#5The SalonNew York

BONJOUR,WE ARECOMINGTO THEAMERICAS

MIAMI BEACH / MAY 12-15, 2015M I A M I B E A C H C O N V E N T I O N C E N T E R

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

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INFO@SAFISALONS.FR

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

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Special issues of Connaissance des Arts

PublisherFrancis MorelEditor-in-chiefGuy BoyerDirector of DevelopmentPhilippe ThomasProduction managerAnaïs BarbetEditorBenoît LafayLayoutFranck ZennaroPicture researcherKim GillierTranslationCharles Penwarden©Adagp Paris, 2014

Advertising: Les Échosmediasemail: pubcda@lesechosmedias.fr

PresidentPatricia LevyManaging DirectorCécile ColombSales Director, Art and ClassicsFrédéric PionDeputy Advertising DirectorMagali HarmangeClient DirectorsSophie Lavigne,Charlotte Maurange,Virginie Roche,International Advertising DirectorCaroline Farin-Antebi

Contributors to this issueValérie Bougault, Axelle Corty, Michael Evans,Kim Gillier, Marie Maertens, Sophie Rosemont,Virginie Seguin, Franck Zennaro

Special issues of Connaissance des Artsare published by Société Françaisede Promotion Artistique, SARL (limited company),capital: €150,000. Connaissance des Arts isa Groupe Les Échos publication.

Chairman and CEOFrancis MorelDelegate Managing DirectorChristophe VictorDelegate DirectorBernard VilleneuveDirector of Arts et Classique sectionClaire Lénart Turpin

16, rue du Quatre-Septembre, 75112 Paris Cedex 02Tel.: +33 (0)1 44 88 55 00; Fax: +33 (0)1 44 88 51 88e-mail: cda@cdesarts.com304 951 460 RCS. ParisJoint Commission 1005 K 79964 – ISSN 1242-9198Photoengraving: Planète Couleurs, ParisPrinted by Etic at Laval, on LumiSilk 130 gr paper suppliedby Storaenso, from certified sustainable forests.

Lookingatthelistofcurrentshows,youmightthinkmuseumsaretheplaceforalltoday’sartistic rediscoveries.TheGrandPalais inParis ispayinghomagetoNikideSaintPhalle,anartistwhowaslongoverlooked,theGuggenheimisexhibitingtheGermangroupZero,whose members, among themGünther Uecker and Otto Piene, have not enjoyed therecognitiontheydeserve.Butno, rediscovery isnottheprerogativeofmuseumcurators.Antiquedealersandgallerists,too,aredoingseriousresearchinthearchives.Forexample,at this September’s Biennale desAntiquaires Frenchdealers of 19th-century art showedrare pieces by Edouard Lièvre (Benjamin Steinitz), Daniel Lovati (Aaron), Christofle

(Chadelaud)andChristopherDresser (OscarGraf).AndtheBelgiandealerYvesMacauxregularly exhibits Viennese treasures by Marcel Kammerer, Ludwig Jungnickel andAdolf Loos, with pedigrees featuring such illustrious names asWittgenstein and BaronStoclet.AtTheSalonBenoîtSapirois introducingtheAmericanpublictoHenryValensi,themaster of musicalism, author of an incredible abstract “cine-painting” film, “SpringSymphony.” Thanks to their curiosity, patience and persistence, these dealers have ac-quired knowledge tomatch or even surpass that of the experts.The only problemwithrediscoveringall thesetreasures isthat,oncetheyareanalysedandbackinthepubliceye,their prices should rocket,much to the regret of buyers stung at not having taken an in-terest inthemearlier.

guy boyer, editor-in-chief of connaissance des arts, gboyer@cdesarts.com

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

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

EDITORIAL

At the fOrefrOntOf REDISCOvERy

À L A R E C H E R C H E D E L ’ Œ U V R E

L ’ A B U S D ’ A L C O O L E S T D A N G E R E U X P O U R L A S A N T É , À C O N S O M M E R A V E C M O D É R A T I O N

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contents

6 neWs NEW YORK

8 portraits

14 the salonAntiques,

Modern Art,Art Deco,

Non Western Art,Contemporary Art

32 interior DEsigN

36 Fashion COLOURs

42 Wine BORDEAUX

48 real EsTATE

50 MY neW YorkBY NiCOLAs BOs

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News New York

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

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

and sculptures made over the last twenty years. In the morerecent pieces, the exotic figures, strange landscapes and folkmyths may remind some visitors of the paintings of Matisseand Gauguin. Moving on to the gallery scene, EmmanuelPerrotin’s Madison Avenue space is showing A Revision, acollection of new pieces by John Henderson, including thework Proof (wall rip, verso), made by transferring paintingdone on the wall of his studio onto canvas. Henderson iscontinuing his exploration of abstraction by treating thestudio as both raw material and integral part of the finishedwork. K.G.n www.newmuseum.org n www.guggenheim.org n www.perrotin.com n www.frick.org

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« Jean-Marie Fiori »

Galerie DUMONTEIL NewYorkfrom October 29th to November 27th at

THE WHIMSICAL

475 Park Avenue

« Jean-Marie Fean-Marie Fean-M iori »

Galerie DUMONTEIL NewYorkfrom October 29th to November 27th at

THE WHIMSITHE WHIMSICACALL

475 Park Avenue

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Nothing stops Dominique Lévy, who is opening a new space in London, two years afterher first gallery on New York’s Madison Avenue. Equal parts charm and passion, thisSwiss native ran private sales of modern and contemporary art for Christie’s from 1999to 2003 then moved to New York and founded L&M Arts with the leading Americandealer Robert Mnuchin (they opened premises in NewYork and Los Angeles). In 2013she decided to go it alone. Specializing in post-war and contemporary art (Calder, deKooning, Giacometti, Warhol, Soulages), she also represents the estates of GermaineRichier and Yves Klein in the U.S. This autumn, Lévy is innovating by offering anexhibition over two continents: curated by Linda Norden, “Local History” will presentrarely seen works by Enrico Castellani, Donald Judd and Frank Stella simultaneously inher NewYork and London galleries. Inaugurating theMayfair space in London where itruns to January 24, this transatlantic show opened this October, and the NewYork partends on January 3. F.Z.n www.dominiquelevy.com

