo and the one that moves you. And that’s true even if

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the subject is inanimate, as in an interior or a temple like those at Angkor Wat in Cambodia — one of the countries to which he leads photography tours.

There, he might get up at dawn to catch the light coming up behind a temple or Buddhist monks filing into one.

“Every situation is different,” he says. “Part of the fun is the process itself. It begins the moment you ring the doorbell. You’re walking into a situation where you have limited time. You don’t know what the space is like or the light is like.

You have to make a million decisions quickly.”

As he’s doing that — and perhaps setting up

Tom Wolfe, Sept. 21, 2006.

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Brice Miller, jazz musician.

John Rizzo

lights if the natural light is not good — he says, “I’m talking to the subjects, getting a sense of their body language, whether or not they like to be photographed, because a lot of people don’t. They always say, ‘I don’t take good photographs.’ I tell them, ‘But I do.’

“Everything the subject thinks he should do, I tell them not to do. When you try to act, it comes off unnatural. I tell them to trust the process.”

Using a 35 mm digital Canon — “It’s small, lightweight and the resolution is very high” — John may take scores of photos just to get that one wow shot.

“I’m looking for those moments between moments,” when the real person shines through and speaks to the camera and to us.

Sometimes, that moment is the last shot. In 2006, John had an opportunity to shoot author Tom Wolfe at a speaking engagement in Manhattan. Many who attended the event wanted their picture taken with the bard of “The Bonfire of the Vanities” — not what John had in mind. As Wolfe prepared to leave, he slipped on a pair of white glasses. John persuaded him to give him five more minutes. And he had his shot.

Back in the studio, John downloads and edits his photos but doesn’t Photoshop them.

“I don’t retouch my photos. I was trained in the news biz where you had to hand in your photo card right away.”

Indeed, spot news is one of the great loves for John, who has photographed for Bloomberg News, Newsweek and The New York Times. He was on the scene for Bloomberg at the World Trade Center on Sept. 11, 2001. As he broke through a police barricade — something photographers are wont to do — a police officer grabbed him by the scruff of the neck.

“I don’t care if you’re here for Jesus Christ,” he remembers the officer saying, “you’re going to have to get out.”

Twenty minutes later, the South Tower fell. The officer’s action, John figures, probably saved his life.

One midnight that November, a “baby-faced Irish” cop let him into an area where a platform had been placed for the families of firefighters and police officers who per-

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Shwedagon Pagoda in Yangon, Myanmar, photographed in April 2013.

ished in the attack and he got “this amazing picture” of welders cutting up pieces of the fallen towers. The photo won an award in Applied Arts magazine.

Sept. 11 wasn’t the only time John’s put himself in harm’s way. In 2011, he went to Joplin, Mo., six days after a devastating tornado hit.

“It was just this amazing thing to see, like the Pepsi plant that was flattened except for the tornado room.

“People want to tell you their stories. All you have to do is convince them that you’re not there to exploit them and that you’re trying to do a good job, and the door is open.”

John has been interested in telling people’s stories visually since high school back home in Buffalo, where he grew up in an artistic Sicilian family. He liked the immediacy of photography and studied photojournalism at Syracuse University, well known for its journalism program.

It’s not the easiest of professions, he says, pointing to recent layoffs among Sports Illustrated photographers. That’s why John is glad he’s diversified, both in his mastery of different genres and his professional interests. Last year he went to Cambodia with a private school from California and taught students photography at Angkor Wat, the iconic Buddhist temple complex. He conducts tours to Cambodia-Laos, Ethiopia, Myanmar or Tanzania for five-to-10 adult (50 and over) amateur photographers at a time. He’s talking with New York University about doing a photography workshop for magazine writers and the Fashion Institute of Technology about a workshop in shooting and styling fashion photographs.

John’s an artist-in-residence at ArtsWestchester in White Plains, which places artists in schools and communities, and a teacher at the Mill Street Loft in Poughkeepsie, which offers arts experiences to those who might otherwise not have them.

Wherever, whenever he’s teaching, his message is the same: The fundamentals are more important than technology. And persistence pays. Look at the Tom Wolfe photo or the one of the steel beams post-9/11.

That’s why, he says, “You never give up.”

John Rizzo’s work will be on view at the Mill Street Loft in Poughkeepsie through March 14. For more, visit johnrizzophoto.com.

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timely

TRIBUTE Katonah museum honors architect Edward Larrabee Barnes

STORY BY MARY SHUSTACK PHOTOGRAPH COURTESY KATONAH MUSEUM OF ART

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Edward Larrabee Barnes.

Photograph © Nancy Rica Schiff.

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rchitect Edward Larrabee Barnes was known for his designs of corporate headquarters, academic buildings and gardens — and, thanks to his wife, the Katonah Museum of Art is also on that list.

Soon, the KMA will celebrate the 25th anniversary of its landmark building with an exhibition dedicated to its architect, a man of worldwide acclaim who for years also called Westchester home.

“A Home for Art: Edward Larrabee Barnes and the KMA,” which opens March 29, will offer a timely exploration of the noted architect who had strong ties to both the community and the museum.

Barnes (1915-2004) built skyscrapers and museums, camps and colleges, gardens and private homes. Among those of note were IBM’s former corporate headquarters on Madison Avenue, the Thurgood Marshall Federal Judiciary Building in Washington, D.C., the Dallas Museum of Art and the Haystack Mountain School of Crafts in Deer Isle, Maine.

Locally, in addition to numerous homes, Barnes designed the onetime IBM complex in Mount Pleasant and also created the master plan for Purchase College, then called the State University of New York at Purchase.

The Chicago native had studied with Walter Gropius and Marcel Breuer, icons of the International style of architecture, before graduating from the Harvard Graduate School of Design at Harvard University in 1942. After serving in the U.S. Navy during World War

II, Barnes worked in industrial design before opening his own fi rm in Manhattan in 1949.

His far-reaching career would be one that earned him, posthumously in 2007, the highest honor in his field, the AIA Gold Medal from the American Institute of Architects.

Noted for his ambitious Modernist museum structures, Barnes designed the KMA with a somewhat different approach than most of his other work, says the museum’s executive director Darsie Alexander, who knows Barnes’ work well.

“Part of my own history is I’ve worked in a number of Barnes’ museums,” she says on a recent morning as the exhibition’s final touches are coming together.

Before joining the KMA in March 2014, Alexander was the chief curator of the Walker Art Center, perhaps one of Barnes’ most noted museum projects.

“It’s a beautiful Brutalist building,” she says of the Minneapolis landmark.

“The galleries are gorgeous,” Alexander continues, before likening the exterior to “a fortress-like structure.”

In Katonah, though, Alexander says Barnes designed an intimate space filled with light. The structure itself, she adds, is surrounded by natural beauty, giving

the entire project “a more human scale … both as a museum and as a building.”

Barnes, who not only designed his own Mount Kisco home but those of friends, neighbors and clients in a handful of Westchester towns, came to the KMA project in a most natural way.

Mary Barnes, his wife and fellow architect, was long affiliated with the Katonah Gallery, which got its start in 1956.

A trustee and member of the exhibition advisory board, Mary Barnes paved the way for her husband to create the showcase that opened in 1990.

“He really loved the site,” Alexander says of Barnes’ familiarity with the community. “He instantly identified this as a place where there should be a building. …I think the building is very much a response to the environment.”

With the project also bringing the Katonah Gallery a new name, the Katonah Museum of Art was designed as a balanced structure in which two symmetrical galleries flank a soaring atrium.

Glass portals on each side link to the surroundings, which Barnes not only preserved but incorporated into a design that also extends into the airy studio-like administrative offices on the second floor.

It all follows what Barnes reportedly said about his own approach, “Within the museum, the architect must not upstage the art.”

The anniversary exhibition will further explore many of the Westchester homes Barnes designed, visually striking structures that share a classic Modern sensibility of sharp lines, white walls, flat roofs and lots of glass. He began his Westchester work in 1950, going on to build his own home in 1952, originally designed as a platform house similar to Philip Johnson’s noted Glass House in New Canaan.

Alexander says that while Westchester might have been generally more traditional in approach, particularly back in the 1950s and ’60s, “There was definitely an audience,” for Barnes’ work, with many sophisticated residents who had “a greater awareness about architecture.”

The exhibition will be rounded out with archival materials sourced both locally and from Barnes’ archives, which are housed at his alma mater. In addition, there will be video interviews with people who knew Barnes, who Alexander says was known as “a real gentleman.”

Adding a contemporary element will

be a concurrent exhibition, “Chris Larson: The Katonah Relocation Project.”

Larson, a multimedia artist and sculptor, will present work that ties the story of the relocation of the town of Katonah in the late 19th century to the history of the KMA. Sparked by the Barnes exhibition, Alexander is excited about the plans to restore “the original beauty of the exhibition space,” by uncovering gallery windows.

The move to bring in natural light once again will also restore an element of Barnes’ original design – a move that will remain after this exhibition closes.

As Alexander says, this anniversary show does more than just spotlight Barnes and his pivotal role in the museum’s history.

“This moment not only gives us a chance to look at the past but look toward the future.”

“A Home for Art: Edward Larrabee Barnes and the KMA” will open March 29 and continue through June 28 at the Katonah Museum of Art, 134 Jay St. There will be related programming throughout the exhibition period. For more, visit katonahmuseum.org.

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REAL TO REAL

DANIEL GREENE BRINGS LIFE TO HIS CANVASES

BY MARY SHUSTACK ARTWORK IMAGES COURTESY DANIEL GREENE

Daniel Greene

Photo illustration by Bob Rozycki 34 WAGMAG.COM MARCH 2015

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DANIEL GREENE IS FAR FROM THE STEREOTYPICAL STARVING ARTIST.

In fact, his recognition, building steadily since the 1950s, includes print and television coverage, international honors and worldwide exhibitions, sales and soughtafter expertise.

On a recent afternoon, Greene welcomed WAG into the cavernous barn-studio on his North Salem property, where preparations are well under way for his latest one-man show.

Of course, Greene is confident in his work — after all, it’s a part of more than 700 public and private collections throughout the world — but instead of bluster, we find a low-key charm, a quiet sense of accomplishment.

“I’m extremely fortunate,” Greene says at one point, “through no fault of my own to have a talent that led me to what I love to do.”

And he has been doing it since his Cincinnati childhood.

“I knew from the time I was 4 or 5 years old that I wanted to be an artist, that was what I did best,” he says.

Greene, who began his study of art in Cincinnati, says he left school in his senior year to kick-start his career.

“New York was and is the center of the art world. I knew the best instructors were there, the galleries, the artists. It was a magnet for creativity.”

 IN NEW YORK Greene would go on to study at The Art Students League of New York, later teaching there for many years, as he also did at the National Academy, then the National Academy of Design. Greene witnessed the storied Greenwich Village scene of the 1950s and could be found at The Cedar Tavern, the famed hangout for artists and writers.

It was then, he says, that he was introduced to abstract painting but says “it didn’t seem challenging enough.”

Instead, he further developed his own style, which he calls “classical painting” or “realistic classical painting.”

Indeed, there is a sharpness to Greene’s works, a true-to-life vibrancy that renders the scene immediate.

And that is likely a key reason why he has found such success as a portrait artist.

Greene’s subjects, who normally sit for 10 three-hour sessions for a life-size work, tend to be leaders in fields ranging from government to education, industry to the arts.

“I have met some fascinating people,” he says.

He has painted everyone from prime ministers to governors, actors to authors, college deans to doctors, CEOs to composers.

Over the years, he has done both historic

and from-life portraits of former first lady Eleanor Roosevelt and astronaut Walter Schirra, composer Alan Menken and even a few movie characters.

“George Lucas commissioned a number of artists,” he says, to create work inspired by “Star Wars” characters.

Throughout, Greene says, with a laugh, he tries to be fair.

“I’ve painted Democrats and Republicans. I’ve tried to balance it out.”

There have, of course, been interesting moments that offer glimpses into one’s personality.

Greene, for example, tells of working with Dave Thomas, founder of the Wendy’s restaurants.

“He said, ‘Mr. Greene, can I watch you paint my diamond ring?’” he says with a laugh.

When working on his portrait of the late William Randolph Hearst, founder of The Hearst Corp., Greene said he learned a son of Hearst’s lived nearby.

He decided to add a personal touch to the work, asking the son to pose, having his own hand stand in for his father’s.

“When I was finished, I thanked him, and he said ‘I’m glad to do it for Daddy.’”

 RAIL INSPIRATION Though Greene says he’s always been inspired by his surroundings, he has been particularly captivated by the city’s subway system, which he knew was filled with “some marvelous opportunities.”

Greene’s series of subway paintings, perhaps his most accessible work, reached its most widespread recognition during a 2004 exhibition at the New York Transit Museum’s Grand Central Terminal Annex in honor of the subway’s centennial.

“A subway is not where you expect to find art appreciation or beauty,” Greene says.

But his observations of what is such a part of many people’s lives really struck a chord, whether it was in paintings portraying a scene of artful mosaic work or of a beautiful-yet-pensive young woman standing on a platform.

To date, Greene has created 117 works based on the city’s subway system.

 A VINTAGE TOUCH More recently, Greene has been tapping his longtime interest in antiques for subject matter.

“When I lived in New York City, I used to visit antiques stores,” he says of his prop hunting. “I needed to have chairs for my models.”

He also began going to auctions, such as those held at the old Parke-Bernet auction house on the Upper East Side.

“I couldn’t help but notice the bidding

From top, “Two O’Keefes,” “Antiques Dealer,” and “Lot 133,” all oil on linen.

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was sometimes fast and furious and very agitated.

There was a great deal of drama,” he says.

Over the years, his own appreciation, Greene says, was further fueled by the access he got to some lovely homes and offices through his portrait work.

“As a result of painting portraits, I’ve had entrée to some beautiful homes,” he says. He got an education not only in people and personalities but also fine art, antiques and collecting.

His interest remains, with time spent poking along Connecticut’s antiques trail, with friends in the field and with attendance at auctions by Christie’s, Sotheby’s and other New York powerhouses.

His latest series — which will be the subject of a show opening next month at Gallery Henoch in Manhattan — features auction scenes created by using models from Westchester and Fairfield counties.

“I couldn’t really ask the people who were at the auction house to come out and pose for me,” he says.

Instead, Greene recreates or creates scenes inspired by what he sees.

On this recent day, Greene is putting finishing touches on “Two O’Keefes,” an oil-on-canvas that will be featured in “At the Auction.”

He is clearly at home in his longtime studio.

“This is the kind of light artists have been working in for centuries,” he says of the natural north light streaming in from skylights and high windows.

 AT HOME, WITH ART Whether working with oils or pastels, Greene still keeps a busy schedule. He’s been represented by Gallery Henoch for decades, with Cavalier Galleries in Greenwich also among those that carry the work he completes while nestled into the space carved out of a onetime dairy farm.

“I moved up here 35 years ago from New York City, and I looked all over for a place I could work and could accommodate the students I would teach,” he says.

“Percy – 68th St.,” oil on linen.

He lives in the carriage house, the centerpiece of the generous property, with his wife, fellow artist Wende Caporale.

Her studio is the heart of the home addition, an incredible space of glass walls and balconies that Greene says “replicates a beautiful studio I had in New York City on 67th Street.”

“When I decided to move up here, I missed that studio,” he says of the seven-room duplex. Today, the space is multifunctional. When not used as a studio, it provides an elegant, eclectic setting for entertaining.

With barn, carriage house and ample workspace, Studio Hill Farm is quite the artist’s retreat — and the place where Greene continues to welcome students each summer.

 THE WORK CONTINUES Artists from around the world come to him for his expertise, which has been amply recognized through his publications, instructional videos and awards.

The Pastel Society of America elected Greene to the Pastel Hall of Fame in 1983. In 1994, he presented a pastel portrait of Eleanor Roosevelt to Hillary Rodham Clinton in a special White House ceremony. In 1995, the American Society of Portrait Artists presented him with the John Singer Sargent award for “lifelong dedication to the achievement of excellence in portraiture.” In 2003, he was the annual honoree of the Salmagundi Club in Manhattan, presented with the organization’s Gold Medal.

And these are just a small sampling of decades of honors.

The honors, though, are not crowding the studio.

No, this is the place to focus on the task at hand.