33 Picassos, 17 Braques, 14 Gris and 15 Légers – in all, 79 paintings, most of them fromthe “heroic” period of Cubism, between its inception in 1907 and Braque’s departurefor the front in 1914. That is the extraordinary donation made to the Met by LeonardLauder – in his ownwords, “a gift to the peoplewho live andwork inNewYork and thosefrom around theworldwho come to visit our great arts institutions.”This treasure trove,patiently assembled since 1996, is now being given its first exhibition at the museum.Its estimated value is a little over a billion dollars, or an eighth of the philanthropist’sfortune, as calculated by Forbes magazine. Now 81, Leonard is the elder son of EstéeLauder, eponymous creator of the cosmetics company.With his brother Ronald, he hadalready established a reputation as one of the most important collectors and supportersof art in NewYork, having gifted hundreds of works to theWhitney Museum. In 2006Ronald paid the record sum of 135 million dollars for Gustav Klimt’s Portrait of AdeleBloch-Bauer, now on show at his Neue Gallery on FifthAvenue. F.Z.n www.metmuseum.org

Sir John Richardson, who was made a Commander of the British Empire in 2012, is theauthor of a monumental biography of Picasso. On February 22 last he celebrated hisninetieth birthday at a party organized by dealer Larry Gagosian, at the restaurant KBC.The hundred guests includedOscar de la Renta and Fran Lebowitz. Richardson’s two dreamshave both come true: he wanted towrite about art, and be at the center of the art world. Bornin London, he befriended Lucian Freud and Francis Bacon in the 1930s, then spent the post-war years in a château in the South of France with his mentor, art collector Douglas Cooper,frequenting Braque, Picasso and Cocteau. In 1960, he opened the American Christie’s inNewYork.Atrue party boy – “I used to go out like crazy” –, he now lives amore sedentarylife, spending six to eight hours a day in his 5,000 square-foot loft on FifthAvenue, puttingthe finishing touches to the fourth and final volume of his Picasso biography and preparing“Picasso and theCamera”, to be put onby his friendGagosian, starting onOctober 28. F.Z.nwww.gagosian.com

DOMINIQUE LÉVY London/new York and back

jOhN rIcharDsON biographer of picasso

LEONarD LaUDEr historic patron of the met

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ONE OF THE MOST IN SP I R ING FA IR S IN THE WORLD

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With his leathers andmoustache – a real bad boy look – he’s on the wanted list of all thebig brands.Arebel in his profession, PeterMarino was one of the first architects to workon clothes stores, thereby breaking one of the great taboos of the trade. He imbibed hisanticonformist spirit from his mentor Andy Warhol, whose house on the Upper EastSide he renovated in 1978. This opened the doors of super-rich celebrities and then thebig names of fashion, for whom he designed a series of always unique stores around theworld: LouisVuitton, Dior, Chanel, Fendi, Céline, Armani, Donna Karan, or Hublot allfought for his services, as did private clients and professionals in the hotel trade. Thiscollector ofDeacon,Prince,Hirst,Kiefer andMapplethorpemakes it a point of honor toinvite art into his realizations bymeans of commissions from the greatest contemporaryartists. The felicitous marriage of art and architecture is, indeed, the theme of “OneWay,” the exhibition about Peter Marino opening at the Bass Museum of Art in Miamithis December. B.L.n www.bassmuseum.org

One could listen forever when Amin Jaffer, International Director of Asian Art forChristies, gets onto the subject of the jewels collected by the Indian aristocracy and artin general. Born in the late 1960s into an Indian family in Rwanda, he says he has alwaysknown that his life would belong to that sphere ruled by the beauty of the world. Hisbrilliant thesis on the furniture of British India between 1750 and 1830 earned hima position as curator at the Victoria & Albert Museum, where Christie’s came head-hunting thirteen years later, in 2007. “Oddly enough, my commitment to museums iseven greater now that I am working outside them,” he says. “I see myself as a kind ofmessenger between their world and that of the big collectors.” And there could be nobetter demonstration of this role than the exhibition devoted to the treasures of theAl-Thani collection that opened this October at the Metropolitan Museum in New York.Having advised the Sheikh onhis acquisitions,Amin Jaffer suggested this event toNavinaHaidar, curator of the department of IslamicArt at that venerable institution. V.B.n www.christies.com

As a worthy heir to the master watchmakers of the 18th century, François-Paul Journemakes jewels of precision in his manufactory in Geneva. In his constant quest for theperfect measurement of time, hemultiplies innovations, such as the sonnerie souveraine, thechronomètre à résonnance and the remontoir à égalité. Symbolizing the alliance of refinementand technique, since 2004 all of the movements in the near-thousand pieces turned outby his atelier have been in 18 karat pink gold. But the multi-medaled talent of the MaisonF. P. Journe also lies in its ability to offer series of watches wholly assembled by the samewatchmaker.Tocelebrate the inaugurationof its tenthboutique, inBeirut, this summer, thebrand unveiled its Byblos blue chronometer adornedwithArabic numerals and signedwiththe Phoenician letter “Jodh.” François-Paul Journe is now turning to female clients withÉlégante, his first women’s collection, for which he has developed a mechanism that stopstimewhen thewatch is no longer worn. B.L.nwww.fpjourne.com

PETER MARINO alchemist of interiors

FRANçOIs PAul JOuRNE master of time

AMIN JAFFER the enchanter

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PORTRAITS Paris

That a private individual purchased two of the markets within the vast Saint-Ouen fleamarket may have surprised some people. Yet, for Jean-Cyrille Boutmy, a keen collectorand regular visitor to the Paul-Bert and Serpettemarkets, it was a natural thing to do andquitewithin the scope of his profession. “I run Studyrama, amedia group that specializesin student guidance andorganizes numerous trade fairs aswell, thus highlighting creativecrafts exclusive to France. For me, these markets are among the finest antiques fairs andpeople can visit them free of charge every weekend.”This eventsmanagement specialisthopes to develop websites, an outlet where antiques dealers lag behind compared toauction houses. He also aims to be selective about the arrival of new dealers and to payparticular attention to the outer envelope of the markets, letting their architectureplay a prominent role, so as to make them “an unmissable antiques venue in France”.Arestoration schemewith the designer Philippe Starck is also on the drawing board.M.M.n www.marcheauxpuces-saintouen.com

Founder and chairman of the real-estate company Emerige, Laurent Dumas made hisappearance in the art world world ten years ago.He has since collected over 500works byinternational artists. Always eager to learn new things, he is interested in the productionof both young and confirmed artists aswell as classic abstract painting. Itwas his powerfulreaction to the work of the Dutch painter Bram Van Velde – “who took his passion toextremes with an honesty that I find verymoving, in addition to the tremendous force ofhis painting” – that urged him to start collecting and set the tone for his future purchases.Combined with his love of travel, his curiosity about humanity, history and anthropologygoverns his choices. He is currently developing his corporate spirit in the field of art.TheVilla Emerige, in the 16th arrondissement of Paris, will allocate a grant to an emergingartist, while Laurent Dumas’ own collection will be on show in the Marais district fromOctober, and a book will present selected works from this ever-growing collection(featuring Elmgreen&Dragset, Buren, Garouste, Grasso…). M.M.n www.emerige.com n www.villaemerige.com

With a PhD in Economics to his credit, Michel Janneau envisaged becoming a universityprofessor. Instead,hewent intothe familyArmagnacbusiness,before joiningLouisRoederer.From 2003, he encouraged this prestigious Champagne house to become a patron of theBnF, France’s National Library. Eight years later, the Fondation Roederer was founded. “It isfundamental to conceive sponsorship as a long-term commitment,” recalls Louis Roederer’sExecutiveVicePresident,Michel Janneau.Thebrandhas since collaborated inPariswith theGrandPalais and thePalaisdeTokyo. “Ourpresence there is the fruitof aperfect coincidencebetween thebirthofour foundationand thecontactmadeby thismuseumat the same time.”OthercollaborativeeventsincludetheFestivald’ArtLyriqueinAixenProvence,theDeauvillePhotography Festival, Planche(s) Contact, and the 20th anniversary of the Café de Flore’sLiteraryPrize.“Butwe’realsokeenonadiscreetformofsponsorship, forexamplebyawardinga grant for photographic research.We take great pleasure in this typeof patronage…” M.M.n www.louis-roederer.com

JeAn-cyRIlle bOuTmy at the helm

mIchel JAnneAu urges ongoing Patronage

lAuRenT dumAS or a seasoned collector

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BuryCAlderellioTTKAndinsKyMACleodMiróPrÉVosTsnellingsPelleTiCh

Jules Maeght gallery

Art in MotionNovember 14, 2014 - January 31, 2015

inaugural show opening

Jules Maeght gallery149 Gough St. - San Francisco - CA 94102

www.julesmaeghtgallery.com

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

the Salon Art+DesiGN

Benoît Sapiro, co-founder of the Salon, evokes its creation: “WithChristianDeydier, thenpresidentof theSyndicatNationaldesAntiquaires(SNA), we started working on this idea of taking the excellence of theBiennale des Antiquaires abroad by creating satellite fairs that could alsohelp attract a large international audience toParis. In the end,withRobertVallois, we created this association between the SNA and the Americanorganizer of fairs, Sanford Smith.” It was a great success, thanks to thelimited number of exhibitors presenting artworks and furniture fromthe 19th century to the modern era, plus design and a few sorties into the18th century and tribal arts. The geographical situation was ideal, on theUpper East Side, attracting large numbers of New York collectors whocame and returned as the neighbours that they were, and who appreciatedthe eclecticism on offer. Like the Biennale des Antiquaires, albeit withsmaller booths, the Salon makes it possible to reconstitute history andpresent artists who, in their day, were shown in the same places, even if notall of them attained the fame ofMiró, Picasso or Dalí.”This is particularlyimportant to the director of Galerie LeMinotaure who loves to championthe avant-gardes of the 1910-1950 era, overlooked by art history.The qualityof the ensemble also attracted prestigious new exhibitors, such as theParisian galleries Kreo andDutko, Ulrich Fiedler fromBerlin, and theNewYork dealerDeLorenzo,whohadnever taken part in a fair before. M.M.n www.thesalonny.com

eveN MoreinternationalFor its third edition, The Salon Art + Design is hosting55 galleries from ten different countries, with no less than sevennew dealers from Germany, England, France, Italy and theUnited States eager to come toArmoryParkAvenue and beassociated with the success of this young fair.

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THE SALON ANCIENT ART

Charms of the pre-modern

The passion for ancient art is something that is handed downfrom one generation to the next, as evidenced by the handful ofParisian dealers who are showing their works in an intimateand eclectic spirit.

Boosted by its success at the Biennale des Antiquaires, Galerie Kraemeris continuing its “Twins” adventure inNewYorkby showing aphotographof a prestigious piece of furniture that may be found in the collectionsof the Met or the Frick Collection, alongside its very tangible pendant,which in this instance is presented in a container.Without false modesty,LaurentKraemer, a descendant of the family that inaugurated the galleryin Paris in 1875, notes that “We are frequentlymentioned in theNewYorkTimes and the Financial Times as the most important gallery in the worldfor this period, soAmerican collectors know us well, but it’s always goodto refresh contacts, especially during the hanging.” This is also a goodmoment to gauge the development of a more youthful, internationalclientele, one ever more inclined to match classical furniture withmodern art. As for Oscar Graf, his gallery dates back no further than2010, but he acquired a keen eye as a young man in the company of hisdecorator father and antiques dealer grandmother.He is offering a dozenpieces from the 1900s, a period that witnessed the arrival ofNordic linesin Austria and Germany and the development of Japanese influence inFrance and England.At Berès, founded in 1951, eclecticism is the name ofthegame,whatwithdrawingsbytheNabisandpaintingsbySimonHantaïand Robert Motherwell. Says Florence Montanari Levy, granddaughterof the gallery founder, “We are seeing that collectors appreciate therebeing a new salon with strong paintings, championed by genuine Frenchdealers.”.M.M.