“I used to have a very heavy schedule, teaching around the country, other countries,” he says. He will still travel to offer master classes but more often the students, tens of thousands over his career, come to North Salem.

There they find a well-established artist surrounded by his creations. And whether these works depict carnival booths, pool players or richly textured still lifes, they all attest to Greene’s moving ever forward.

As he says, “Each painting leads to another.”

Daniel Greene’s solo exhibition, “At the Auction,” will run April 2 to 25 at Gallery Henoch in Manhattan, with an opening from 6 to 8 p.m. April 2. For more, visit galleryhenoch.com. For more on Greene, visit danielgreeneartist.com.

“Guida – Astor Place,” oil on linen.

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Clockwise from top left: “116th Street,” “Verlanne in the Subway,” “Elin - Waiting,” all oil on linen, and “Borough Hall,” pastel on board.

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DESIGNED TO IMPROVE

COOPER HEWITT GETS ITS OWN – SUCCESSFUL – RENOVATION

BY MARY SHUSTACK PHOTOGRAPHS COURTESY COOPER HEWITT, SMITHSONIAN DESIGN MUSEUM

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‘Flower-form’ vase, ca.

1906; Louis Comfort Tiffany; Favrile glass. Museum purchase through gift of Georgiana L. McClellan.

Photograph by Matt Flynn © Cooper Hewitt, Smithsonian Design Museum.

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NYONE WHO’S EVER TACKLED A HOME RENOVATION, SAY A KITCHEN OR BATHROOM, KNOWS HOW THE PROCESS CAN SEEM BOTH DAUNTING AND UNENDING. Just imagine, then, what the Cooper Hewitt, Smithsonian Design Museum was facing when it closed its doors back in 2011 to embark on a three-year renovation project.

Yes, three years.

But when the Manhattan destination for design enthusiasts from around the world reopened in December, the incredible scope of the project was not only clearly evident, but also clearly appreciated.

The revitalized museum is now a more compelling destination, a place where it’s easy to while away an afternoon or indeed, a full day.

The museum, originally built as the Fifth Avenue home of Andrew Carnegie (at 91st Street), has always been a place to examine the many facets of design. I recall my own visits, ranging from the 2002 show dedicated to industrial designer Russel Wright — whose Garrison home, Manitoga, remains a noted design destination — to the more recent, if somewhat controversial, 2011 show devoted to the jewelry of Van Cleef & Arpels. (The New York Times notably panned the glittering display’s corporate origins).

No matter the exhibition, though, the Gilded Age mansion always felt important, if somewhat stiff and dark at times. (Of course, you could never forget the dramatic staircase.)

A NEW LOOK

Now things have changed as I saw on my first visit back since the reopening of the museum, where seemingly countless exhibits take advantage of the new surroundings.

In total, the transformation project offers 60 percent more exhibition space.

At present, there are nearly a dozen shows and installations, many drawing from the museum’s permanent collection of more than 210,000 objects spanning 30 centuries.

Not only is more of the collection on view. It just seems so much more accessible. Indeed, some 700 objects are filling four floors of the only museum in the country dedicated to contemporary and historic design.

The project completed a tricky feat, keeping the building’s sense of history — and that staircase — intact, while creating an exciting backdrop for the most modern exhibitions.

I started my latest visit with “Designing the New Cooper Hewitt,” the groundfloor area dedicated to the renovation project that explores the entire process, complete with glimpses into what’s yet to come. It answers, in a most detailed way, what the project came to entail: “A decade of planning, three years of renovation and a number of talented design firms.”

Paying tribute to all those involved, the must-see tour begins with how the work “completely reinvigorated” the museum. The project drew on 13 leading design firms, with Gluckman Mayner Architects designing the interior renovation in collaboration with Beyer Blinder Belle Architects & Planners LLP, which oversaw the engineering, master planning and historic-preservation aspects.

The $91 million effort included $81 million dedicated to the renovation/expansion plus a $10 million endowment.

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“Maira Kalman Selects.”

“Making Design.”

“Passion for the Exotic: Lockwood de Forest, Frederic Church.”

ONWARD AND UPWARD

From that introduction, it was on to the varied exhibitions, where highlights came quickly.

I was charmed by “Maira Kalman Selects,” in which the author, artist and designer combines her own memorabilia with objects from the collection to fanciful effect. I also wanted to stay all day in the Immersion Room, in which you can select from more than 200 wallpaper designs in the museum collection and have them projected on the wall to stunning effect. One moment you feel like you’re in a formal 1810 parlor, the next, a rec room during the 1950s.

The same went for the newly restored Teak Room, the original Carnegie library where “Passion for the Exotic: Lockwood de Forest, Frederic Church,” takes you to another world, one of dark carved woods and touches of the Middle and Far East.

Also intriguing is “Hewitt Sisters Collect,” the first exploration of the story of Eleanor and Sarah Hewitt, granddaughters of industrialist Peter Cooper. In 1897, they established a museum within The Cooper Union for the Advancement of Science and Art. Through the treasures here — which were either purchased under their direction or gathered on world travels, like an ancient terracotta drinking cup and an elaborately detailed 18th-century French folding fan — you can trace the sisters’ pivotal role in founding the Cooper Hewitt and creating its core collection.

DAZZLING DESIGN

From exhibition to exhibition, floor to floor, the breadth of design on display is simply unmatched.

I also saw, in no particular order, a 1937 telephone model, a circa-1810 sampler, a stunning 1929 lacquered wood dressing table and bench, a circa-1880 French

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Another view of “Making Design.” Photographs by Matt Flynn © 2014 Cooper Hewitt, Smithsonian Design Museum.

parasol cover, a 2004 garland lamp, 1830s Russian dinnerware, a 1960s Bob Dylan poster, a balcony grille from 1909-11 Paris, a 2012-13 Issey Miyake ensemble, an 1875 travel dressing table, a pre-1881 fishing hook, a circa-1900 Japanese abacus, an early 20th-century Alaskan parka made from the intestine of a Beluga whale, 1970s satellite tools, a handful of 19th-century patent models for clothespins … you get the idea.

In total, the four floors of exhibitions proved thought-provoking, interesting and in some cases, plain old fun.

As with the most enjoyable museums, the Cooper Hewitt offers ways to extend your time on site. In addition to the interactive options and program offerings, cap your visit by stopping in the expanded and relocated retail space, SHOP Cooper Hewitt, and grab a bite at the café operated by Tarallucci e Vino, complete with adjacent atrium seating.

In warmer months, take your refreshments outdoors where the famed garden’s updated landscape design will be unveiled when it fully reopens this summer.

For more, visit cooperhewitt.org.

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FOR 67 YEARS, CALICO CORNERS HAS BEEN HELPING HOMEOWNERS AND INTERIOR DESIGN FANS IN WAG COUNTRY EXPRESS THEMSELVES WITH BRILLIANTLY COLORED AND RICHLY TEXTURED AND PATTERNED FABRICS, WINDOW TREATMENTS, PILLOWS, CUSHIONS AND FURNISHINGS.

Now the company that has helped so many bring out their inner decorator is getting a makeover of its own.

“Our motto is ‘We’re redecorating,’” says Alyssa DeVore, director of marketing for the Pennsylvania-based company. “Right now we’re in a refreshing process. …We’ve refreshed our name. It’s just Calico. And we have new signage. …It’s an exciting time for us.”

As part of the sleek overhaul, Calico is relocating eight of its 83 stores, which are found in 28 states. Those in Westchester and Fairfield counties — Mamaroneck, Mount Kisco, Westport and Wilton — remain in place.

But that’s just for starters. There are new collections and new fabrics among the more than 10,000 fabrics in-stock and roughly 5,000 available online. (Calico sells more than 1.9 million yards of fabric in a year.) The new collections include the Jeffrey Alan Marks for Kravet Collections — which capture his passion for a Floridian palette — and The Pure Luxe Collection of pastels, grays and neutrals.

“This is very fi ne linen, very fi ne embroidery,” DeVore says of Pure Luxe.

Also new is the collection of piquant florals and bold geometrics by Vern Yip (of TLC’s “Trading Spaces” and HGTV’s “Deserving Design”) that reflects the Hong Kong-born designer’s love of Chinoiserie, accessibility and heartfelt eclecticism.

Yip joins a stable of stars that includes Robert Allen, Nate Berkus and Thom Filicia, along with Ralph Lauren, whose diverse offerings — everything from vibrant paisleys to warm equestrian scenes — are being refreshed with 30 new fabrics.

Elsewhere Sunbrella is coming in from, well, not the cold certainly but at least the porch. The brand that is most often associated with outdoor fabrics now offers indoor ones as well.

Along with new fabrics, there are new furniture frames on which to display them among the more than 100 styles for sofas, chairs, benches, headboards and ottomans. This year, Calico will create almost 10,000 pieces of custom upholstered furniture.

And more than 100,000 window treatments, which are the company’s signature, everything from hard window treatments (shades, blinds, wood-slat blinds, shutters) to draperies, curtains and valances of the most shimmering, arresting materials.

A lot has changed since Calico Corners began in 1948 in a cozy white clapboard house with French windows in Bedford Hills. Back then the store sold seconds of designer fabrics at a time when you had to go to an interior decorator for the good stuff.

What hasn’t changed is the Calico commitment — through its in-store consultants, who also make free house calls — to freeing you from the fear of fabric. As extolled by Vern Yip and even fashion experts like Neiman Marcus’ Ken Downing (see Page 60), you needn’t be matchy-matchy. Rather you can play with color, texture and fabric, pairing rough and delicate materials, stripes with florals, fi gures with abstractions, masculine energies with feminine ones. By grouping its fabrics — which you can always sample — in a certain way, Calico makes this easier for you.

Whether you’re an unsure novice or a seasoned tastemaker, it doesn’t matter, DeVore says.

“Everyone can come into Calico and fi nd anything that fits your lifestyle.”

March is a great time to drop into a Calico store near you as it’s sales season.

For more, call 800-213-6366 or visit calicocorners.com.

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WEAR

cooper & ella puts clothes to work for the underprivileged

BY DANIELLE RENDA

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Kara Mendelsohn.

Courtesy cooper & ella

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had a vision to create something inspiring, not only through her clothing, but also by giving back. As the creative director of cooper & ella, a contemporary woman’s fashion brand, Kara designs desk-todinner wear while donating a percentage of sales to the HOPE Foundation in India.

Kara, a resident of Long Island, and her business partner, Susan Correa, launched cooper & ella in Spring 2013 with a collection of women’s blouses. As a working mother of two, Kara wanted to create the perfect date blouse and developed a day-to-evening line for the “woman who is doing it all and wants to look good while doing it.”

Her clothing is both affordable and appropriate for the professional-to-personal transition.

“Right now, I’m carried in Saks, Bloomingdale’s and Neiman Marcus,” Kara says. “My prices are retailed from $88 to $150, so I’m coming in at about 20 to 30 percent less than my competitors in that marketplace.”

Most recently, the brand launched dresses that will reach stores this month.

“Each season, I’m growing and looking to add new things to the line, always with the same intention of keeping the price point accessible and keeping the products very elevated. I’d like to make it a lifestyle brand and expand it globally.”

Despite its inception just two years ago, cooper & ella is available in more than 250 department and specialty stores spanning North America, Asia and Europe.

But the brand’s success is not limited to style and reasonable pricing.

Named after Kara’s children — Cooper, 7, and Ella, 9 — the line is also about children, so much so that in October of last year, Kara launched EMPOWER, an initiative that partners with the HOPE Foundation to help underprivileged children.

Like the 400-plus students in Bangalore, India, who receive a basic education that is a springboard to the future through the HOPE Foundation’s “Cradle to Career” program. EMPOWER helps provide lunchtime meals, which serve as

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Amelia Double Tee, $138.

Makayla Layered Dress, $225.

Kaelyn Back Detail Tee, Waves Print, $108.

Makayla Layered Tank, Coral, $128.

Makayla Layered Tank, Jade, $128.

Photos courtesy cooper & ella.

the only daily meal for many students.

“For every single blouse, dress, anything it is that I’m selling, we donate one hot, nutritious meal to a child in need through the HOPE Foundation. Our product actually comes with a hangtag that says, ‘By making this purchase, you’re giving back to a child in need.’ For my customers, it’s like, ‘Look what I’m getting for my money. I’m getting a great product at a great price, and I feel great because I’m giving back by doing that.’”

As a goal for EMPOWER’s first year, Kara will donate 100,000 meals to the organization.

“I’m giving 100,000 meals whether I sell that much or not. I’m committed to that,” Kara says with a smile.

As her website states: “This is just the beginning for cooper & ella and EM46

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POWER, and we couldn’t be more excited.”

Kara began her fashion career after graduating with a dual degree in psychology and art history from Lafayette College in Easton, Pa. Following college, she moved to New York, where she began working for the Calvin Klein Collection in wholesale sales. She then went on to work for a number of designers, including the Michael Kors Collection, Marc by Marc Jacobs and Thakoon before becoming an independent consultant in 2007.

“I have two small children, so having my own business allows me flexibility. I have an amazing team that’s really small, but each of us wears a lot of hats. I really enjoy working, and I think that’s rare to be able to say that.”

For more on cooper & ella, visit cooperandella.com.

For more on the HOPE Foundation, visit hopefoundation.org.

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M A R C H – J U LY 2 0 1 5

The ARTSEE Festival features more than 70 arts events presented by 40 arts organizations packed with dance, film, theater, art, concerts, poetry and more.

artsw.org/ARTsee | #ARTseeFest

Major festival support from Entergy, First Niagara, Westchester Medical Center, New York State Council on the Arts, Westchester County Government, National Endowment for the Arts and Con Edison. Media sponsors: The Journal News, News 12, Pamal Broadcasting’s 100.7 WHUD and 107.1 The Peak, WAG, Westchester County Business Journal and Westchester Magazine.

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Lillian August. Photograph © Lorin Klaris.

LILLIAN AUGUST IT’S ALL IN THE FAMILY – BY DESIGN

BY MARY SHUSTACK PHOTOGRAPHS BY LORIN KLARIS AND COURTESY LILLIAN AUGUST

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T THE LILLIAN AUGUST FLAGSHIP IN NORWALK IS DESIGNED TO INSPIRE, AND IT CERTAINLY DOES ITS BEST TO SPARK A RETHINKING OF YOUR OWN SURROUNDINGS.

Can’t I update my dining room with that sleek new table? How great would that funky chair look in my living room? Isn’t it time for a glamorous new bedroom set?

This is, after all, a playground where ideas can run free, fueled by one stylish vignette after another. There are sparkling chandeliers and chic-yet-comfy couches, oversize mirrors and dramatic prints, intricately patterned rugs and fanciful tabletop accessories.

And the Lillian August name emblazoned over the entrance isn’t random — there is an actual Lillian August behind the longtime home furnishings and interior design firm.

In fact, the company — which officially celebrated its 25th anniversary in 2014 — is still firmly helmed by its vibrant namesake, complemented by two of her sons in this family business that’s being propelled ever forward.

It’s everyone contributing, Lillian says, “passion for a product with all the energy you have with it being a family… This passion plus energy is so powerful.”

FROM THE START And that passion has been there from the earliest days.

“My mother was always very creative and very entrepreneurial,” says Dan Weiss, Lillian’s eldest son and company president.

Lillian says her story is a familiar one. She was “the typical divorced mom starting the business. It’s pretty classic.”

Having met her former husband when both were students at the University of Pennsylvania, August would eventually fi nd herself with three sons, living in Kentucky.

The direction for this “divorced-from-a-doctor mom” was natural, she adds.

“I had young teenage sons and I sewed,” she says in a most matter-of-fact way.

She began a “very grassroots” business selling crafts

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and quilts, in time taking her products on the road.

“What happened is, I would show in New York and Imperial Wallcoverings discovered me,” she says.

And from there, her business took off.

“The beginning of the company was I became a textile designer,” she says.

By then, her son Dan was on Wall Street and shopping a business plan for Lillian August in his free time.

“At lunch he would take my portfolio” around to generate interest, Lillian says. One day, “He said ‘Mom, you’re going to have to move to New York.’”

The former Martha Graham dancer who grew up in Philadelphia was not unfamiliar with the city — but it was still a major move.

“I loved New York, but I didn’t know that I wanted to give up what I had started.”