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

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SPECIAL EXHIBITION: ARCHITECTS DRAWINGS FROM THE COLLECTIONOF THE BIBLIOTHÈQUE NATIONALE DE FRANCEInternational Lectures of the Salon du dessin:

Architectural drawings - a window on the architect’s inventiveness

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

PALAIS BRONGNIART, PLACE DE LA BOURSE, PARIS 2E

S A L ON

D UD E S S I N

P L AC E

D E L AB O U R S E

· P A R I S

2015

FROM MARCH25TH TO

30TH

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the Salon MODERN ART

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

The 1910 to 1950 periodtakes pride of placeAt the Armory collectors can revisit European classics fromthe first half of the 20th century, but also discover work byAmerican artists often overlooked by art history.

The London-based Richard Nagy is showing Austrian and Germanexpressionists, his speciality: Oskar Kokoschka, Egon Schiele, OttoDix, George Grosz and Oskar Schlemmer. For this dealer active since1980, “NewYork is still the centre for art, the place with the most activecollectors.” Pierre Dumonteil, who has opened a gallery in New Yorkafter his Parisian space in the 7th arrondissement, is showcasing MatéoHernandez, who already features in the collections of the MET, with aMotherhood showing a chimpanzee and her young. As for Benoît Sapiro,director of Galerie LeMinotaure and co-head ofThe Salon, he is linkingdifferent periods and specialities this year by joining forces with dealerPhilippe Jousse in order to connect modernist furniture to the avant-garde and European abstraction. “I see the highly architectural andvery spare furniture of Charlotte Perriand and Pierre Jeanneret as anextension ofAbstraction-Création, amovement that is particularly closeto my heart.We have therefore recreated a 1950s interior with paintingsand sculptures from that period, or a few decades older.” Continuing inthis same vein, the gallery Diane de Polignac is putting the emphasis onlyrical abstraction from France and also fromAmerica, with names suchas Paul Jenkins, Sam Francis and Mark Tobey. But the real discovery isLoïs Frederick, an artist born in Nebraska in 1930 who died in Paris in2013, and whose vigorous, richly textured brush evokes the memory ofsweeping plains and rocky mountains.M.M.

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Egon Schiele, Blond Girl in Underwear1913, pencil on paper, 46.5 x 31 cm(©Private Collection, Courtesy RichardNagy Ltd., London)

FERNAND LEGER (1881-1955), Femme au cordage, 1930Oil on canvas,Signed and dated 'F. LEGER /30' lower right41 x 33 cm

GALERIE BOULAKIA10 avenue Matignon

75008 Paris0033 1 56 59 66 55www.boulakia.net

galerie@boulakia.net

THE SALON : ART + DESIGN

New York, Park Avenue ArmoryNovember 14th to 17th 2014

Opening November 13thBooth C2

CDAH_Frenchnewyork_020.indd 20 13/10/2014 09:00

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

BOULAKIA FINE ART9 Wilton Street

SW1X 7AF Londres0044 207 235 55 99www.boulakia.net

daniel@boulakia.co.uk

CDAH_Frenchnewyork_020.indd 21 13/10/2014 09:00

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THE SALON ART DECO

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

Art Deco still riding highArt Deco and the great furniture designers of the 1950s arestill in demand overseas, not least inNewYork, as can be seenin the choice of the Parisian galleries.

She insists that it has nothing to do with the fact that her husband isthe organiser, but still, CheskaVallois is full of praise forThe Salon: “It’sfantastic.American collectors love this joyous, light-hearted atmospherewhich is so very French!”The gallery is presenting a selection of its heavy-hitters, with names like JeanDunand and Jean-Michel Frank, “in order togive an idea of Art Deco at its most sumptuous.” But for the occasionthe celebrated gallerist on Rue de Seine is also letting out a dozen piecesby Eileen Gray, whom she considers the most important of all. TheAnglo-Irish designer can also be found at New York dealer DeLorenzo,inaugurating his first participation at the fair, even though he has beenaround since 1980. Today, the gallery is also hosting eight contemporarydesigners and the booth is setting up a dialogue between generations,through the creative visions of Emile-Jacques Ruhlmann and IsamuNoguchi, but also FernandoMastrangelo, born in 1978.At theDutkogallery theyare stickingwith theclassics,withadeskbyPaulDupré-Lafon from 1935. As Guillaume Savin remarks, “We noticed thatin NewYork the younger generation of designers and collectors still hasa strong interest inArtDeco, especially in this new age ofmixing periods.With its perfect, timeless lines, this desk is both a functional object anda piece of sculpture, by an author who is of course much sought-after.”The same is true of the designers represented at L’Arc en Seine, whichhas built up a strong network of local collectors whom it provides withpieces by Jean-Michel Frank and Alberto Giacometti, whose creations

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Christian Boutonnet - Rafael Ortiz

The Salon Art + DesignNew YorkBooth A2

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

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

are extraordinarily modern, yet date from the 1920s and 30s. But let usnot forget theOurs polaire by Jean Royère, with their original velvet, hairand legs, acquired by the Chastel-Maréchal gallery from the family whocommissioned the pieces and had kept them since 1952. This is also thevintage of the Présidence desk, one of Jean Prouvé’s most accomplishedpieces in terms of its concept, its use and its design, displayed here bythe Downtown Gallery. The first version was created for the director oftheChèques Postaux office in Brussels, but themodel was developed andenriched by different ranges of colour, just as the architect and designerdid with his buildings. “The Americans,” Hélin Serre points out, “werethe first to appreciate this aesthetic. It goes well with minimal art whileechoing the heritage of the industrial era, which remains important inthe United States.”M.M.

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THE SALON ART DECO

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

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

2 RUE DES BEAUX ARTS - 75006 PARISwww.galerie-leminotaure.com

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

Where functionalitymeets sculptureThe appeal of Scandinavian design seems inexhaustible, allthe more since a new generation is on hand, revisiting Arts& Crafts ideas. The same tendency, indeed, can be observedinternationally.

Landmark moments in Scandinavian design are on show at The Salon,notably at the Modernity gallery from Stockholm. Classics such asFinn Juhl, Alvar Aalto and Otto Schulz are sure to find takers in spite ofthe hike in prices – as Isaac Pineus explains: “This market has movedon considerably in the last few years, with growing interest reflectedin record auction sales. Consequently, the prices for rare pieces haverisen.” Maria Wettergren illustrates this Nordic spirit in Paris throughthe work of Danish, Norwegian and Finnish designers who play a greatdeal on functional ambiguity. “These pieces,” she points out, “are locatedbetween design and art, while offering a fresh reading of Arts & Crafts.Often made using new technologies such as 3D printing and digitallycontrolled Jacquard looms, they are notable for their crafts skills and useof natural materials.” The art-craft distinction is also uncertain in thedesigns of Ingrid Donat at CarpentersWorkshop, in Paris and London.She even uses the term “sculpted furniture.”Working mainly in bronze,she draws on references such asArtDeco,GustavKlimt,Armand-AlbertRateau and tribal tattoos. As for Todd Merrill Studio in NewYork, theyhave opted for a new series by Joseph Walsh in which, once again, thelanguage of design engages in a strong dialogue with sculpture, workingon the texture and qualities of the material. Which, in her way, is whatHélène Binet does in her close-up photographs of Le Corbusier’sconcrete surfaces, offering an original and sensuous vision of thematerialat Cologne’sAmmannGallery. M.M.

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JANSSENS VAN DER MAELENFine Art Silver

Decorative Arts - XX th

THE SALON + DESIGNNew York, Armory ParkNovember 2014Booth A18

TEFAFMaastricht (NL)March 2015Booth 266

www.fineartsilver.com ph:o

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THE SALON NON WesterN Art

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

expandingthe imaginationThe gallerists presenting art from other worlds feel likeprivileged guests at The Salon, all the more so because of theirsmall number.They enjoy meeting collectors from outside theirspecialist world.

Bearing a surname to conjure with in the world of African arts, LucasRatton was well satisfied with his first participation at The Salon lastyear. “The adventure appealed. True, I had local connections, but Ifelt it was a good opportunity to go further both with collectors whomight offer me pieces and with those looking to buy, especially asThe Salon is held during the big sales of modern and contemporaryart, giving us the chance to meet international clients.” Today, themarket for tribal arts has seriously expanded, thanks to a new breedof collector who likes to mix periods and specialities. “The market forAfrican art was very active in the United States in the 1970s, then itslowed down a little. Which means there’s plenty of room to regainground!” Active for over twenty-five years, the New York-basedThrockmorton Fine Arts is more interested in consolidating themarket for pre-Columbian objects, Chinese jade and antiques, but alsopromotes vintage and contemporary photography. For them, the fairis a chance to show some Maya ceramics from prestigious Americancollections.As Kraige Block points out, having been around the eventin the last two years as visitors, we thought we could work alongsideall these important galleries.” Also based in NewYork, Joan BMirvissis offering her booth to the Japanese ceramist Ogawa Machiko, born1946, who is one of only six women to have won the prestigious JapanCeramic Society Award. M.M.

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G A L E R I E B E R È S25 quai Voltaire, 75007 Paris, France

T : 00 33 1 42 61 27 91beres@galerieberes.com - www.galerieberes.com

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H.236

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cm.Signedanddatedlower

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THE SALON : ART + DESIGNNew York, Armory Park13 - 17 November 2014

Booth B5

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THE SALON CONTEMPORaRY aRT

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

Focus on Italian artistsStarring in fine exhibitions in France and the United States,Italian artists also enjoy a strong market over the Atlantic,where theyareparticularlywell representedatTheSalon thisyear.

Lucio Fontana will be the main attraction on the booth of Robilant +Voena Gallery, which has spaces in London, Milan and Saint-Moritz.“Ten years ago,” recalls Alessandro Galli, “the market for this artist wasconcentrated mainly in Europe and NewYork, but now he is known allover America, and even in China and the United Arab Emirates. This iswhat you would call a fast-moving market, because the lure of the pricesimpels some players to put works back on sale only a few years afteracquiring them. But if you compare it to theAmerican artists of the samegeneration, there’s still that missing zero, and we can predict that pricesfor the most attractive post-war artists will continue to climb!” GalleriaMazzoleni fromTurin is coming toThe Salon for the first timewithLucioFontana and Alberto Burri. “We are also going to put a special focus onArte Povera,” says StefanoDallaVilla, “a movement that is enjoying greatsuccessat international fairs.InparallelweareshowingworksbyGiacomoBalla, one of the major figures of Futurism who featured in the masterlyexhibition at the Guggenheim Museum in New York.” At Galerie M.F.Toninelli, fromMonaco, the Italian sequence begins with Gino Severiniand continues with Giorgio De Chirico, Marino Marini and GiorgioMorandi. “As an exhibitor I go back even beforeThe Salon,” recalls LouisToninelli, “because I took part with Sanford Smith (organizer of theAmerican fair) in the 1988 exhibition, celebrating the 75th anniversary oftheArmory Show, which in fact was held on LexingtonAvenue, not ParkAvenue, where we are now, but it still brings back goodmemories.” M.M.