A NEW DIRECTION But she did, moving north in 1985 and soon after the family came together when they had the opportunity to open a shop.

Westport, she says, ended up being the ideal option with its “small-town Main Street.”

Lillian offered textiles and apparel, including women’s separates and then children’s clothing, which instantly connected.

“Some people will remember that about us,” she says. “We were very much modeled after the Laura Ashley shops.”

It was a look, she says, that was “very romantic, florals, chintz. …Actually the whole concept of the business was very romantic.”

It was on one day in Westport when Lillian says she realized all the risks had paid off, thanks to a very famous customer.

“When Joanne Woodward came in and bought my fabrics, I knew we would make it,” Lillian says.

Back then, she says, “it was a mom and three sons.”

Today, Dan, as president, oversees merchandising, furniture buying and design. John, three years younger and the one Lillian calls “the math genius,” serves as COO. John’s duties include handling day-to-day operations as well as being involved with marketing, merchandising and serving as the lead buyer for decorative accessories and one-of-a-kind products including vintage finds and antiques.

As Dan explains, employing a restaurant metaphor that ends with a quip: “We kind of divide it up a little bit front of the house, back of the house. We’re kind of a two-headed monster.”

Each is married with children, Dan living in Manhattan and John in Weston. (Michael, the youngest brother, was involved with Lillian August but went on to his own successful furniture design career.).

EXPANSION CONTINUES During those early Westport days, Lillian says, “We switched to furniture very comfortably.”

She says a young Ralph Lauren was with a furniture company called Frederick Edward.

“They asked me to design a line,” she says. “We went from textiles right up to furniture.”

Things were falling into place as Lillian hoped.

“When I moved to New York, the idea was to grow.”

Today, with a showcase in High Point, N.C., where all vignettes reflect a story, the company explores looks from “traditional to glamour to even European modern.”

“We cover many lifestyles — and we are a lifestyle brand,” Lillian says. “I think as a company we’re very much trying to invest in that model.”

And the company, she says, is fluid.

“Because we’re small, we can be nimble and change and we do change, let me tell you.”

That has served the company well, as it works not only on its own designs but with licensed lines, including Lillian August Fine Furniture for Hickory White, an art collection for Wendover Art Group and The Lillian August Lighting Collection from Currey & Company.

NORWALK SPLASH The main components of the business today, in addition to the licensed lines, include the To the Trade program, interior design projects and the retail locations, complemented by the online shop.

The company has some 150 employees and more than 30 in-house interior designers. The design projects are broad in scope as well as approach, with customers having access to as much input from the team as needed. The projects, which reach a worldwide audience, include senior designers’ work being featured in two prestigious showhouses, the Hampton Designer Showhouse and The Holiday House NYC, within the past year.

There are four brick-and-mortar showrooms, anchored by the flagship. Officially called the Norwalk Design Center, the 100,000-square-foot space opened just over a decade ago and includes the company’s To the Trade program, designed to support interiordesign professionals; an art gallery; rug department; a recently redesigned LA Café; and the corporate offices.

The design center in Norwalk was a risk — “a huge, huge cereal bowl to fill” — Lillian recalls, but it’s been worthwhile. The retail shop is likened to a lab, she says, where she can get a sense of what connects with people.

As Dan adds, “It very quickly grew and expanded and put us on another level.”

AND BEYOND In addition, there is a Manhattan showroom that spans a full block in the Flatiron District; the Greenwich store that opened in the summer of 2013 with a boutique

John Weiss, left, and Dan Weiss in the Lillian August Design Center in Norwalk. Photograph

by John Rizzo.

“WE LOVE ALL GREAT DESIGN STYLES AND PUSH FOR AN ECLECTIC DESIGNER AESTHETIC – A GENERAL THEME WE HAVE ALWAYS STAYED WITH IS ‘STYLE, COMFORT AND BEAUTY,’ AND OF COURSE, OUR TAGLINE, ‘LOVE HOW YOU LIVE.’” – John Weiss, Lillian August COO

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feel; and the South Norwalk Outlet, where treasures and deals abound.

From the start, Lillian says there has been an awareness of the varying tastes of customers, often — but not always — influenced by region.

“The Connecticut customer is extremely tailored,” she says, while the New York customer might look for something minimal. In other parts of the country, other approaches are in vogue. Overseas, there is a leaning toward the maximalist approach, which allows Lillian to play.

“I like to be over the top, especially with colors,” she says, mentioning she also loves to paint.

An interior design project by Lillian August, created for The Holiday House NYC in 2014. Photograph © Lorin Klaris.

MODERN TIMES With her sons so involved, Lillian is able to focus solely on design, working full time while now living in both Florida and North Carolina. Again, that was also by design.

“I really separate in my mind the retail, so they could feel an opportunity,” she says.

And, she adds, the company has run with that, being ready to face the ever-changing business challenges.

“I think that the opportunity now is that we’re both retail and to the trade,” she says.

Working so closely with interior designers, both those on staff and those out in the field, also gives constant input.

“It’s just a wonderful chance to stay current in design,” she says.

Designing products for designers, she notes, is particularly rewarding.

“I like that. It makes me feel good that we’re accepted.”

LOOKING FORWARD When it comes to trends, John says, the company is seeing quite a few.

“We are seeing a lot of natural and organic elements in the design and color palettes for the season… live edge tables, unstained woods, organic and undyed textiles.”

So, does the prevalence of shelter magazines and television shows affect the business?

“People are so much more aware of design and interiors,” Dan says. “With all the television shows and the magazines and the blogs, people are just so much more aware of home furnishings.”

John adds, “In some ways, it’s made things better because there seems to be a greater appreciation for good designs and beautifully finished homes. On the other hand, all these shows have distorted some of the incredible hard work and real talent (and training) that it takes to put together a beautifully decorated home.”

When asked if there is a “Lillian August look,” John offers a thoughtful response, “We love all great design styles and push for an eclectic designer aesthetic — a general theme we have always stayed with is ‘style, comfort and beauty,’ and of course, our tagline, ‘Love How You Live.’”

It’s nothing new, agrees Dan. “We’ve always been eclectic in our approach to design, and I feel that’s definitely on trend with what’s in demand today. We were ahead of the curve on that.”

And it needs to stay that way, he adds.

The main goal, Dan says, for the next few years is that “we continue to evolve more and more our proprietary designs and our multi-channels.”

As he adds, “We’re interested in having great, unique interiors.”

And, as always, remaining true to the goal, says Lillian.

“The biggest challenge today in business is the differentiating of your brand,” she says.

At the end of the day, though, it’s still a company where family comes first.

“I will tell you that my sons’ taste and mine will vary,” she says with a laugh.

But that spurs creativity, not friction.

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The Gwen Serpentine Chest is part of the Lillian August Fine Furniture for Hickory White collection.

“I called it the Family Forum,” she says. “I think that there’s such a wealth of resources.”

No matter the room, no matter the elements, one thing is paramount to Lillian.

“I love to tell a story. I’m a storyteller, and that is still true.”

And helping her, every step of the way, are Dan and John.

As Lillian says with a laugh, “I’m lucky they didn’t run away.”

For more, visit lillianaugust.com.

WAY

ELEGANT LIVING,

BY DESIGN Mount Holly, a Bedford estate of remarkable beauty STORY BY HOULIHAN LAWRENCE PHOTOGRAPHS BY TIM LEE

PRESENTED BY HOULIHAN LAWRENCE

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COUNTRY ESTATE OF REMARKABLE BEAUTY, Mount Holly offers 47.5 beauti-

fully designed acres highlighted by sweeping views of the pastoral countryside.

Ensconced within the Mount Holly Road estate area — prized for its unpaved country lanes and quiet rural character — the setting provides a sense of privacy and expansiveness that is simply unrivaled. In addition to the fully renovated 1928 manor, the grounds also host a stunning 80-foot pool and extensive outbuildings, including a guest cottage, staff building with three apartments, stone cabin and garages accommodating 10-plus cars.

Here three barns, fenced paddocks and an outdoor ring meet verdant lawns, rolling meadows and woodlands, and views that embrace the lush, green countryside.

A gated entrance and formal cobblestone courtyard provide an apt overture to the distinguished stone and shingle manor house graced with exquisitely detailed living spaces. This classic residence blends the expansive dimensions and refined ornamentation of a grand period house with a sophisticated European sensibility that sets the home apart.

The 12,944-square-foot space showcases exemplary workmanship and artistry throughout with original

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paneling, time-polished woodwork, ornate moldings, antique beams and statuesque fireplaces.

Distinguished by large principal rooms, the dramatic interiors are resplendent with Old World detail, including vaulted ceilings, handpainted canvas wall coverings and antique architectural appointments. French doors open out onto stone terraces commanding unobstructed views of the breathtaking setting.

THE RESIDENCE is designed for living on a grand scale, complete with splendid living and dining rooms, a dazzling great room, a paneled library and a sun-filled conservatory.

An impressive showplace for entertaining, the home also offers plenty of space for more casual pursuits with an inviting family room, a heart-ofthe-house kitchen, home theater, gym and sauna.

Nine bedrooms, including a private master suite with twin dressing rooms and baths, seven full baths, four powder rooms and 11 fireplaces are included in this magnificent estate home, which is further enhanced with such sophisticated technology systems as a Crestron Smart Home

System offering centralized audio, video, security and lighting controls.

THE PROPERTY: Noteworthy for its scope, extraordinary natural beauty and privacy, Mount Holly represents the very best Westchester County has to offer. Endowed with a wealth of resort-level accoutrements offering wonderful outdoor pleasures throughout the seasons, the property features such towering specimen trees as mature apple and pear trees, open level lawns and meadows and sylvan woods that seclude the vast rear grounds. For memorable outdoor entertaining, an immense stone terrace with a built-in barbecue overlooks the pool area, accented with fountains. Served by a long main drive, a secondary service drive circles the entire property, where privacy is further bolstered by the 177-acre Mount Holly Preserve that borders the estate.

OUTBUILDINGS:

The guest cottage offers ample room with a bedroom, living room, kitchen and full bath. A charming one-room stone cottage is ideal as a writer’s retreat or studio. Three one-bedroom apartments are in the staff building, which also includes a six-bay ga-

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MOUNT HOLLY AT A GLANCE • Bedford • 12,944 square feet • 47.55 acres • Bedrooms: 9 • Baths: 7 full, 4 half • Price: $12.750 million

rage. A separate garage accommodates parking for four additional cars.

EQUESTRIAN

FACILITIES: Two large barns, with capacity for 18 stalls, contain a wash stall, tack room, workroom and craft room. Heated and airconditioned, the third, octagonal barn is set beside an outdoor riding ring. Seven paddocks complete the setting, which also features easy access to the area’s extensive network of trails and preserves.

THE LOCATION: Known for its peaceful landscape and distinguished country estates, this tranquil community is less than an hour from Manhattan and can be easily reached via the nearby Metro-North Railroad, the Saw Mill Parkway and Interstate 684. Westchester County Airport is 20 minutes away, and the international airports are within an easy 75-minute drive. Mount Holly also enjoys proximity to the nearby village, schools and the many cultural and recreational attractions offered throughout the area.

For more information, contact Angela Kessel at the Houlihan Lawrence Bedford Village Green office at 914-234-9099, ext. 22359, 914-841-1919 or akessel@ houlihanlawrence.com or Hilary A. Evans at the Katonah Brokerage office at 914-232-5007, ext. 24329, 914584-5713 or hevans@houlihanlawrence.com.

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ART ON THE WING JAMES REID AND PERUVIAN TEXTILES

BY AUDREY RONNING TOPPING PHOTOGRAPHS COURTESY OF JAMES W. REID

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T

HE PASSION FOR DESIGN, LIKE SEX, WAS APPARENTLY PROGRAMMED INTO THE DNA OF HOMO SAPIENS. This has been observable since

Stone Age artists scratched images on the walls of their cave dwellings. Ancient civilizations obviously found as much pleasure in beautiful shapes and innovative designs as we moderns do.

Case in point: Beginning more than 2,000 years ago, ancient Peruvians in the preHispanic Andean world had already developed the concept of design as well as sophisticated techniques to create original feather textiles, inspired by the flamboyant plumage of exotic birds. Feathers were linked to the concept of flight and, with the unattainable realm of the heavens, birds like the eagle and condor were honored as divine. Feather artwork thus became a vital element in the life and death of ancient Peruvians and remained a vibrant art until the Spanish conquest in the mid-16th century. Alas, the Spanish conquistadors attributed magical-mystical powers to feather textiles and, fearing they would be used against them, banned their creation. As a result, they were tragically lost to the Western world until 19th century archeological discoveries.

Although some of these masterpieces of fine art are scattered in museums around the world, they remained largely undetected by art connoisseurs until a brilliant scholar, artist, adventurer and military hero from Westchester County, James W. Reid, studiously lifted the veil that for 2,000 years had shrouded the enigmatic feather artwork. Reid resurrected these wondrous creations, imbued with the magic and mystery of vanished kingdoms, by publishing a spectacular ground-breaking book aptly called “Magic Feathers: Textile Art from Ancient Peru,” published in 2005 by Textile & Art Publications in London. This weighty 12-by-14-inch scholarly work presents us with a wealth of authoritative, contextual information and 133 illuminating illustrations of these jewels of feather design, depicting stylized humans and zoomorphic figures as well as fantastical and celestial bodies related to cosmic phenomena. “Magic Feathers” discusses the art of feather textiles from both an aesthetic standpoint and as a reflection of the cultures that created them. The superb corpus clearly demonstrates the level of excellence attained by ancient Peruvians in feather art.

Aside from the sheer beauty of these feather textiles, they are astonishing for two reasons. First, there’s the amazing 20th century Modernism of their figurative, pictographic and abstract iconography, which was created simultaneously, unlike the progressive evolution of Western art from realism to abstraction. Some creations bear an uncanny resemblance to works of 20th-century artists, such as the figures of Jean Dubuffet, Paul Klee and Joan Miró as well as to the pictographic designs of Joaquín Torres García — who acknowledged how the iconography of textiles inspired his “Universal Constructivist” works — and the Abstract Expressionism and color field painting of Mark Rothko.

Second, the Peruvian artists created “collages” thousands of years before Pablo Picasso and Henri Matisse attached papers to canvas to create a three-dimensional effect. Yet the eclectic designs of these feather pieces were created between about 500 B.C. and 1532 by ancient cultures most of us have never even heard of like Paracas, Nazca, Wari, Chimu, Chancay, Chincha Ica and, finally one we all know, the all-powerful Incas.

The populace in these ancient kingdoms regarded feathers as supremely prestigious emblems and used them for a variety of spirited religious and ceremonial functions, as well as honoring — in life and death — the royals who wore them. Miraculously, these fragile artworks survived in fine — often pristine — condition due to their concealment in

Chimu, north coast of Peru. Half -tunic composed of eight abstract frontal figures. Clearly, this was woven by women as were most pre-Columbian feather textiles.

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Chincha-Ica, 1100-1460. Feline with red ears and a curved tail on yellow feathers.

impenetrable underground tombs. Deceased royal and elite personages were wrapped in feathered tunics, adorned with chest ornaments, cloaks and headdresses and buried, along with a beautiful variety of ritual items to accompany them on their final journey.

The mummified bodies were also bundled in feathered textiles before they were laid in sarcophaguses.

Author Reid is a tall, striking-looking gentleman, who, off-screen, has experienced more “Indiana Jones” adventures than Harrison Ford on-screen. He is a decorated veteran of both the Korean and the Vietnam wars. Before he and his beautiful wife, Riet, moved into their gracious home in Hartsdale, they lived for much of the past 30 years in Argentina, Peru and Bolivia, Reid being first assigned to the U.S. Embassy in Buenos Aires in 1969 and subsequently holding a senior post in the American Embassy in La Paz until 1976.

Reid’s impressive academic background includes Winchester College in England, Princeton University (BA) and Stanford University (MA) as well studies in Paris and doctoral work at the University of Buenos Aires. He studied art at the Académie de la Grande Chaumière in Paris and has exhibited his own vivacious portraits and landscapes throughout the world. In 1972, he was elected a lifetime member of Paris’ Salon d’Automne and was later elected a member of New York’s prestigious Explorers Club.