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A x e l V e r v o o r d tw w w.a xe l-ver voordt .com

Pa r t ic ipa nt a t

T he Sa lon : A r t + De s ign, Ne w York , November 13 -17 t h 2014, boot h A4

Protot y pe of ‘Eg y pt i a n Cha i r ’ by Mogens L a s sen (1901-1987)Manufa c tur ed by A .J . Iv e r s en , Denmark , 1928

Canva s ba ck and armre s t s , oak foo t r e s t , 63 x 70 x 74 cm

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Left-hand page: Exhibition design for the AD Intérieurs2010 show, in Paris, at Artcurial, on the theme “FrenchStyle” (©Jean-François Jaussaud Luxproductions)1. Main lounge (detail) in a chateau in Provence(©photo: Jean-François Jaussaud, Luxproductions)2. Pierre Yovanovitch (©Matthieu Salvaing) 3. Kitchenin a chateau in Provence (©Matthieu Salvaing)

interior DESign

PierreYovanovitch says thatheworks “tomakepeoplehappy”. InhisParisian offices, a stone’s throw from theMadeleine, he pins up thank-youmessages fromhis clients.They give him energy.His approach to interiordesign is similar to a great couturier’s as he creates his collections: “It’s aneternal new beginning. I don’t systematically add a touch of ‘Yovanovitchstyle’. I feel strongly about respecting the atmosphere of a place.”Whentackling a new project, he begins by outlining a structure, then focuseson natural light. “Once these two fundamentals have been established,the decor comes very quickly.” His unique manner of balancing thestraight lines of the architecture and the curves of the interior decor wassomething he learnt from Pierre Cardin. “I admired his way of creatinggeometry in three lines.” He worked with the couturier on his men’sfashion collections for ten years. It was a trade that he entered almost byaccident, as a resultof thepeoplehemet,but thiswaswherehediscoveredhis love of fabrics. “I adored visiting Italian luxury textile factories.” Hissignature traits include contrasting plush silk velvet upholstery withnatural wood parquet floors and polished marble with shiny metal doors.He uses this process to design interiors that are always grandiose yetcomfortable, extremely luxurious without being ostentatious. And howdoes the man top home decoration magazines call the most prominent

PiErrE Yovanovitchart and materialIn a career stretching barely more than ten years, he has becomeone of France’s most sought-after interior designers. From theUnited States to Egypt, Pierre Yovanovitch makes a very“couture” impact.

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interior design

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

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

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COLLECTING DESIGN

INGRID DONAT

COMMODE AUX 5 ENGRENAGES

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fashion colours

Assisted by a certain Azzedine Alaïa in 1965, Yves Saint Laurentdesigned a collection called “Homage to Mondrian”… epitomized by ashort shift dress imitating the Dutch painter’s aesthetics and colours.Throughout his career, the couturier would, in his own way, exhibitthe works of Nicolas de Staël and Serge Poliakoff. Nearly fifty yearson, motifs, whether abstract or figurative, borrowed from artworks oranimal stories heard in childhood, are making a (permanent?) comeback.To quote couturierMaxime Simoens, “Motifs enable us to tell a differentstory at each fashion show. They define the mood of the clothes byleaving a real impression on us. They recall things from our past; theyconvey a message.” More than simply being visually pleasing, they affirma fashion house’s identity. While Kenzo is a notorious aficionado oftigers and other wild beasts and Jean-Charles de Castelbajac has neverbeen shy of showing his ongoing attachment to PopArt, some formerlyovercautious fashion designers are now daring to try bolder prints. AtGivenchy, Riccardo Tisci really made people sit up and take notice with

fashion with veryapparent motifsFor the past few seasons, prints and patterns, once consideredrisky, have become sure-fire hits on the catwalks.Not only dothey convey the designers’ own sources of inspiration but alsoproclaim the fashion houses’ artistic identity.

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Left-hand page: Chanel spring 2014 prêt-à-porterfashion show (©chanel) 1. “Lady Dior” bag in hand-painted python leather (©Dior) 2. Givenchy spring2014 prêt-à-porter fashion show (©Givenchy parriccardo tisci) 3. Cher Dior “Fascinating Emerald”ring, in yellow gold, diamonds, emeralds, sapphires,tourmalines, rubies and garnets (©Dior)

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FASHION COLOURS

his ferociousRottweilerprint in2011andhis innocentBambiprint in2013.This year, he has found his inspiration inAfrican tribal masks. “By usinga motif on one or several of his garments,” continues Maxime Simoens,“the designer can express himself in a more personal manner, can revealwhat he really likes. Castelbajac’s naive PopArt, Tisci’s neo-Gothic lookplease people because they can feel the passion behind such and such acoat or such and such a sweatshirt.” Longstanding obsessions or currentcrazes thus find themselves associated with clothes paraded down thecatwalks. At Chanel, Karl Lagerfeld attested to his interest in culture byrecreating the interior decor of an art gallery for his spring-summer 2014fashion show. Not content with dressing his models in Pantone colours,he gave them packs of drawing paper to carry instead of handbags. Thesame season, Miucca Prada teamed up with six grafitti artists (El Mac,Mesa, Gabriel Specter and Stinkfish) and illustrators (Jeanne Detallanteand Pierre Mornet) for the backdrop to his fashion show, elements ofwhich were reiterated on his dresses. Through her clothes, the Italiandesigner thus became a patron of the arts. At Céline, Phoebe Philodrew on the graffiti once photographed by Brassaï, producing a fantasticpicture-within-the-picture effect. Other experts in patterns and printsinclude Valentino’s two creative directors, Maria Grazia Chiuri and PierPaolo Piccioli. For them, each season has a new source of inspiration,such as their RomeOpera workshops (spring-summer 2014), theGarden