A “man for all seasons,” Reid is the world’s foremost authority on the iconography and design patterns of Peruvian textiles and a specialist on the art, archeology, anthropology and history of ancient South America. In addition to a fluent knowledge of Spanish, French, Russian, Portuguese and German, he speaks and reads Quechua, the language of the Incas still used today by millions of highland Andean peoples. He used this knowledge to study pre-Columbian myths, legends, traditions and poems. He also trekked, on numerous expeditions, to dangerously remote high Andean valleys where he befriended and learned from actual living descendants of the earliest feather artists, whom he was delighted to discover were mostly women. In fact, the designs created by these Andean pre-Columbian women artists are probably the most dramatic example of ancient female culture bequeathed to posterity. This experience instilled in Reid a profound understanding of the bewitching subtle use of feathers and enabled him to decipher the symbolic codes woven into feather artwork.

Reid’s background also contributed to his unique approach to ancient textiles. As he once explained to me while sipping Champagne by a roaring fire in his comfortable living room adorned with his own vibrant paintings of his wife and grandchildren, “I see these textiles as great works of creative aesthetic design inspired by a profound religious faith, which imbued them with magical connotations. It was this transcendental faith,” he emphasized, while throwing another log on the fire, “rooted in a synergistic relationship with the environment and heavenly deities, which impelled Peruvian weavers to create brilliantly innovative graphic compositions worthy of assuming a place in the historic pantheon of the world’s great art.”

Reid has been a visiting lecturer at prominent institutions and universities in Canada, America and Europe and has made numerous cultural presentations aboard international cruise lines. His international essays, articles and 16 major books, including “Textile Masterpieces of Ancient Peru” and the recent “Pre-Columbian Peruvian Textiles, the First Modern Art,” have been published worldwide, and earned him presidential decorations, the most recent from Peruvian President Alan Garcia.

As Reid often says, “The design of these feather textiles are highly imaginative and exciting. The unique texture and brilliant outbursts of color continually dazzle the spectator.”

• Unique country compound on 8.65 private acres surrounded by 200 acres of Audubon • Miles of uninterrupted views • 7,988 square feet, six bedrooms, five baths, and one powder room • Four fireplaces • Remarkable great room reconstructed from a reclaimed post and beam barn • Christopher Peackock kitchen • Heated pool with full outdoor kitchen • Three bedroom, two bath guest house • Basketball court and putting green • Extensive raised bed vegetable garden • MLS#: 4431334 Price: $3,900,000

For more information, contact (914)234-3642, or Info@vinwhit.com.

ONTHEGREEN•BEDFORD•NEWYORK•914.234.3642•VINWHIT.COM

WEAR

SWING into SPRING A 60 Donna Karan New York spice2015 silk and WAGMAG.COM MARCH elastane halter gown with tan sash, $3,595

Like a shadow-less Punxsutawney Phil, the spring trends report from Neiman Marcus fashion director Ken Downing is a sure sign that the soft season is just around the corner. Here’s what Ken says you’ll need for your spring fling:

BOHO IS BACK — If indeed it ever went away.

But as usual there’s a twist. This time Jet Set meets Gypsy in blouses, tunics, maxi dresses, distressed denim and embroidery.

THE NOT-SO LUNATIC FRINGE — This is one time when being on the fringe — with jackets, skirts, bags and more — puts you front and center.

SPICE IS NICE — Imagine you’re in the spice markets of the Middle East or India as you drench yourself in the colors of paprika, cayenne, saffron and sage. On the other hand, you may choose to…

MAKE IT MONOCHROMATIC — Does anything quite spell the sunny seasons like all white or sandy beige?

An Isabel Marant black suede vest with multicolor embroidery and black calfskin fringe, $4,990

SUEDE: IT’S NOT JUST FOR WINTER — The luxe fabric goes lightweight as it makes an appearance in apparel and accessories.

THE BUCKET (BAG) LIST — Its generous proportions offer security to the woman who can’t travel light even as it pulls any outfit together.

THE WORLD IS FLAT — When it comes to the trendiest sandals, the ultimate form of flattery.

LONG, LAYERED NECKLACES — Ken gives us full permission to mix metals and stones.

And while he’s at it, he says…

NO MATCHY, MATCHY —

Prints, patterns and textures play well together. Since we’re really out on a limb here…

GO SLEEVELESS — With the new jackets, the latest word in layering. And finally, don’t forget that…

EVERYTHING’S COMING UP ROSES — In fragrances and cosmetics, for me and for you.

— Georgette Gouveia

A Saint Laurent black calfskin small “Anita” handbag, $1,790.

From Brunello Cucinelli – A vanilla dyed shearling (Spain) reversible vest with drawstring waist, $7,495; a desert cotton and polyamide sleeveless top with a silver beaded neckline, ostrich feathers and silk underlay, $3,090; desert silk and acetate crepe culottes, $1,300; a custard leather cuff, $295; a biscotti calfskin ankle-cuff sandal with monili detail, $1,670

Gifts and new products ideal for any occasion COMPILED BY MARY SHUSTACK

HIGH TEA INDEED

Taking tea reaches lofty new heights with this original take on the classic teacup. From thumbsUp!, a UK-based creator of singular gifts and gadgets, the High Tea Set ($12.98) features a quality ceramic long-stemmed cup and saucer. Surely adding an unexpectedly playful touch to an elegant table, the set will no doubt also spark conversation. Why not order up enough for a tea party and get down to important matters, like rehashing this latest season of “Downton Abbey”?

For more, visit signals.com.

62 WAGMAG.COM MARCH 2015 Photograph courtesy thumbsUp!

�

1. SCENTS AND SENSIBILITY

New York Botanical Garden by Chesapeake Bay Candle — a new collection ($10 to $30) of botanical scents and designs inspired by the grounds, architecture and rare illustrated works of The New York Botanical Garden — isn’t scheduled to launch until May, in time for Mother’s Day. But WAG got a sneak peek — or should that be sneak whiff ? — of this breath of spring and couldn’t resist sharing the news with you. What’s particularly lovely about the four core fragrances — Sweet Azalea, Verbena Basil, Provence Rose and Water Blossom, along with the seasonal, Peony Bouquet — is that they are distinctively fresh without being overpowering. Close your eyes, and you’ll feel as if you’ve been transported to the 250-acre site.

For more, visit chesapeakebaycandle.com and nybgshop.org.

— Georgette Gouveia

Photograph courtesy Chesapeake Bay Candle and The New York Botanical Garden.

�

�

2. SERVING UP WELLNESS

When you’re designing a new way of eating, it’s possible to create the spa experience without the trip. The Ranch at Live Oak, a longtime Malibu destination, publishes its first cookbook this month featuring “delicious dishes from California’s legendary wellness spa.” Revealing the secrets behind the program’s noted nutrient-dense seasonal gourmet meals that both detox and sustain the guests, “The Ranch at Live Oak Cookbook” ($35, Rizzoli) serves up health and wellness along with flavor. The California destination is noted for combining luxury, rejuvenation and weight loss, spurred by vegetarian dishes ranging from purple carrot soup to squash tacos to chai-poached pears. The book promises no quick fix but rather sets forth a way of eating designed for life.

We like the sound of that.

For more, visit TheRanchMalibu.com.

3. COOKING, WITH AN ITALIAN ACCENT

A well-designed kitchen deserves the proper tools. And Lagostina, the Italian premium cookware company that traces its roots back to 1901, has just launched in the United States.

Recognized for its craftsmanship, high-quality materials, technological innovations and elegant design, Lagostina is destined to become your go-to brand. The wide range includes the four-quart Risottiera ($199.99).

Featuring a low-profile casserole ergonomically designed to reduce fatigue from constant stirring, its wooden lid becomes a trivet for seamless transition from oven to table.

We also love the Bianca cookware collection (from $34.99), which features durable insideand-out white ceramic surfaces that are easy to clean and provide long-lasting scratch and stain resistance.

So, what’s for dinner?

For more, visit lagostina.com.

Photographs courtesy Lagostina

Photograph courtesy Rizzoli.

� 4. MOONSHINE OVER MANHATTAN

Classic drinks that invoke the spirit of Old New York are a breeze when you’re mixing them up with Manhattan Moonshine, a new whiskey created by two New York brothers inspired by the architecture, design and spirit of the Art Deco, Jazz Age and Prohibition era. Manhattan Moonshine Co. was established in 2013 by William and James Kehler to create a luxury un-aged whiskey that rivals aged spirits. The brothers worked for more than a year with whiskey expert Ian Smiley to create a unique formulation now on the market ($45 for 750ml). A Manhattan, anyone?

For more, visit manhattan-moonshine.com.

Photograph courtesy Manhattan Moonshine Company.

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WANDERS

IRELAND, RUSTIC AND REGAL STORY AND PHOTOGRAPHS

BY ANDREA KENNEDY

WAGMAG.COM

MARCH 2015

Ashford Castle

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I

Galway

F YOU’RE THE TYPE TO MAKE A BUCKET LIST, STANDING SLACK-JAWED IN THE SHADOW OF A MEDIEVAL CASTLE SHOULD BE NEAR THE TOP. We checked our list in Ireland and even feigned royalty by calling a castle home for the night — one once belonging to the Guinness family, no less. A trip to the Emerald Isle, which celebrates its patron St. Patrick this month, took us from castles to camping — by that I mean glamping — and from east to west in this bustling, bucolic land.

We planned a week in autumn for our Irish excursion and dropped our bags at the posh, recently renovated Trinity City Hotel before strolling to hip Temple Bar. We navigated through a young and young-at-heart party crowd as live traditional Irish music and choruses of “Whiskey in the Jar” spilled onto the cobblestones. Street bands rattled Temple Bar Square while steps away couples cuddled on the Ha’penny Bridge gazing at city lights mirrored in the River Liffey. We had arrived.

By day, we hopped a double-decker bus for a bird’s eye view and broguenarrated tour of the city. (I’m more of a walker myself — and Dublin is highly walkable. But considering our time frame, this hop-on/hop-off option did the trick.) Make a pit stop at Dublin Castle, a former fortress, royal residence and seat of British government. With its surviving medieval architecture and serene memorial garden, it’s one striking example of the union of old and new traditions. A short walk away is hallowed St. Patrick’s Cathedral, the 12th-century Gothic masterpiece where, according to tradition, the saint baptized converts at a nearby well. Equally humbling is the Long Room at historic Trinity College Library, a two-story, book-lined arcade that would look right at home at Hogwarts. (Or is it the other way around?) Founded in 1592, the college’s library famously houses the Book of Kells, the illuminated Gospels in which the Irish take great pride.

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GLAMP SITE

Ready to unwind Irish-style, north we drove by patchwork pastures and what’s-leftof-abbeys to the sweet countryside of Slane. Forty minutes from Dublin we landed at Rock Farm Slane, an organic farm, ecotourism destination and glamping site on the south banks of the River Boyne. Once our bags were gingerly wheel-barrowed through the farm pasture, we settled into our private yurt complete with candlelight adornments, alluring toiletries, fluffy white towels, wood-burning furnace and personal lanterns (for night trips to the loo). More like a B&B than a campsite, Rock Farm one-ups with Le Shack — a well-designed and well-stocked communal area in full IKEA-meetscamping chic glory. And thanks to traveling in the off-season, we had the entirety of the grounds to ourselves, with the exception of some ambivalent bovine.

At dawn, our yurt’s front porch staged a dreamy view of Slane Castle. Reachable via original fortress walls and lush domain woods, the castle is the picture of strength and serenity.

(Well, not always the latter. Annually, its grounds are rocked by the high-octane Slane Concert, played by the likes of U2, Madonna, The Stones and The Boss. Foo Fighters are slated for May 30.) Slane Castle is owned by the same family estate as Rock Farm, a relationship that makes it easy to book tours, whiskey-tastings and other excursions and events. Fun fact: The castle’s 18th century stables will soon be the site of an eco-friendly whiskey distillery.

GO WEST

If I were to live anywhere in Ireland, it would be Galway. Maybe it’s the soul or maybe it’s the sea (or maybe it’s the food, see sidebar), but due west of Dublin is Ireland’s laidback left-coast town of breezy boardwalks and oodles of small-town charm. We hung our hats at The Stop B&B, a renovated home and our home away from home. Owners Russ and Emer are vets of the Irish Museum of Modern Art, and their aesthetic prowess manifests itself in contemporary art pieces and exhibition posters bedecking the walls, clean, comfy décor and interesting accessories throughout. Not only is theirs the finest B&B breakfast spread we’ve seen, but fresh cookies, European design mags, local tour-

EATING AND IMBIBING, IRISH-STYLE Who says Ireland’s not known for food? One trip proved dining goes way beyond blood pudding:

DUBLIN

ing advice and genuine friendliness were in endless supply.

Mere steps from The Stop sits the Latin Quarter, the winding streets just east and west of the 16th century Spanish Arch once port to merchant ships and elegant hookers (traditional fishing boats). We must have spent hours in Charlie Byrne’s Bookshop, an independent mecca for book lovers with new and (even cooler) rare finds like a first edition Jack London with musty-smelling mustard-colored pages. Show your inner child some love at Wooden Heart toy store on Quay Street and take a serene stroll at sunset on the Salthill boardwalk.

ROYAL TREATMENT

Facing the gates of Ashford Castle you feel as though you should approach in a horsedrawn (or perhaps enchanted) carriage rather than a Volvo station wagon. Through winding wooded roads, a clearing opens to the majestic château set against the glistening Lough Corrib. The 13th-century fortress turned five-star castle — also home to the Guinness family in the 1800s — spans 350 acres of opulent gardens surrounding a lofty stone façade and crenellated towers. We practically floated through a fantasyland of top hats and suits of armor, dark wood and red velvet interiors, sculptural flourishes and lavish bouquets. From our room, plush in cream and gold, we viewed an expanse that contained a golf green and, naturally, a helipad. We ambled along the windswept waterfront and frolicked carefree around a broad ring fountain. (Speaking of rings, it’s also been rated the second most romantic place in the world to propose.)

In a Brigadoon dawn, we ventured deep into the castle woods to fly a red-tailed hawk.

Ireland’s School of Falconry on the castle grounds introduced us to our feathered friend Fhómhair (Fover). There’s a certain luxury in traipsing among legions of towering timbers with a skilled bird on your arm. Yet for all the reverence that comes with the ancient sport of falconry, it’s nearly impossible to contain the thrill when a majestic red-tail swoops from an out-of-sight branch, skims the ground and lands expertly on your glove. With hearts light as a feather, there’s no way this would be our last Irish stay.

In Temple Bar, visit the touristy and jaunty Oliver St. John Gogarty Bar, where my husband downed an overflowing bowl of mussels and I refueled with an Irish bacon shank slathered in creamed potatoes and gravy — the kind of meat that falls off its bone and promptly sticks to yours. Outside Temple Bar, try the calm and cool Fade St. Social by Irish “MasterChef” judge Dylan McGrath. Our small plates were fancy but filling, like pork belly slab, tempura shrimp skewer and sugar-dusted donut holes with mango dip. Naturally, no trip to Dublin is complete without a genuine Guinness at the colossal Guinness Storehouse. Ascend to the Gravity Bar at the tippy-top to enjoy your pint with a 360-degree view of sun-drenched Dublin.

GALWAY

The caliber of dining in Galway cannot be emphasized enough. Ard Bia at Nimmo’s serves boutique local fare tossed with exotic Mideast flavor. It’s cottage feel, fanciful branding and creative owner Aoibheann (“Ay-veen,” see her side gig, The Tweed Project) makes it a top pick. Kai Café + Restaurant is also a fave — the stone, wood and whimsy-filled lovechild of an Irish and Kiwi couple that recently was named top restaurant in Ireland. We stuffed ourselves with a rich Reuben and hand-sized choux pastry filled with pistachio cream.

Hit candlelit Cava Bodega (open late) to share a carafe and authentic tapas along with specials like spiced local lamb and gently fried monkfish. EAT Gastropub at Massimo offers attractive plates of pub fare. We devoured the local pork and chorizo burger and greens with goat cheese. At the suggestion of a beer geek behind the counter at Charlie Byrne’s Bookshop, we dipped into the Salt House pub for a pint of Goodbye Blue Monday, a powerful IPA (India Pale Ale) from Galway Bay Brewery. If the Salt House is for lovers of beer, Sheridans Cheesemongers is for lovers of cheese, cured meats and other artisanal fare.

ASHFORD CASTLE

Don’t forget your jackets for dinner under Waterford Crystal chandeliers at the George V Dining Room, or go castle casual at the decadent breakfast spread. We settled into fine dining in Cullen’s at the Dungeon, where among cast-iron fixtures and crested flags we reveled in our meal of salmon and scallops like it was our last.

WONDERFUL

DINING

The scene at Le Fat Poodle. Photographs courtesy of the restaurant

O

My big ‘Fat’ international dinner

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BY JEREMY WAYNE

ON A SATURDAY NIGHT EARLY IN THE YEAR, JUST A COUPLE OF WEEKS AFTER LE FAT POODLE HAS LAUNCHED, WE ARE SEATED ON A WELL-UPHOLSTERED BANQUETTE IN A FULL RESTAURANT, FACING THE OPEN KITCHEN AND TAKING IN THE SCENE. And what a scene it is: A party of four, arriving without a reservation, is being turned away at the door; a passing waiter, brandishing a pepper-mill the size of a spaceship, has narrowly missed knocking off a guest’s Carolina Herrera glasses; and Eartha Kitt is purring “Let’s Do It” at top-vol, inadvertently contributing to the restaurant’s already off-the-scale decibel count. As for me, I’m already rather loving this joint — although I may well require tympanoplas-

ty by the end of dinner.

Located in a glorious 1930s red brick building, which was originally the Old Greenwich Post Office and, more recently, the Arcadia Café, Le Fat Poodle is the new one from Antoine Blech and Anshu Vidyarthi, they of Le Penguin in Greenwich fame. With its beautiful bleached-wood floors, original moldings, palm trees at each end of the long room and Colonial-style ceiling fans, the space is French Indochina meets West Village hip, with a bit of ’70s wine bar in the mix.

Unlike Le Penguin, of which I am a fan, but whose French identity almost reaches the level of pastiche — “Allo, allo! Le PEEN-goo-anne of Green-witch” — answered a chirpy male staff

A few weeks later, I’m back for lunch, admiring the eponymous doggie stencil on the restaurant’s back wall. From the smallish lunch menu, a fi rst-class Tuna Tartare, made using good grade tuna on a guacamole base, comes buried beneath giant corn chips whose oiliness not even the generous slug of lime in the avocado can cut. But a Croque Madame, that luxurious version of a grilled cheese sandwich with an inset sunny side up egg, served on a rustic plate with some properly dressed salad leaves to the side, is spot-on. So is a warm Tarte Tatin — delicious, soft, sweet apples on a characteristically malleable crust — while other desserts we really like include a light-as-you-like lemon tart and a lickety-spit banana split, heavy on the caramel but none the worse for that.

Service at the Poodle, you should know, is sweet and for the most part deft, and the place seems imbued with a nicely seductive, laidback vibe. But I have to say, I’m still musing on the restaurant’s name. While I understand that calling it “Le” Poodle suggests a bit of fancy French, I can’t help wondering about the “Fat.” That’s because, despite the many carbs on the menu, including potato purée and superb French fries, I’ve yet to see anyone in the room above a size 8 — and that includes the guys. In fact, I’ve even heard “petites” get a discount. No, I’m just kidding about that last one.

Le Fat Poodle is open daily for lunch from 11:30 a.m. to 2:30 p.m. and for dinner from 5:30 p.m. to 10:30 p.m. (Weekend lunch is until 3 p.m.) The restaurant does not serve hard liquor, only wine, beer and sake. We recommend the shellfi sh, the Croque Monsieur/Madame, Cod à la Basquaise, Veal Pot Pie, Duck à l’Orange and the Tarte Tatin. Pair these with the J. Marr Napa Chardonnay and the Louis Max Pinot Noir from Burgundy.

Le Fat Poodle is at 20 Arcadia Road, Old Greenwich. For more, call 203-7171515 or visit lefatpoodle.com.

Dream Kitchens and Baths CRAFT-MAID CRAFTT MAID ■ BIRCHCRAFT ■ HOLIDAY TA ■ CABICO ■ STONE ■ QUARTZ ■ CORIAN ■ DECORATIVE AY DECORAT A IVE HARDWA AT HARDWARE W RE WA

Dream Kitchens and Baths member the last time I called the restaurant), the Poodle, despite its name, is not in thrall to France. Instead, it unapologetically plunders the world’s larders for inspiration, which, while admittedly giving some variety, does make for a bit of a farrago.

The menu enthusiastically crisscrosses the USA, with its New York strip steak, shrimp and grits and Hawaiian pu pu platter, before heading on to Asia for sticky Korean chicken wings. It then continues for a whistle-stop tour of Europe, where Spain, France and Italy are all represented, and some Belgian beer is thrown in for good measure. The wine list, by the way, which is exclusively French and domestic, is solid, but ambitiously priced -- $22 for a glass of Veuve Clicquot Champagne, and the fi zz can quickly evaporate.

“Waiter bring me shad roe”: This is not my actual instruction to the server, of course (although, truth to tell, I’m a sucker for this delicacy, which will be coming into season as you read this page). I’m merely lip-syncing to Eartha. And while the Poodle doesn’t serve shad in any form, there are nonetheless delights a-plenty from the sea. These include local oysters on the half shell, with a classic mignonette sauce, pingingly fresh lobster and king crab, as well as Cod à la Basquaise, a fi rm slab of glossy fi sh with a gutsy tomato and red-pepper sauce, spiked with prosciutto. In the aforementioned pu pu platter starter, apparently one of the restaurant’s best selling-dishes, we found the chicken and beef to be dry, but a Veal Pot Pie entrée, with the flakiest golden crust and cubes of tender veal in a rich gravy, found its mark.

CRAFT-MAID ■ BIRCHCRAFT ■ HOLIDAY ■ CABICO ■ STONE ■ QUARTZ ■ CORIAN ■ DECORATIVE HARDWARE

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WINE & DINE

Wine decanters will enhance your wine experience.

TO DECANT OR NOT TO DECANT? THAT IS THE QUESTION

T

STORY AND PHOTOGRAPH BY DOUG PAULDING

o decant or not to decant is always the question.

And there are no hard lines drawn. There are those who believe every bottle of wine deserves and benefits from decanting. Others decant only wines that are showing, or are suspicious of throwing off, a lot of sediment. And some believe only young wines benefit. I believe there is a crooked line here with no definitive direction.

The idea surrounding decanting wine is threefold — to aerate the wine and coax it toward more optimum drinkability, to separate an older wine from bitter sediment and to loosen up tightly-wound young wines full of tannins and/or spiciness that haven’t yet developed finesse and elegance. The first question you have to pose is “Is this wine delicate or more muscular and aggressive?” A properly stored wine from or prior to a vintage decade has had time to develop and mature in the bottle and is likely to be more delicate. That is, once opened and exposed to oxygen, it is likely to change quite quickly in the decanter or glass, possibly even passing through the optimum drinking stage before it is completely consumed. These wines are likely to show more sediment. A very gentle decanting of these wines can separate the wine from the sediment, making for a cleaner wine flavor unaffected by possible sedimentary bitterness.

For an older wine, it is important to be careful removing the cork as it might have become brittle or soft.

Breaking the cork does not mean the wine is bad. Look

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for a clean color line of the wine near the wine end of the cork. A cleanly defined wine line indicates the cork seal has been good. A blurry wine line or a cork that is winestained through much of it indicates the seal might have been breached and the wine is probably showing signs of vinegar. Once opened, I like to pour this older wine very gently against the inside of a decanter. Look for the sediment on the low side of the bottle and leave this in the bottle or filter it off into a separate glass. The wine does not need much oxygenation at this point and a gurgling pour into the decanter or the glass will accelerate and shorten the delightful metamorphosis you are likely to encounter. This morphing of the wine is one of the true wonders of opening something well-made and properly aged. The flavors and layers will move and change in the glass. Initial flavors of earthy mushrooms move toward a fruitiness, tempered with licorice, pepper, anise, leather or unlit tobacco flavors.

A young wine, especially a red Zinfandel, a Malbec, Syrah or Tannat can show lots of tannins and taste stringent or constricted, bound up and not giving of itself. For this type of tightly wound wine there are many methods of fast-forwarding the aeration and aging process, which will allow for a more proper expression and experience of the wine. I will decant it but will do it rather aggressively, essentially upending the bottle and dumping the wine into the decanter. This quickly oxygenates the wine and pushes it forward possibly the equivalent of a few vintage years. There are aera-

tors available (vinturi.com) to pour the wine through, which actually draws air into the wine helping with the opening up process. These are easily found in stores or online. They work. I have even taken two wine glasses and dumped the wine back and forth a few times, glass to glass, for the same effect.

So what shape decanter is the best? There are so many different shapes and sizes available at The Wine Enthusiast (wineenthusiast.com), Bed Bath & Beyond (bedbathandbeyond.com) and WilliamsSonoma(williams-sonoma.com), among others. Clear glass is key but shape is essentially aesthetic. There are lovely decanters shaped like swans, doves, ducks, teardrops, snakes and dragons. There are aerating decanters and the classic upside-down mushroom cloudshaped decanter. I’m a fan of decanters without handles or with fancy appendages, because they are more likely to break. Decanters can cost anywhere between $45 and $150 with some costing much more. I found a perfectly good and elegant decanter at Costco a couple of years ago for less than $15.

There is a certain pageantry to employing a decanter for your wine presentation. The ceremony and ritual gets everyone’s attention. It tells your guests you are opening something special for them. And it tells your guests they are worthy of bit of pomp and elegance.

Proper decanting will wake up your wine for immediate benefit and best enjoyment. Cheers!

Write me at doug@dougpaulding.com.

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MARCH 2015

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WHERE’S THE BEEF?

WHETTING THE APPETTITE

MARINATING IN VODKA

BY JACKIE RUBY PHOTOGRAPH BY BOB ROZYCKI

VODKA INFUSED HERB CRUSTED FILET MIGNON INGREDIENTS:

One of my real estate clients is a chef, and he gave me the idea for this recipe — marinate filet mignon in vodka. Was he ever right! For a client dinner party at my home, I made this dish. The meat was ever so tender and a huge hit.

Serve with a good Barola wine and you will be the talk of the town.

4 pounds FILET MIGNON (beef tenderloin), trimmed and tied 3 tablespoons extra virgin OLIVE OIL 1 tablespoon minced SAGE, ROSEMARY and THYME 3 MINT leaves 2 minced GARLIC cloves 1 teaspoon freshly ground black PEPPER 1 tablespoon SALT ½ cup VODKA

DIRECTIONS:

For more, contact Jackie at jacquelineruby@hotmail.com.

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Combine all the ingredients – except the salt, vodka, olive oil and filet – in a small bowl and mix together.

Pour vodka over the filet.

Rub the herb mixture over the top of the filet.

Cover tightly with plastic wrap and refrigerate for 48 hours.

After the allotted time, add salt and olive oil to the beef.

Preheat the oven to 475 degrees on convection roast.

Roast in the oven for 20 minutes until brown.

Lower oven temperature to 375 degrees (convection roast) and cook another 19 minutes.

(You can add water to the pan if it becomes too dry.)

Roast the filet until it registers 145 degrees with a thermometer.

Remove from the oven and let the filet rest 10 minutes and cover with aluminum foil before slicing.

Serve with mushrooms and mashed potatoes.

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WHAT’S UP

THE DESIGN

J

BY MARK LUNGARIELLO

ULIE, MY WIFE — A.K.A. THE BOSS — went to a friend’s workshop one recent Saturday morning and returned with a freshly sawed and sanded wood plank. There was a heavy-duty Velcro strip across the front and screws halfway into the wood.

“Will you help me hang this?” The Boss asked. I was on the couch, still in my pajamas and watching some vintage Schwarzenegger on Netflix — which is exactly the brainless violent action stuff I click on when I finally get to control the remote for a change.

“Yes, dear,” I said, using one of the two essential phrases my “father-inlaw elect” had told me to practice the morning before Julie’s and my wedding.

She stood there, sighed, then said, “Oh God. I hate Schwarzenegger.”

“His performance is actually much more subtle and nuanced than people give him credit for,” I yelled over the booming surround sound of machine guns and explosions. Her hatred of Arnold is something that has always confused me since they are both terminators in their own ways. (Could that be the reason?)

I opted not to use “Terminator” for my pet nickname but instead chose The Boss since Julie is from South Jersey where Bruce Springsteen is a patron saint and calling your wife “The Boss” is actually a compliment.

“Can we go hang this now?” The Boss said. Although I’d hoped to finish the Governator flick — this time it was “The Running Man,” if you’re keeping track — I used the second phrase my father-in-law elect told me to practice on our wedding morning.

“Whatever you say,” I said and peeled myself off the leather, picking myself out of what I call the “Archie Bunker indent,” that sweet spot on the couch that sinks because you sit in the same place every single time.

I dared not ask her what the plank was for at first, just where she would like it hung. Above the bed, as it turns out. And so I hopped onto the bed and held the plank against the wall while she watched from a few feet away directing me: “A little to the right. The left side is higher than the right.”

Julie is a designer by trade. She might correct me for saying that because her title is “Associate Creative Director.” I know the title well because I’ve practiced. No one told me to practice this one, but The Boss sometimes tests me to make sure I listen to her about her job.

“Do you even know what my job is at work?” she might ask.

“Associate creative director,” I say, feigning shock she’d dare ask me. Luckily most times she doesn’t ask me what I think it means to associatively creative direct. If she does, I say, “I know it means you manage people who design stuff.”

Once, I asked her to describe what exactly she does for my own understanding. She replied, “I solve problems.”

“You mean problems in a design?” I asked.

“All design is solving problems,” she replied.

Or, in my case, all things I design are a problem.

The best thing I ever designed was a fully-functional model of the inner workings of the human ear for my sixth-grade science fair. My father was the one who really designed it and built it — you know the way parents design and build all science fair projects — but I got the credit for it so I’ll say I designed it.

The truth can come out now, because it’s too late for Corpus Christi School officials to take back that sixth-grade diploma or whatever it is they give you at the end of sixth grade, if they even give you anything, those selfish bastards.

Most things I actually designed myself didn’t end up as good as the model ear that my father sweated over late into the night. There was the first go-kart that had wheels that didn’t spin. And a second whose wheels would spin but had no steering. I don’t only lack design ability but execution of design as well.

The handy gene skipped me, the same way the “goodat-math” gene skipped me. I was a disgrace to my family, who were people who could do long division and also build things. I had uncles who made houses with stone and wood, and my father can repair cars. When he opens the hood of a vehicle he actually knows what the stuff inside does, unlike me who might just stand there and say, “I think the carburetor is fried.” (I know carburetors are mostly obsolete these days, but only because he mentioned that to me the other day).

I did put up shelves, but needed a half-dozen extra holes to find the studs in the wall. I’m still pretty sure I missed them and The Boss has been asking me how long until they collapse.

It makes sense someone like me ends up with someone like Julie, if only so she can “fi x problems” in the design of the apartment. Some which I never knew existed, which brings me back to the plank of wood.

I finally got the nerve to ask her, coyly, what the plank was for, avoiding eye contact the way a teenager would ask someone to the prom. Turns out it was to hang a Turkish rug she received as a gift. She designed the whole contraption to hang it, because it was too heavy to just tack into the wall and she didn’t want to damage the rug by putting holes in it. Go figure.

And this whole time, I didn’t realize we had a rug problem. Julie realized there are no rugs or carpets anywhere in the entire apartment so we needed one on the wall.

Brilliant!

There was only one flaw in her design plans — that she was prepared to rely on me to screw the plank into the wall. “Remember what happened to the shelves,” I said as I was about to screw some more holes into the sheetrock.

“Wait,” she said. “Let’s wait awhile and rethink this.”

Sometimes a boss’ biggest design problem is her husband. And as I’m married to a problem solver, well, my days are numbered.

“Yes, dear,” I said.

Follow Mark on Twitter, @marklungariello.

I DARED NOT ASK HER WHAT THE PLANK WAS FOR AT FIRST, JUST WHERE SHE WOULD LIKE IT HUNG. ABOVE THE BED, AS IT TURNS OUT. AND SO I HOPPED ONTO THE BED AND HELD THE PLANK AGAINST THE WALL WHILE SHE WATCHED FROM A FEW FEET AWAY DIRECTING ME: “A LITTLE TO THE RIGHT. THE LEFT SIDE IS HIGHER THAN THE RIGHT.”