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

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

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of Eden (summer couture 2014) and the commediadell’arte (autumn-winter 2014-15). In the pressrelease presenting their latest fashion show, theyexplained: “The clothes are basically simple… on

which decorative elements appeal to the sense ofsight and touch, by suggesting escapism and personal

interpretation.” Where luxury really excels is in thequasi-sacred alliance between the printed motif, which

does not always have to be discreet, and the fabric, whichmust, on the contrary, always be noble. Hence the multiplicity

of the materials chosen. Take, for example, those playing hostto Nicolas Ghesquières’ energizing floral prints at Louis Vuitton

(autumn-winter 2014-15). By splashing luscious plant and animal printsall over their capes, dresses, coats and other outfits, Dolce & Gabbanahave reinvented fairy tales without playing the “bling” card, which hasbecome this two-man team’s signature. The economic crisis has clearlyhad a massive impact, even in fashion. What is needed is sense andsensibility – exactly what printed motifs add to a garment, one of theirprettiest roles no doubt being to reassure people. The garment thusappears familiar to potential buyers, making them even more eager topurchase it. In every sense of the term, prints illustrate semioticianRoland Barthes’ theory (expressed in his book The Fashion System, 1973):fashion is a language. Sophie Rosemont

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

Wine BordeAux

The greatBordeauxwines originated in the angrywaters of two rivers:theGaronne and theDordogne, which grow calmer as they flow into theAtlanticOcean, in theGironde estuary.Europe’s largest estuary, borderedin the south by the forest of Les Landes, tempers the oceanic climate bymoderating temperature extremes, thus ensuringmild winters and warmsummers that enable the vines to mature to perfection. The very poorsoil, composed of pebbles or gravel (hence the word “Graves”) and clay,in which only vines can grow, gives rise to the singularity and complexityof these wines. The three main red grape varieties grown in this soil areCabernet Sauvignon, Cabernet Franc andMerlot.Themasterly blendingof these varieties is what characterizes Bordeaux wines. CabernetSauvignon reigns over the left bank of the River Garonne, in the Médocregion, north of Bordeaux.This pebbly soil has given birth to some of theworld’s most famous red wines. Names such asMargaux, Mouton, Lafiteand Latour tantalize the taste buds of wine lovers across the globe.These

world-fAmousbordeaux Wines“The glory ofBurdigala (Bordeaux) and its universal renowncomesfrom itswines,”wrote the poetAusonius back in the timeof the Romans. The vineyards of the region were founded bythe city of Bordeaux. In return, all the wealth and beauty ofthe town, now a UnescoWorldHeritage Site, are the fruitsof the vine and its related trade.

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Wine bordeaux

Grand Cru classé on the label of Château Lynch-Bages guarantees the excellence of this superb winefrom Pauillac ©Pierre Grenet – astoria Studio)

Bordeaux WineclaSSificationThe great Bordeaux wines havea hierarchy all of their own.Grand Cru classé printed on thelabel indicates a prestigious vintage.In 1855, wishing to display the finest

Bordeaux wines at the Paris Universal

Exposition, Emperor Napoleon III asked

winegrowers andmerchants from the region

to draw up a classification system that was

as exhaustive and easy-to-understand as

possible. This system was based on the

longstanding reputation of the châteaux

and the trading price of the best crus

(“growths”). Ranked in order of importance

from Premiers Crus (First Growths) such

as the Châteaux Lafite-Rothschild, Latour

and Margaux to the Cinquièmes Crus (Fifth

Growths), the list included 60 Médoc red

wines, 27 sweet wines from Sauternes

(Château d’Yquem is the only Premier Cru

Supérieur from the Sauternes region) and

Barsac, and a red Graves (Château Haut-

Brion, appellation Pessac-Léognan). Still

used today, this official classification has

only been changed once, in 1973, when

Mouton-Rothschild arrived at the top of the

list. On the right bank, the wines of Saint-

Emilion only joined the other great vintages

in 1959. The classification system is reviewed

every ten years. In 2012, the Châteaux Pavie

andAngélus climbed to the highest position,

alongside Châteaux Ausone and Cheval

Blanc (Premier Grand Cru classé A).

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

highly complex, very elegant red wines will improve in quality if left tomature, and to those who know how to wait, will reveal a rich aromabeyond compare. Grown on the right bank of the River Dordogne, invineyards stretching as far as the eye can see, Cabernet Franc andMerlotgrapes dominate in Saint-Emilion. Sixty per cent of the grapes used tomake Château Cheval Blanc are Cabernet Franc. Adjacent to the Saint-Emilion vineyards, the Pomerol estate is most conducive to Merlotgrapes, from which intense, opulent, voluptuous wines are made. Take,for example, Château Pétrus (over 80%Merlot), one of the most sought-after and expensive wines in the world. But without man’s help, the landwould not be so fertile. Generations of winegrowers have toiled to makethe great Bordeaux wines into the epitome of excellence. In the 12thcentury, theDuchy ofAquitaine, of whichBordeauxwas one of themajorcities, passed into English hands. The city became England’s principalwine supplier. In the 14th century, when England lost control of theprovince, the export of Bordeaux wines across the Channel was Europe’smost profitable trade. The fame of Bordeaux wines has continued tospread ever since. A major turning point came in the early 17th centurywhen the Bordeaux aristocracy invested massively in viticulture. Noblefamilies acquired vast estates in Médoc and had châteaux built forthemselves in the midst of the vineyards. From then on, wine wasidentified with the place in which it was produced, the château that

6, rue de l’Odéon 75006 Paris / +33 1 55 42 92 10serierare@serierare.com / www.serierare.com

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wine Bordeaux

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

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

the newwiNe CeLLarSPrestigious wine estates are callingupon top architects and designersto bring their wine cellars up to date.Over the past few years, wine cellars

and other storage facilities have been

given some of the boldest overhauls. In

2008, Jean-Michel Wilmotte designed an

underground wine cellar in steel and glass

for Château Cos d’Estournel, in Médoc.