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PROBLEM SOLVER

MARCH 2015

DANÚ

OPERA AT THE CINEMA

THE KLEZMATICS

JEREMY DENK

MARCH Danú

High-energy traditional Irish ensemble March 7 • 8pm

La Fille du Regiment

Donizetti’s comic opera in spectacular HD March 8 • 2pm

Natalie Merchant and the PSO

Famed singer-songerwriter with orchestra March 20 • 8pm

Compagnie Käfig

Dazzling, heart-stopping dance from Brazil March 21 • 8pm

The Klezmatics

The genre’s most innovative band March 22 • 3pm

Academy of St Martin in the Fields

With award-winning pianist Jeremy Denk March 26 • 8pm

APRIL JACK Quartet

Contemporary chamber music April 12 • 3pm

Harlan Jacobson’s Talk Cinema Smart films for smart people April 14 • 7pm

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Conductor Keith Lockhart April 25 • 8pm

TICKETS

914.251.6200

WWW.ARTSCENTER.ORG or in person at the box office 735 Anderson Hill Road Purchase, NY Box office hours: Tues-Fri noon to 6pm Major sponsorship of The Performing Arts Center’s 2014-15 Season is provided by The Vivian and Seymour Milstein Endowed Fund The Performing Arts Center’s programs are also made possible by ArtsWestchester with support from Westchester County Government The Orchestra and Chamber Music Series are made possible in part by support from the Tanaka Memorial Foundation Special thanks to media sponsor WNYC and our corporate sponsors, Steinway & Sons and TD Bank, America’s Most Convenient Bank®

NATALIE MERCHANT | Photo © Mark Seliger

WHEELS

Denise DeLuca with her Fiat, Fiona. Photograph by Georgette Gouveia.

THE TINY, MIGHTY

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IT WAS LIKE SEEING A GHOST. That was the feeling I had when I fi rst saw the new Fiat 500, a modern reboot of the classic Italian car, on an American street a few years ago.

It’s been 58 years since the original Fiat Nuova 500 hit the streets of Italy and other countries in Western Europe, and enough of them are still being driven that they are a semi-common sight from Berlin to Bolzano. A two-cylinder postwar “city car” that for generations defi ned the Fiat brand, the Fiat 500 was reimagined and relaunched in 2007 as a modern small car that melds modern technology with the 500’s classic design.

“The look is 1957, but the content is 2015,” says Alfredo Gulla, the owner of Alfa Romeo Fiat of Larchmont, the fi rst Fiat dealership in the United States.

“I started 1960, ’61, and we went with Fiat and

wcc wag.pdf

THE FIAT — WHICH MIGHT SEEM NO BIGGER THAN YOUR SOFA — IS DISARMING, SHE ADDS: “IT LOOKS LIKE A SMALL CAR. BUT WHEN YOU’RE IN IT, YOU’RE SITTING HIGH.” DELUCA OPENS FIONA TO SHOW HOW ROOMY SHE IS. “IT’S A SMOOTH RIDE. SHE’S FUN.”

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Alfa Romeo,” Gulla says in his showroom, which has modern versions of the Fiat 500 as well as an original version on display nearby.

He says it was tough when Fiat left the American market in 1984.

“But we survived, because we still had Alfa Romeo. We sold Chryslers, Jeeps and Plymouths. But I always missed the Fiats. When they came back (in 2010), (Fiat) approached me… and I was very, very interested,” Gulla said.

When he saw the new 500, he knew that it was the car of the future for its market segment. He says the car does well with a broad base of customers, as it is both affordable and economical.

Fuel economy, Gulla says, is a big selling point, with manual transmission versions of the 500 getting close to 40 miles per gallon. The car comes in four versions — a fi fth will soon be released — and generally retails between $18,000 and $32,000.

“Older customers that had a Fiat from the ’60s, ’70s, ’80s,” love the new 500,” he adds. ”And Italian-Americans, they love this car as a piece of their heritage. But above all, people who love to drive love it, because it’s a trouble-free car. It’s stylish and economical.”

Among the Fiat 500’s happy cusCY tomers is Denise DeLuca, a stylist at CMY Dee Francetic Hair Salon in Hartsdale.

K Her 2012 car’s distinctive burnt orange coloring matches her owner’s auburn hair. We say “her owner” because DeLuca’s Fiat is a she. Her name, proudly displayed on her license plate, is Fiona.

“In the Fiat place (in Larchmont), everyone names their cars, so I named mine Fiona, which is my alter ego,” DeLuca says. She — DeLuca, not Fiona — had driven an Acura and had looked at the MINI Cooper. But when she saw the Fiat, it made her smile. “I don’t need a silver and white four-door sedan,” DeLuca says. “That’s not me. I’m a fan of the old MG.” The Fiat — which might seem no bigger than your sofa — is disarming, she adds: “It looks like a small car. But when you’re in it, you’re sitting high.”

DeLuca opens Fiona to show how roomy she is. “It’s a smooth ride. She’s fun.”

As for their twin coloring, DeLuca says, “I can’t tell you how many people have stopped me to say, ‘You look like your car.’”

Georgette Gouveia contributed to this story.

WAGMAG.COM

MARCH 2015

77

WHAT’S NEW

In the (tech) swing of things

BY LEIF SKODNICK PHOTOGRAPH BY BOB ROZYCKI

Golf pro Michael Manavian corrects Leif Skodnick’s swing.

AROUND THIS TIME EVERY YEAR, I GET RESTLESS KNOWING THAT GOLF SEASON IS RAPIDLY APPROACHING AND START LOOKING AT THE NEW CLUBS AND BALLS, ANXIOUSLY WONDERING WHAT WILL IMPROVE MY GAME. Like most golfers, I’ve always been somewhat of an equipment junkie, buying a new driver to try and get 15 more yards off the tee or trying out new wedge shafts to get more spin on the green. The problem with my approach was that it was haphazard. I tried things out without any analysis of my swing mechanics, so while I was changing my equipment, I wasn’t necessarily optimizing it.

But on a snowy February day, I took a step toward optimizing my equipment and swing the right way, paying a visit to Michael Manavian, the golf pro at Clay DX Sports Labs in Port Chester.

Manavian, who played college golf at Methodist University in Fayetteville, N.C., came out of college undersized for the professional game.

“I got tired of hitting fairway woods into par fours,” says Manavian, who took up bodybuilding to add muscle to his frame and distance to his game. He’s since competed as an amateur bodybuilder, as well as built a practice as a golf pro around using technology to fix golfers’ swings as well as enhance their strength and conditioning.

Manavian is a certified teacher of Stack And Tilt Golf, a swing method that has improved the games of top PGA Tour professionals such as Aaron Baddeley and 2003 Masters champion Mike Weir. The swing method is simple. It’s designed to give a player the control to hit the same spot on the ground consistently every single time, as well as to have good power and control his shot shape.

But a visit to Clay SX Sports Labs is more than just a swing lesson, because Manavian uses the unique GEARs motion-capture video system to dissect and rebuild a player’s game. If you’ve seen “Avatar” or any CGI-animated movie, it’s the same technology applied to golf.

When I got there, Manavian fitted me with the motion capture suit and my 7 iron with the little white stick-on balls. He fired up the computer and punched in the specs for my

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7 iron — a Titleist AP1 with a True Temper Dynamic Gold S300 stiff shaft. The system literally has the data for hundreds of clubs and shafts and can tell you how each is performing in your hands with each swing.

So now that I was wearing the motion capture suit and the computer knew which club I was holding, I started to hit a few balls. My golf swing is mostly self-taught, as I was left to wander the fairways alone by my father, who was never able to cure a horrible slice in his teens and gave the game up entirely. I took a lesson or two in college, but for the most part have hit balls and made adjustments on my own, with varying success.

After a few swings, we looked at the video. Manavian liked what he saw, noting that I have a good foundation, and I make good shoulder and hip turns to generate power.

He also noticed that I moved my head in a way that limited my turn and was costing me power and had the answer. By putting my left ear on my left shoulder as I started my backswing, I could turn my shoulders a full 20 degrees further, generating more power, club head speed and distance.

We also tinkered with my equipment. A few years ago, I changed iron sets, going to Titleist AP1s with stiff shafts because, well, I thought I swung hard enough to use them.

The truth, as revealed by my session at Clay DX Sports Labs, is that the stiff shafts are OK for my game. I generate good club head speed, and the shaft responds fairly well to my swing.

But during my session, I found out that a regular flex shaft responds much better. And based on the data compiled, Manavian was able to figure out how I could optimize my irons. By switching to a regular flex shaft that is a quarter-inch shorter than standard and adjusting the lie angle (the angle between the sole of the club head and the shaft) of my irons to make it a bit flatter, I’ll hit more accurate shots.

If you’re a low-to-mid handicapper and want to build a simple, repeatable golf swing or optimize your clubs, you should visit Manavian at Clay DX Sports Labs before you hit the course this season. And because it’s located at the luxurious Clay Health Club and Spa, you can also get a workout, steam bath, sauna, massage or facial after your lesson.

For more, visit insideclay.com.

Take your first swing of the season here.

Tee-off this season on a challenging, 18-hole, par 72 championship course with amazing Hudson River views. Enjoy affordable membership packages for weekends, weekdays, twilight play, or juniors.

Brand new members receive either a 2015 Taylormade AeroBurner driver (first 50 people to sign up for a full week membership) or a Taylormade Golf bag (all other memberships except junior). All members receive complimentary Garrison bag tags.

The Garrison Golf Club also features: a Daily-fee play, open to the public a Fully stocked Pro Shop a Equipment rentals

a The Terrace Grill overlooking the first tee a Lessons for all ages a PGA certified Golf Professional onsite

Sign up by March 31, 2015, and get 5% off the fee for an annual Garrison Golf Membership!

• 30-day advanced tee time reservations • Two-hour block of Members Only play every weekend* • No cart fee • No initiation fee

Mention WAG Magazine when you call to sign up.

*If slots are not reserved within a week, we reserve the right to open them up to the public.

New for 2015, membership now includes:

Corporate packages are also available. Dine at our Valley Restaurant.

Stay overnight in our intimate country Inn.

Golf. Dine. Stay.

Discover The Garrison

845-424-3254 • thegarrison.com • marysamccollum@thegarrison.com

WELL

MY OWN PRIVATE YOGA

BY KELLYE DAVIS

O

nce when I was teaching a yoga series for a well-known Fortune 500 company, I had missed a week. When I returned the following week, one of the employees who had participated was less than Zen-like about my absence.

“I could not get to my bliss last week,” she said with a disappointed look on her face. I told her, though, that no matter where you are, who is around or who is not around, you always have your yoga practice with you.

Indeed, you can do your yoga practice before you get to work, I suggested.

But how do you design a yoga practice? Before beginning any form of exercise, check with your doctor to ensure that it is medically right for you. Then consider a beginner’s class or DVD to see if it’s physically (and philosophically) right for you. Yoga classes welcome observers and newbies, because — and this is one of the great things about yoga — it’s always nonjudgmental.

Once you’ve decided on yoga as a discipline for life, you should:

DESIGNATE A SPACE. Whether it’s a room or a corner of one, make sure it’s a quiet place and large enough to put down your yoga mat. Look at this area as your personal tranquility zone. You can fill it with serene pictures, soft pillows and other objects that remind you of your intentions for this space, along with flowing sounds or music. Pandora has a great selection of yoga music.

SET ASIDE MORNING TIME, IF POSSIBLE.

The hours between 4 and 8 a.m. are considered a sacred time for doing yoga. Allow yourself at least 10 to 30 minutes a day to feel the effects of this discipline.

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SELECT YOUR ACCESSORIES.

Wear loose-fitting clothing. Pick a yoga mat that’s comfortable for you. Apply some essential oil to your wrists or place a favorite aroma dispenser in your room. I recommend a refreshing citrus scent like orange or lemon for the morning hours and soothing lavender for the evening.

CHOOSE YOUR POSTURES. In the morning, focus on three or four postures that make you feel empowered while also creating a calm mind set, like cat stretch, downward facing dog, forward bend, tree pose and proud warrior. Doing the sun salutation allows you to combine many of these poses, or asanas, in a flowing series.

In the evening, after a long day, I recommend restorative yoga postures like child’s pose, the Maltese cross and corpse pose. As always, you want to remain connected to your deep breathing.

I can remember a few years back when one of my friends was practicing yoga and always complained about doing the classic hatha yoga postures. She just did not like doing them, but she loved meditating. I told her, “OK, then start there.” Designing your own yoga practice is really about what calls to you. Whether you are new to yoga or you practice regularly, it really doesn’t matter. You are always at the center of your practice.

I was taught that yoga was never designed to be complicated. One of my hatha yoga master teachers, Sri Swami Satchidananda (founder of Integral yoga), would always say, “Keep your yoga practice easeful.”

After all these years, I have found that advice to work best for me.

For more, visit kellyedavis.com.

ORTHOPEDIC SURGEON AND FELLOWSHIP TRAINED SPORTS MEDICINE SPECIALIST MARC KOWALSKY, MD HAS JOINED THE ONS TEAM.

Marc S. Kowalsky Orthopedic Surgeon Shoulder & Elbow Surgery Sports Medicine RESIDENCY Orthopaedic Surgery, Columbia University Medical Center / New York Orthopaedic Hospital, New York, NY

FELLOWSHIP Sports Medicine: Lenox Hill Hospital Nicholas Institute of Sports Medicine & Athletic Trauma New York, NY Shoulder & Elbow Surgery: Washington University School of Medicine Saint Louis, MO

Dr. Kowalsky has expertise in conservative and operative treatments of upper and lower extremity sports injuries, as well as complex shoulder and elbow pathology including degenerative disease and trauma. He has a particular interest in the management of shoulder and elbow arthritis, instability, rotator cuff tears, labral injury, and cartilage disorders. His goal is to return patients quickly, safely and fully to their best function and performance.

Dr. Kowalsky has provided sports medicine coverage for the Tournament of Champions Squash Tournament and the United States Open Tennis Championship. He was an assistant team physician for the New York Jets and the New York Islanders. He previously served as orthopedic surgery consultant for New York City Public School Athletic League Rugby and Play Rugby USA, and as the Medical Director of the New York Rugby Club Annual New York 7s Tournament. He is a team physician for the USA Rugby National Team.

MEET THE DOCTOR

Shoulder Pain Seminar When: March 12, 2015, 6:30 p.m.

Where: Noble Auditorium, Greenwich Hospital Severe shoulder arthritis and chronic shoulder pain can make daily-life activities, like combing hair, reaching for a lamp or putting on a sweater extremely difficult.

Marc Kowalsky, MD, orthopedic surgeon and shoulder specialist will talk about reliable solutions for chronic shoulder pain.

Learn about your options to make the best decision for you.

Registration requested. Call 203.863.4277 or go to www.greenhosp.org.

GREENWICH | STAMFORD CT ORTHOPAEDIC & NEUROSURGERY SPECIALISTS, PC 6 GREENWICH OFFICE PARK, 40 VALLEY DR. (OFF US1), GREENWICH, CT | 203.869.1145 82

WAGMAG.COM

MARCH 2015

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DIGITAL HOME SYSTEMS 38 S. Ridge St. Rye Brook, NY 10573 914-939-7000 digitalhomesystems.com

DUXIANA 15 W. Putnam Ave. Greenwich, CT 06830 203-661-7162 duxiana.com

ETHAN ALLEN 152 S. Central Ave. Hartsdale, NY 10530 914-684-0360 ethanallen.com

FARROW & BALL SHOWROOM 32 E. Putnam Ave. Greenwich, CT 06830 203-442-0990 us.farrow-ball.com

THE FEDERALIST 95 E. Putnam Ave. Greenwich, CT 06830 203-625-4727 thefederalistonline.com

278 Greenwich Ave. Greenwich, CT 06830 203-629-3659 lynnens.com

45 E. Putnam Ave. Greenwich, CT 06830 203-661-4480 mgbwhome.com

PIMLICO

Jennings Plaza Shopping Center 1027 Post Road East Westport, CT 06880 203-226-7550

IDEAL TILE 815 E. Main St. Stamford, CT 06902 203-324-9103 idealtilefairfield.com

KAREN BERKEMEYER HOME 175 Post Road West Westport, CT 06880 203-454-0032 karenberkemeyerhome.com

48 Elm St. New Canaan, CT 06840 203-972-8166 pimlicohome.com

KLAFF’S

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341 Central Park Ave. Scarsdale, NY 10583 914-740-1800

50 Tarrytown Road White Plains, NY 10607 914-948-6333 stickleyaudi.com

RESTORATION HARDWARE 310 Greenwich Ave. Greenwich CT 06830 203-552-1040 restorationhardware.com

WHITE BIRCH STUDIO 3 Sconset Square Westport, CT 06680 203-557-8087 whitebirchstudio.com

STONE, TILE & CABINETRY BEST PLUMBING TILE & STONE 830 Central Ave. Scarsdale, NY 10583 914-723-2002 1989 W. Main St. Stamford, CT 06902 203-975-9448 bestplg.com

28 Washington St. South Norwalk, CT 06854 203-866-1603

11 Newtown Road Danbury, CT 06810 203-792-3903 klaffs.com

MAJESTIC KITCHENS AND BATH 700 Fenimore Road Mamaroneck, NY 10543 914-381-1302 majestickitchens.com

MILLENIUM STONE 1 Mill St. Port Chester, NY 10573 914-939-0990 millenniumstoneltd.com

NU KITCHENS 132 Water St. South Norwalk, CT 06854 203-831-9000 nukitchens.com

RIEMER KITCHENS & FINE CABINETRY 27 Purdy St. Harrison, NY 10528 914-921-0303 riemerkitchens.com

AQUA POOLS 53 Newberry Road East Windsor, CT 06088 860-623-9886 aquapool.com

GLEN GATE CO. 221 Danbury Road Wilton, CT 06897 203-762-2000 glengatecompany.com

PLIMPTON & HILLS 92 Research Drive Stamford, CT 06906 203-965-5959 plimptonhills.com

WATERWORKS 60 Backus Ave. Danbury, CT 06810 800-899-6757 23 W. Putnam Ave. Greenwich, CT 06830 203-869-7766 waterworks.com

OUTDOOR CARMINE DUVA GENERAL CONTRACTING INC. 25 New York 100 Katonah, NY 10536 914-245-7869 carmineduva.com

GRAND ENTRANCE 128 Radio Circle Drive Mount Kisco, NY 10549 914-241-7120 grandentrance.com

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PET OF THE MONTH

Who’s the boss?

Marvin, that’s who MARVIN, OUR POOCH OF THE MONTH, IS A BIG DOG IN A TINY BODY. The spunky, fun Terrier, roughly — or should that be ruff ”ly? — 3 years old, loves running, playing and being a bit bossy — which makes him that much cuter.

He would love a quiet home with adults who give him all their attention. Needless to say, he’s not much for other dogs or little kids. But for someone looking to be an audience to his star, the planet to his sun, he’s one cool little guy.

To meet Marvin, visit the SPCA of Westchester at 590 N. State Road in Briarcliff Manor.

Founded in 1883, the SPCA is a no-kill shelter and is not affiliated with the ASPCA. The SPCA is open 10 a.m. to 4 p.m.

Mondays through Saturdays and 1 to 4 p.m. Sundays. To learn more, call 914- 941-2896 or visit spca914.org.

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87

ous Ground),” “All I Need Is A Miracle” and

MARCH 12

more. 8 p.m. Tarrytown Music Hall, 13 Main

“Mercedes Sosa: The Voice of Latin Amer-

St.; 877-840-0457, tarrytownmusichall.org.

ica” — The documentary reveals the early

town Music Hall, 13 Main St.; 877-840-0457, tarrytownmusichall.org.

life and rise of the Argentine singer. A panel

WHEN & WHERE

discussion follows the screening. 6:30 p.m.,

MARCH 26

Ossining Public Library’s Budarz Theater,

“Cassandra Wilson - Coming Forth By Day: A

“Rock the River” -- The concert, featuring

53 Croton Ave., Ossining; 914-941-2416, os-

Celebration of Billie Holiday” – One great jazz

Journey former lead vocalist Steve Augeri,

siningdocumentaries.org.

singer pays tribute to another. Complimentary

MARCH 5

THROUGH APRIL 5

benefits Sunrise Day Camps for children

“Camelot” – An intimate production of Le-

with cancer and their siblings. 8:15 p.m.,

rner and Loewe’s timeless musical about

The Capitol Theatre, 149 Westchester Ave.,

King Arthur. Westchester Broadway The-

Port Chester, thecapitoltheatre.com.

wine-tasting and reception at 7:15 p.m., Ridge-

MARCH 14 and 15

field Playhouse, 30 East Ridge Road; 203438-5795, ridgefieldplayhouse.org.

“The Annual Larchmont Antiques and Collectibles Show” – Search for treasures

atre, 1 Broadway Plaza, Elmsford; 914-592-

from vintage furniture to costume jew-

MARCH 27

elry and more, with free verbal appraisals

The Junior League of Central Westchester’s

Polish artist Anna Bocek exhibits her por-

on March 15. Proceeds benefit the Mama-

spring fundraiser 2015, “Big Night Out: Big

traits of women and the female form. Can-

roneck Schools Foundation. 10 a.m. to 5

Night, Big Causes, Big Impact.,” features

“Not Really: Fictive Narratives in Contem-

fin Gallery, 39 Main St., Tarrytown; 914-332-

p.m. March 14 and 10 a.m. to 4 p.m. March

cocktails, dinner, a silent auction and music

porary Art” – An exploration of the illusory,

4554, canfingallery.com.

15. Mamaroneck High School, 1000 W. Bos-

by former New York Yankee centerfielder

ton Post Road. 914-723-6989.

Bernie Williams. VIP Champagne reception

2222, broadwaytheatre.com.

THROUGH APRIL 19

MARCH 5 THROUGH 22

fabricated and contrived nature of our mediated and digitalized world. The Castle Gallery

starts at 7 p.m., Pepe Infiniti Showroom,

at The College of New Rochelle, 29 Castle

MARCH 6

Place, New Rochelle; 914 -654-5423, cnr.edu.

“Wynonna and Friends: ‘Story & Song’”

MARCH 15 THROUGH MAY 2

— Wynonna Judd takes country music

“Crossing Borders: Memory and Heritage

fans on a tour of her 30-year career. 8 p.m.

in a New America” explores memory, iden-

Ridgefield Playhouse, 30 East Ridge Road;

tity, and cross-cultural approaches within

MARCH 28

203-438-5795, ridgefieldplayhouse.org.

New York’s immigrant community. Arts-

“Signed, Sealed and Delivered” – The popu-

Westchester, 31 Mamaroneck Ave., White

lar art sale/fundraiser returns March 28th with

Plains; 914-428-4220, artsw.org.

two ways to collect from 5 to 7 p.m. Either pur-

THROUGH MAY 31 “(Re)Discovering the “New World: Maps and Sea Charts From the Age of Exploration” — Featuring more than 30 European-

300 Central Ave., White Plains; 914-7236130, jlcentralwestchester.org/bno.

made maps and sea charts inspired by New

MARCH 7 THROUGH APRIL 4

World exploration, published between 1511

“A Handful of Images” is a collection of

and 1757. The Bruce Museum, 1 Museum

Jeffrey B. Kellner’s black-and-white photo-

MARCH 15

Drive, Greenwich; 203-869-0376, bruce-

graphs of 1970s and ’80s New York. Noon

Hudson Chorale — the Westchester debut

29, the remaining selections will be available

museum.org.

to 4 p.m. Wednesday through Sunday, Up-

of the VC3 Cello trio in a program featuring

for sale in the galleries, which will be open

stairs Gallery of the Ridgefield Guild of Art-

Bach, Brahms and De la Tombelle. Reserva-

to the public from 1 to 5 p.m. Tickets for the

ists, 34 Halpin Lane, Ridgefield; 203-438-

tions recommended. 3 p.m., Chappaqua

March 28 event are $35. Silvermine Arts Cen-

8863, rgoa.org.

Library, 195 South Greeley Ave., Chappaqua

ter, 1037 Silvermine Road, New Canaan; 203-

914-332-0133, hudsonchorale.org.

966-9700, silvermineart.org.

MARCH THROUGH JULY ArtsWestchester celebrates its 50th anniversary with “ARTSEE,” a four-month

chase 4-by-6-inch original works for $50 (buy three, get the fourth free) or 10-by-10-inch artwork raffle tickets for $100 each. On March

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showcase of the creative spirit in West-

MARCH 8

chester County, featuring works in all me-

“Spank! The Fifty Shades Parody” – A

MARCH 16

dia. ArtsWestchester, 31 Mamaroneck Ave.,

musical spoof of “Fifty Shades of”… well, you

Pilobolus is renowned worldwide for its

Mets’ manager and director of public safety

White Plains; 914-428-4220, artsw.org.

know. 7 p.m., Tarrytown Music Hall, 13 Main

witty and gravity-defying dance and ac-

and health for Stamford, with the Chief’s

St.; 877-840-0457, tarrytownmusichall.org.

robatics. 7 p.m., Ridgefield Playhouse, 80

Award. The event benefits a range of services

East Ridge Road, Ridgefield; 203-438-

provided by the CCFPP. 7 to 11:30 p.m., Green-

5795, ridgefieldplayhouse.org.

wich Country Day School, 401 Old Church

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The annual Cos Cob Fire Police Patrol Benefit will honor Bobby Valentine, former New York

MARCH 1

“(MORE) INTIMATE MOZART” – A con-

Chinese New Year Celebration — ArtsWest-

cert of familiar and lesser-known chamber

chester partners with the Westchester &

works performed by REBEL. 4 p.m., Bed-

Hudson Valley chapter of the Organization of

ford Presbyterian Church, Village Green

MARCH 20

Chinese Americans to present a showcase of

(Route 22/Route 172), Bedford; 914-734-

An evening with James Van Praagh, the au-

MARCH 29 THROUGH JUNE 28

artists working in various media. 2 to 5 p.m.,

9537, rebelbaroque.com.

thor of “Talking to Heaven” and “Reaching

“A Home for Art: Edward Larrabee Barnes

ArtsWestchester, 31 Mamaroneck Ave., White

to Heaven.” Book-signing after the event.

and the KMA” – The Katonah Museum of

Plains; 914-428-4220, artsw.org.

7:30 p.m., Ridgefield Playhouse, 30 East

Art celebrates the silver anniversary of its

Ridge Road; 203-438-5795, ridgefieldplay-

landmark building by Edward Larrabee

house.org.

Barnes with an exhibition that explores the

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MARCH 9

Take a special tour of the Hudson River Mu-

“Rhythm Of The Dance - The Irish Dance

seum’s new spring show “Frohawk Two-

Spectacular” — Matinee at 11:15 a.m., evening

Feathers: Kill Your Best Ideas, The Battle

performance at 6:15 p.m., Westchester Broad-

for New York and its Lifeline, The Hudson

way Theatre, 1 Broadway Plaza, Elmsford; 914-

River.” It includes Frohawk Two Feathers por-

592-2222, broadwaytheatre.com,

traits, wooden sculpture, maps and scenes of the colonial Hudson Valley through the eyes of fictional Frenglish soldiers. 511 Warburton Ave., Yonkers; 914-963-4550, hrm.org.

MARCH 3

Road, Greenwich; 203-660-0662, ccfpp.org.

architect’s work in Westchester. 134 Jay St.,

MARCH 20 and 21

katonahmuseum.org. (See related story on p. 32.)

The Moody Blues have sold in excess of 70 million albums worldwide with such hits as “Nights in White Satin” and “Tuesday Af-

MARCH 30

ternoon.” 8 p.m., The Capitol Theatre, 149

Steve Berry is the best-selling author of “The

The Writing Institute at Sarah Lawrence

Westchester Ave., Port Chester; thecapitol-

Lincoln Myth,” “The King’s Deception” and

and the Scarsdale Public Library partner for

theatre.com.

“The Columbus Affair,” among others. This

MARCH 11 “Write Now!” to get people writing. 7 to 9

Mike and the Mechanics — Formed in 1985

p.m., Scarsdale Public Library, 54 Olmsted

by Genesis founding member Mike Ruther-

Road, Scarsdale; 914-395-2205, slc.edu/ce/

ford, Mike and the Mechanics has recorded

writing-institute.

talk and book signing features his new book,

MARCH 20

“The Patriot’s Threat.” 7 to 8:30 p.m., Chappaqua Public Library, 195 S. Greeley Ave.,

Comedian Robert Klein has entertained

Chappaqua;

seven studio albums and enjoyed a series of

audiences for more than 40 years on stag-

brary.org. for free online tickets.

hit songs with “Silent Running (On Danger-

es and screens big and small. 8 p.m., Tarry-

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MARCH 2015

914-238-4779,

chappaquali-

for movies and the performing arts

80 East Ridge, Ridgefield, CT (203) 438-5795

ridgefieldplayhouse.org

THE BEST OF BROADWAY COMES TO RIDGEFIELD

THE BROADWAY DOLLS

Gotta Dance

Sat, April 11 @ 8:30PM

Fri, May 8 @ 8PM

From Lady Gaga to Frank Sinatra – this “GLEE” like concert takes you to Broadway and beyond!

Show-stopping numbers from Broadway’s Hottest Broadway’s dancers.

A WHOLE NEW YOU SERIES

ROCK SERIES

James Van Praagh

Dan Aykroyd, Judith Belushi & Musical Director Paul Shaffer present:

Fri, March 20 @ 7:30PM

The Official BLUES BROTHERS Revue

The Original Ghost Whisperer! An evening of spirit with renowned psychic medium and best selling author.

ART, WINE & JAZZ SERIES Complimentary wine tasting courtesy of 109 Cheese & Wine and reception with local artist in the lobby at 7:15pm.

Kat Edmonson

Sat, March 7 @ 8PM

A great night of jazz and vintage pop with this newcomer and her new album “The Big Picture” – which debuted at #1 on Contemporary Jazz Chart! Reception in lobby with photographer Bonnie Edelman.

Sat, March 14 @ 8PM

Don Felder An Evening at Hotel California Wed, March 18 @ 8PM

Felder originated the music and co-wrote The Eagles’ biggest hit – “Hotel California,” “Victim of Love” and “Those Shoes.”

Michael Bolton

Wed, March 25 @ 8PM

Cassandra Wilson

Grammy Award-winning Singer, with hits “How Am I Supposed To Live Without You,” “When A Man Loves A Woman,” “Soul Provider,” “Time, Love and Tenderness” and more!

Thurs, March 26 @ 8PM

Cassandra Wilson, perhaps the greatest living jazz singer, comes to The Playhouse with a special tribute concert to Billie Holiday on the centennial of Lady Day’s birth.

Preservation Hall Jazz Band Wed, April 1 @ 7:30PM

Partially underwritten by the Rosa/Beresford Family The French Quarter comes to Ridgefield with a great night of New Orleans Jazz!

DOYLE COFFIN ARCHITECTURE SINGER SONGWRITER SERIES

Gregory Alan Isakov

Sun, April 12 @ 8PM

South-African born singer-songwriter with his new album “The Weatherman.”

Luke Wade

Sun, April 19 @ 7:30PM

From NBC’s The Voice Season 7! With his new album “The River.”

Judy Collins

Thurs, April 23 @ 8PM

Award-winning Folk Icon with hits “Both Sides Now,” “Send In the Clowns” and more!

Outlaws

Fri, March 27 @ 8PM

A great night of Southern Rock – with hits “There Goes Another Love Song,” “Green Grass & High Tides,” and “Knoxville Girl.”

Robby Krieger of the Doors Wed, April 8 @ 8PM

With Special Guest Vocalist Waylon Krieger

Don’t miss legendary rock guitarist for The Doors and co-writer of songs "Light My Fire," "Love Me Two Times," and "Touch Me."

CLARK CONSTRUCTION COMEDY SERIES

Wanda Sykes

Fri, May 1 @ 8PM

With Special Guest Keith Robinson

From her HBO & Comedy Central Specials to Curb Your Enthusiasm and The New Adventures of Old Christine – she ranks among Entertainment Weekly's 25 Funniest People in America!

Whitney Cummings

Fri, May 15 @ 8PM

Comedian, actor, writer and producer – she has appeared regularly on E!’s, Chelsea Lately, as well as Comedy Central’s Roast series!