The following year, at Château Faugères,

Mario Botta designed a 15-metre-tall

cathedral of wine, overlooking the Saint-

Emilion vineyard. In 2010, at Château

Cheval Blanc, Christian de Portzamparc

created an elegant white concrete wave

set against a verdantbackdrop.AtChâteau

Dominique, the new futuristic, wine-

coloured building was commissioned

from Jean Nouvel. In 2013, Château Pavie

entrusted the design of its new winery to

Alberto Pinto, while at Mouton Rothschild,

set designer Richard Peduzzi teamed up

with Bordeaux architect Bernard Mazières

to create a stunning new vat room by

blending tradition and modernity. Lastly,

at Château les Carmes Haut-Brion, a

wine cellar designed by Philippe Starck is

scheduled for the 2015 harvest.

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guaranteed its quality and reputation. This was a remarkable innovationin the history of wine producing. At the same time, people discoveredone of the characteristics of great Bordeaux wines: the fact that theyimprove with time. Since the late 17th century, they have enjoyed prideof place on the dining tables in great European capital cities and havebecome a symbol of the French art of living. The search for excellence isstill ongoing in the Bordelais region today. Over the past ten years, majoradvances in vinification methods have further improved the quality ofthe wine. In the new wine cellars (see box, left), natural gravity is used inthe vinification process. The grapes from the harvest are placed abovethe vinification vats. Grape juice flows down naturally to the bottom ofthe vats, without being crushed or pumped as it was previously, until it isput into barrels to age. Since the fruit is treatedmore respectfully duringvinification, thewine gains in elegance and aromatic complexity.Anothermajor innovation is the assembling of grapes from different plots of land.Assembling, or blending, is an exciting phase inwinemaking that involvesseparating, testing and analysing the wine produced from each plot ofthe vineyard, and then composing the best possible vintage for that year.The new wine cellars contain vats large enough to hold the wine fromeach of the estate’s different plots.The elaboration of a wine is extremelyfinely-tuned, so as to create a style, an emotion and a personality peculiarto each grand cru. Franck Zennaro

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49

Real estate

Owing to its national policies in favour of the preservation of historicbuildings, France abounds in exceptional residences, scattered all overthe country. Although the market for second homes has collapsed in thelast few years, chateaux, manor houses, windmills, hunting lodges andother properties of architectural or historical interest still find purchasers.From listed medieval ruins in the Dordogne to early-20th-century housesarchitects built for themselves along the Rhine, it is hard to draw up aprecise typology for these homes whose prices vary between 100,000 andseveral million euros (averaging between one and two million euros). “Forconnoisseurs of these buildings, which often requiremajor restoration andupkeep, the “love-at-first-sight” element overrides the purely speculativedimension,” explains Patrice Besse, an estate agent who specializes incharacter properties. These clients may be English, American, Russian,Chinese or French, are often well-informed and all share the same passionfor national heritage. Combined with their personal sensibility is the ideaof enhancing a site thatmay have an impact on the cultural heritage of theregion. “One must look outside the stereotyped view of converting theseproperties into bed-and-breakfasts or renting them out for weddings,”declares Patrice Besse. “By researching their history and highlightingtheir architecture, interior decor or gardens, one may envisage a culturalvocation for these buildings.” Michael Evansnwww.patrice-besse.com nwww.emilegarcin.fr nwww.sothebysrealty.com

living in a pieceof fRench histoRyAfar cry from the property market in large French cities likeParis,where the cost per squaremetremay be over 10,000 euros,there are several little gems of provincial heritage that are notonly reserved for billionaires.

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

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My new york BY Nicolas Bos

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

Nicolas Bos’s new york treasuresThis 42 years-old Parisian and art lover is chairman of jewellerVanCleefandArpels. IfNicolasBos is suchaconnoisseurofNewYork,that is because he lived on theUpper East Side between 2010 and2013 when serving as chairman of Van Cleef and Arpels NorthAmerica.Heoversaw the renovation of the store onFifthAvenue,firstopenedin1942,gettingPatrickJouin/SanjitMankutodesignanextremelyelegantspacewhereeachdetail isahomagetoNewYorkArt Deco.A collector of photographs and designer furniture, BosfrequentstheWrightsalesroomonMadisonAvenueandvisits theNewMuseum, theGuggenheim and theNewYorkAcademyofArt, plus the eminent Metropolitan Museum – “especially theCostumeInstitute,whichhasjustbeenrestored.”Haute-couturewas amajor source of inspiration for his jewellery. Reading-wise

Bos swears by the packed shelves of the Strand Bookstore, anEastVillageinstitutionopenedin1927.HealsoenjoystheProustianatmosphere ofAlbertine, the French Embassy bookstore on FifthAvenue. Nor does our aesthete neglects earthly sustenance. HefavorstheorganicFatRadishonLudlowStreet–“alreadyaclassic”–and Gato, for its delicious Mediterranean cuisine. And when itcomestoFrenchgastronomy,hisportofcall isDaniel,flagshipofchefDanielBoulud, anotherFrenchmanwhohas found that theU.S. agreeswithhim. A.C.nvancleefarpels.com nwright20.com n newmuseum.orgn guggenheim.org n nyaa.edu nmetmuseum.orgn strandbooks.com n albertine.com n thefatradishnyc.comn gatonyc.com n danielnyc.com

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A R T L I G H T I N G Screator - maker since 1923

3, rue de la Cité Universitaire 75014 Paris tel. +33 (0) 145 88 77 24 fax. +33 (0) 145 65 32 62www.perzel.com - new catalog 128 p. $ 30 ( reimbursed at your first purchase )

showroom: Tuesday to Friday : 9 am -12 noon / 1 pm - 6 pm Saturday : 10 am -12 noon / 2 pm - 7 pm

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CHER DIOR COLLECTIONYellow gold, white gold, pink gold, diamonds, garnets,rubies, tanzanite, sapphires and Paraiba tourmalines.

www.

dior.c

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