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WATCH

FRIENDS AND LOVERS

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Westchester residents celebrated the launch of Waccabuc native Kris Ruby’s new Bravo Show “Friends to Lovers” recently at Scene Space NYC. More than 120 people were on hand to view the premiere episode. “I am so happy I was able to celebrate the premiere of my new show with close family and friends,” said Kris, CEO of Ruby Media Group.

All identifications are from left unless otherwise noted.

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Photographs by Josh Wong & Who’s Events.

1. Nina Chilemmi, Sandy and Tori Hapoienu and Stacy Geisinger 2. Jonathan Moffly 3. Martin Ball 4. Adam Katz 5. Bravo cake 6. Alex Goldman and Kris Ruby

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A NEW DAY (SPA) Oasis Day Spa recently held a “New Year, New You” bash at its location in Dobbs Ferry. CFO Bruce Schoenberg was on hand to express the importance of feeling good from the inside out.

7. Selina Hamill, Jim Vikos, Lauren Gordon, Susie Luria, Alexis Masi, Amanda Fernanda, Soledad Silva, Michael Quiles, Marcella Garcia, and Alicia Martinez 8. Bruce Schoenberg 7

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A LIGHT ON LEUKEMIA AND LYMPHOMA 1

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Recently, the Connecticut Westchester Hudson Valley Chapters of The Leukemia & Lymphoma Society held their “Light the Night” awards party at the Crowne Plaza in White Plains. The event, which honored teams, individuals and sponsors, also celebrated local and national fundraising efforts through a series of walks. The Westchester Walk raised more than $835,000 while the seven walks held by the Connecticut Westchester Hudson Valley Chapter raised more than $1.6 million.

Photographs by Deborah Karson and Vincent Huizinga.

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1. Emily Genzlinger, Brooke Emmett, Tessa Ruggeri, Antonella Leone and Luisa Cardona 2. Michal Huizinga and Ronnie Ram 3. Dan Carlton and Barbara Gallagher 4. Front row: Caela Vasilkioti, Alex, Lauren and Thomas Home, and Sam Estroff-Liberti Back row: Manuel Homem, Luisa and Manuel Da Silva and Molly Vasilkioti 5. Harrison, Dolores and Matthew McKay 6. Alexa Arpaia, Lara Sullivan and Daniella DiMartino 7. Victoria Conti and Kathleen Mazzillo 8. Elizabeth Nunan 9. Manuel Homem, Dan Carlton, Steven Klapow, Sheilagh DePeter, and Joseph Solimine Jr.

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FEELING GOOD The new NY Health & Wellness recently unveiled its “evolutionary” approach to achieving maximum weight loss as well as a series of integrated wellness programs aimed at reversing the effects of aging by focusing on mid-life hormone changes. News 12 anchor Tara Rosenblum emceed the ribbon-cutting, followed by remarks from Westchester Deputy County Executive Kevin Plunkett and Westchester County Health Commissioner Sherlita Amler, MD. Lee Mazzilli, the former New York Met and Yankee and former Baltimore Orioles’ manger, also attended and signed autographs.

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10. Lisa Avellino, Dr. Timothy Morley, Kevin Plunkett, Carol Cummings, Jacqui Justice, Ron Belmont, Sherlita Amler, Nina Chaifetz, Lee Mazzilli, David Buchwald and Mitch Suss

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WATCH

CLIMB EVERY MOUNTAIN Kurt Kannemeyer will do anything to help the developmentally challenged teens at St. Christopher’s in Dobbs Ferry. That includes climbing Mount Kilimanjaro, the highest peak in Africa. Recently, St. Christopher’s held a Hemingway-esque dinner at the Beechmont Tavern in White Plains to help fund Kurt’s climb, which will in turn raise funds for an ILS (Independent Living Services) Center. Guests enjoyed steak and lobster, cigars, an all-inclusive bar and a chance to play poker — all for a good cause. Good luck, Kurt!

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1. DJ Ronnie Diaz 2. Jude Saintil, Katie Johnson, Natalia Diaz, Don Parkis and Franklin Vasquez 3. David Lipson and John Leone 4. Vivi DeAraujo, Suzanne Weaver, Danielle Blancato and Yani Soto 5. Kurt Kannemeyer 6. A Beechmont staffer with a plate full of yum.

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SHOE BIZ

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The recent Kristina Cavallo event at Neiman Marcus Westchester was a “shoein” for success. The New Rochelle insurance agent and inveterate shoe collector, featured in WAG’s February “Passionate Pursuits” issue, was on hand as guests shopped for Jimmy Choos and Christian Louboutins and entered a raffle for a pair of Manolo Blahniks, all while enjoying Champagne and hors d’oeuvres that included mini-cupcakes with shoe decorations. Sole sister Cavallo, supported by parents Marina and Patrick and friends, was appropriately decked out in a pair of crystal-soled René Caovillas with mink straps.

Photographs by Robin Costello.

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7. Kristina in a pair of René Caovillas 8. Marina, Kristina and Patrick Cavallo 9. René Caovilla sparklers

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BANKING ON AN END TO HUNGER The Food Bank for Westchester held its 17th annual Valentine’s Day Wine Tasting Dinner recently at Tappan Hill Mansion in Tarrytown with the theme “Leading the Charge to End Hunger.”

Guests enjoyed a five-course gourmet dinner with selected wine pairings created especially for the event. A live auction included a trip to Sonoma Valley and a VIP package for two to a New York Giants or Jets game at MetLife Stadium.

All of the proceeds from the event go to the Food Bank, which distributes food to more than 265 hunger-relief member programs throughout the county.

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1:. Ellen Lynch, Sue Norton, Jeanne Blum and Richard Rakow 2. Shawyn Patterson Howard 3. Mitch Taube and Ellen Rothschild 4: Nita Lowey and Steve Lowey 5. Jean Marie Connolly and Charles Day 6. Bruce Sabath

SCENTS-SATIONAL

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Spring was in the air recently as Chesapeake Bay Candle and The New York Botanical Garden debuted a line of freshly scented candles inspired by the architecture, prints and, especially, flowers of The Garden. The launch, at The Garden’s Midtown Education Center, featured a buffet lunch, product displays and a chance to see rare botanical prints and books from The Garden’s LuEsther T. Mertz Library.

7. Rachel Kapur, Michael Walker 8. Mei Xu, Georgette Gouveia 9. A peony bouquet-scented candle.

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WATCH

FIFTY FOR 50 Fifty artists recognized for their accomplishments in and beyond Westchester.

Fifty new artist residencies serving the most disadvantaged students.

Fifty new arts and business partnerships.

These are among the initiatives that ArtsWestchester, one of the nation’s leading arts councils, has set forth for its golden anniversary this year.

Janet T. Langsam, CEO of ArtsWestchester, launched the “50 for 50” campaign at a breakfast for about 100 of Westchester County’s movers and shakers at The Ritz-Carlton, Westchester in White Plains Jan. 29. Among the upcoming events will be “ArtSee,” a festival of new work on view from March through July; “Crossing Borders” (March 14-May 2), an exhibit exploring memory, identity and culture; and the “Arts Awards 50 for 50 Luncheon” (April 16), saluting 50 selected artists; along with the annual Arts Bash open house (May 15 and 16), golf tournament at Wykagyl Country Club in New Rochelle (June 15), Jazz Fest (Sept. 13-19) and gala fundraiser (November or December).

Given the heavy hitters in attendance, however — they included County Executive Rob Astorino and developer Robert Weisz, CEO of the RPW Group — the focus was on ArtsWestchester’s successful partnership with local government and businesses like BNY Mellon, Con Edison, Regeneron and Wells Fargo Bank.

As you might imagine, much of the talk centered on corporate sponsorship of exhibits like last spring’s “STEAM,” which considered the role of the arts in STEM (science, technology, engineering, math) education with support from related companies like Con Ed and Regeneron, a pharmaceuticals firm. But Jean Marie Connolly, senior director at BNY Mellon, also touched on how her investment firm was able to use ArtsWestchester’s two-story galleries to enhance its corporate events.

The tangible and intangible benefits of the arts were on the minds of others as well.

“The reason the housing market is so hot in Westchester — we can’t even get inventory — is that people want to live here,” Robert Weisz noted. “We want to 94

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keep attracting corporations to the county, and the cultural life of the county is an important part of that.”

ArtsWestchester has been an important part of the county’s cultural life – investing more than $35 million in arts and cultural programming, supporting more than 1,300 artists and 300 cultural institutions and bringing arts into the classroom. And perhaps no one has been

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more important to Arts Westchester than Janet Langsam. At the breakfast, she was hailed for her visionary leadership, although she took some affectionate ribbing from her “main squeeze,” County Executive Astorino.

He described her as “a scooch, but in a good way.” – Georgette Gouveia

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Photographs by Leslye Smith 1. Robert P. Astorino 2. Elizabeth Bracken-Thompson, Jean Marie Connolly, and Natasha Caputo 3. Joseph Oates and Mara Walker 4. Jeff Dziak and Janet Langsam 5. Potoula Gjidija 6. Gary Pretlow and Mark Alexander 7. Kenneth Plummer 8. Robert Weisz

HAPPY 125TH, LARCHMONT! Recently, the village of Larchmont kicked off plans for five events to celebrate its quasquicentennial. Everybody party like its 1890!

Photographs by Elisabeth Pollaert Smith.

1. Carey and Fred Federspiel 2. Rich Hargrave, Ron Hernandez, Ray Maldonado and Carleen Kizer 1

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BRAVA, YWCA More than 400 attendees at the Greenwich YWCA’s 38th annual Brava Awards made for the event’s biggest showing to date, which was held at the Hyatt Regency Greenwich.

They saluted Fox newswoman Gretchen Carlson; Terry Lamantia, partner with KPMG LLP; Mimi Duff, portfolio manager with Tudor Investing Corp.; Karen Kelly, senior vice president and chief marketing officer, First County Bank; Abby Kohnstamm, executive vice president and chief marketing officer, Pitney Bowes Inc.; Ellen Komar, vice president for patient care and chief nursing officer, Stamford Hospital; Victoria Newman, founder/executive director, Greenwich Education Group; Carolyn Reers, wealth adviser and managing director. J.P. Morgan Private Bank; Cindy Rinfret, owner, Rinfret Ltd. Interior Design & Decoration and Rinfret Home & Garden; and Dr. Toni Salvatore, Greenwich Hospital.

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SEEING RED (IN A GOOD WAY) Recently, The Rollins Agency and Gaston & Associates, a company of Brown & Brown of New York Inc., celebrated National Go Red — Wear Red Day by wearing red, eating heart healthy foods and donating to the American Heart Association. They also sponsored an event that included a lecture by local cardiologist Dr. Anthony Tartaglia.

Photographs by Bill Fallon.

5. First row: Cheryl Martin, Marcelina, Mojek, Kailee Valenzuela, Elizabeth Savarese, Carollee Cabot, Karen Kismatali, Rajshree Jyoti, Mary Gerhardt, Jennifer D’Ercole, Mei Walia, Nicole Pancaldo and Lissette Roman Second row: LuAnn Silano, Donna Strobel, Renee Marengo, Donna Witt, Connie Sheridan, Mark Rollins, Dr. Tartaglia, Shelly Seenarine, Celia Diaz, Rosanne Rizzo, Ebony Young-Adams, Shirley Mejia and Rosa Gonnella

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4. Marcia Pflug and Shelly Tretter Lynch

ART SHOW FIREWORKS

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“Art Show: Bedford” had perhaps the most exciting preview party in its 42-year history recently when a fire in the chimney of St. Matthew’s Church early in the day had everyone hopping. After a quick save by the Bedford Fire Department, the day proceeded as planned. The event had a great turnout, including Katonah resident Martha Stewart. Hors d’oeuvres and “small plates” were served along with delicious desserts. Proceeds from the show benefit local charities supported by the Women of St. Matthew’s Church.

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Photographs by Nancy Dexter.

6. Laura Blau 7. Michael Citro and Martha Stewart 8. Laurie and Paul Sturz 9. Inness Hancock and Susan Grissom

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HOW WOULD YOU DESIGN YOUR FUTURE?* WIT WONDERS:

Rob Astorino

Catherine Borgia

Michael Boriskin

Michael Botwinick

Rossanna Bressler

Stam Dewbury

Susie Eldred

Maryann Papasodero

Stephen Sinon

Robert Weisz

Ilana Wilensky

Mei Xu

“I’D SIT DOWN WITH MY WIFE AND WE’D FIGURE OUT WHERE WE’D WANT TO BE IN 30 YEARS AND HOW TO GET THERE. AND THEN WE’D ASK THE KIDS FOR HELP.” – Rob Astorino, Westchester County Executive, Mount Pleasant resident “I ALWAYS TRY TO GO WITH PASSION, SERVICE AND BEAUTY.” – Catherine Borgia, Majority Leader, Legislator, 9th District, Westchester County Board of Legislators, Ossining resident “I ALWAYS WANT TO BE THINKING CREATIVELY AND LOOKING FOR WHAT’S NOT YET THERE.” – Michael Boriskin, artistic and executive director, Copland House, Bedford resident “JUST LIKE MY PAST – BEING ON THE RIGHT CORNER AT THE RIGHT TIME.” – Michael Botwinick, director, Hudson River Museum, New York City resident

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“I WOULD WANT ALL OF US IN MY FAMILY TO LIVE ON THE SAME BLOCK ON A HUGE TRACT OF LAND.” – Rossanna Bressler, stay-at-home mom, Pound Ridge resident “I WANT MY KIDS AND ME TO BE HAPPY.” – Stam Dewbury, attorney, Carmel resident “I COMPLETED MY MASTER’S (IN MARKETING) AND PH.D (IN ANTHROPOLOGY) AT UNIVERSITY OF ST. ANDREWS (IN SCOTLAND). NOW I WORK AT THE (NEW YORK) BOTANICAL GARDEN, WHICH I LOVE....SOME PLANS YOU MIGHT WANT TO HAVE, LIKE A FAMILY. BUT YOU CAN’T BE SO RIGID. I THINK THERE’S A NEW ATTITUDE. SOME THINGS THAT YOU DON’T PLAN ON WORK OUT.” – Susie Eldred, retail marketing manager, the New York Botanical Garden, Manhattan resident

“I JUST WANT A BEAUTIFUL HAPPY FAMILY WITH GREAT KIDS.” – Maryann Papasodero, hair stylist and makeup artist, Mahopac resident “I’M THINKING ABOUT MY APARTMENT AND REDECORATING. I’VE LIVED THERE LONG ENOUGH AND IT’S TIME FOR A CHANGE.” – Stephen Sinon, head of information services and archives, the LuEsther T. Mertz Library, New York Botanical Garden, Bronx resident “I’D LIKE MY FUTURE TO BE A CONTINUATION OF MY PAST. I LOVE WHAT I DO AND WANT TO DO MORE OF IT FOR A LONG TIME.” – Robert Weisz, CEO, RPW Group, New York City resident

“I THINK IT WOULD BE FULL OF FAMILY AND GOOD FRIENDS, AND, FROM A CAREER STANDPOINT, THAT I WOULD CONTINUE TO WORK WITH AMAZING DESIGNERS AND HELP THEM BRING THEIR UNIQUE PERSPECTIVE INTO THE WORLD.” – Ilana Wilensky, vice president, Jewel Branding & Licensing, Atlanta resident “I’M LOOKING FORWARD TO PEOPLE BUYING THINGS BECAUSE THEY LOVE THEM NOT FOR THE BRAND. I WANT PEOPLE TO APPRECIATE ART, CREATIVITY AND GIVE EVERYONE A CHANCE….THE NEW YORK BOTANICAL GARDEN IS THIS SLEEPING BEAUTY AND I WANT TO BRING IT FORWARD INTO POP CULTURE SO PEOPLE CAN DISCOVER IT AND BE INSPIRED.” – Mei Xu, owner and CEO, Chesapeake Bay Candle, which has a new line of NYBGinspired products, Bethesda, Md. resident

*Asked at ArtsWestchester’s “50 for 50” initiative launch, the New York Botanical Garden’s Chesapeake Bay Candle luncheon and Neiman Marcus Westchester’s event for shoe collector Kristina Cavallo.