The Salon

#5
New York
 MIAMI BEACH / MAY 12-15, 2015
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BONJOUR,
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SALON RÉSERVÉ AUX PROFESSIONNELS / IMAGE © OCEAN, CORBIS / DESIGN © BE-POLES
 EDITORIAL

Cover: Henry Valensi, Les Casbahs du Haut-Atlas,

1931, oil on canvas, 77,5 x 96,6 cm (©Archives Galerie
Le Minotaure)

At the fOrefrOnt
Of REDISCOvERy
Special issues of Connaissance des Arts Lookingatthelistofcurrentshows,youmightthinkmuseumsaretheplaceforalltoday’s
Publisher
artistic rediscoveries.The Grand Palais in Paris is paying homage to Niki de Saint Phalle,
Francis Morel anartistwhowaslongoverlooked,theGuggenheimisexhibitingtheGermangroupZero,
Editor-in-chief
Guy Boyer whose members, among them Günther Uecker and Otto Piene, have not enjoyed the
Director of Development
Philippe Thomas recognition they deserve. But no, rediscovery is not the prerogative of museum curators.
Production manager
Anaïs Barbet
Antiquedealersandgallerists,too,aredoingseriousresearchinthearchives.Forexample,
Editor at this September’s Biennale des Antiquaires French dealers of 19th-century art showed
Benoît Lafay
Layout rare pieces by Edouard Lièvre (Benjamin Steinitz), Daniel Lovati (Aaron), Christofle
Franck Zennaro
Picture researcher
Kim Gillier
Translation
Charles Penwarden
©Adagp Paris, 2014

Advertising: Les Échosmedias

email: pubcda@lesechosmedias.fr

President
Patricia Levy
Managing Director
Cécile Colomb
Sales Director, Art and Classics
Frédéric Pion
Deputy Advertising Director
Magali Harmange
Client Directors
Sophie Lavigne,
Charlotte Maurange,
Virginie Roche,
International Advertising Director
Caroline Farin-Antebi

Contributors to this issue

Valérie Bougault, Axelle Corty, Michael Evans,
Kim Gillier, Marie Maertens, Sophie Rosemont,
Virginie Seguin, Franck Zennaro

Special issues of Connaissance des Arts

Christopher Dresser, Teapot, 1879, silvered metal and ebony, 22.8 x 13 x 13 cm (Oscar Graf, Paris. ©Arnaud
are published by Société Française
de Promotion Artistique, SARL (limited company), Carpentier et Didier herman)
capital: €150,000. Connaissance des Arts is
a Groupe Les Échos publication. (Chadelaud) and Christopher Dresser (Oscar Graf).And the Belgian dealerYves Macaux
Chairman and CEO
regularly exhibits Viennese treasures by Marcel Kammerer, Ludwig Jungnickel and
Francis Morel Adolf Loos, with pedigrees featuring such illustrious names as Wittgenstein and Baron
Delegate Managing Director
Christophe Victor Stoclet.AtThe Salon Benoît Sapiro is introducing theAmerican public to HenryValensi,
Delegate Director
Bernard Villeneuve
the master of musicalism, author of an incredible abstract “cine-painting” film, “Spring
Director of Arts et Classique section Symphony.” Thanks to their curiosity, patience and persistence, these dealers have ac-
Claire Lénart Turpin
quired knowledge to match or even surpass that of the experts. The only problem with
16, rue du Quatre-Septembre, 75112 Paris Cedex 02
Tel.: +33 (0)1 44 88 55 00; Fax: +33 (0)1 44 88 51 88 rediscovering all these treasures is that, once they are analysed and back in the public eye,
e-mail: cda@cdesarts.com
304 951 460 RCS. Paris their prices should rocket, much to the regret of buyers stung at not having taken an in-
Joint Commission 1005 K 79964 – ISSN 1242-9198
Photoengraving: Planète Couleurs, Paris terest in them earlier.
Printed by Etic at Laval, on LumiSilk 130 gr paper supplied
by Storaenso, from certified sustainable forests. guy boyer, editor-in-chief of connaissance des arts, gboyer@cdesarts.com

3
 À L A R E C H E R C H E D E L ’ Œ U V R E

L’ABUS D’ALCOOL EST DANGEREUX POUR LA SANTÉ, À CONSOMMER AVEC MODÉRATION

32 36 contents

6 neWs NEW YORK

8 portraits

14 the salon
Antiques,
Modern Art,
Art Deco,
Non Western Art,
Contemporary Art
14
32 interior DEsigN

36 Fashion COLOURs

42 Wine BORDEAUX

48 real EsTATE

50 MY neW York
BY NiCOLAs BOs

42 50

5
News New York

1 2

3 4

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

exhibitioNs: AuTuMN iN New York

In counterpoint to the lively bustle of The Salon: Art +
Design on the Upper East Side, the Guggenheim Museum
is putting on a show about Zero, the group of German
artists founded in 1957 by Heinz Mack and Otto Piene.
Featuring nearly forty artists, the exhibition explores
the experimental practices that show them to have been
forerunners of Land Art, minimalism and even conceptual
art. As for the Frick Collection, it is presenting a Virgin and
Child by Botticelli for the first time in New York and the
portrait of Lady Agnew of Lochnaw by John Singer Sargent,
along with a selection of works from the National Gallery
in Edinburgh. English artist Chris Ofili is celebrated at the
New Museum with a retrospective of paintings, drawings
and sculptures made over the last twenty years. In the more
recent pieces, the exotic figures, strange landscapes and folk
myths may remind some visitors of the paintings of Matisse
and Gauguin. Moving on to the gallery scene, Emmanuel
Perrotin’s Madison Avenue space is showing A Revision, a
collection of new pieces by John Henderson, including the
work Proof (wall rip, verso), made by transferring painting
done on the wall of his studio onto canvas. Henderson is
continuing his exploration of abstraction by treating the
studio as both raw material and integral part of the finished
work. K.G.
n www.newmuseum.org n www.guggenheim.org n www.perrotin.
com n www.frick.org

6
 « Jean-Marie
ean-M F
Fiori
iori »
THE WHIMSICA
WHIMSICAL
WHIMSICALL
from October 29th to November 27th at Galerie DUMONTEIL New York
475 Park Avenue
 POrTraITs new York

DOMINIQUE LÉVY London/new York and back

Nothing stops Dominique Lévy, who is opening a new space in London, two years after
©françois dischinger/courtesy dominique Lévy gallery

her first gallery on New York’s Madison Avenue. Equal parts charm and passion, this
Swiss native ran private sales of modern and contemporary art for Christie’s from 1999
to 2003 then moved to New York and founded L&M Arts with the leading American
dealer Robert Mnuchin (they opened premises in New York and Los Angeles). In 2013
she decided to go it alone. Specializing in post-war and contemporary art (Calder, de
Kooning, Giacometti, Warhol, Soulages), she also represents the estates of Germaine
Richier and Yves Klein in the U.S. This autumn, Lévy is innovating by offering an
exhibition over two continents: curated by Linda Norden, “Local History” will present
rarely seen works by Enrico Castellani, Donald Judd and Frank Stella simultaneously in
her New York and London galleries. Inaugurating the Mayfair space in London where it
runs to January 24, this transatlantic show opened this October, and the New York part
ends on January 3. F.Z.
n www.dominiquelevy.com

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

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

LEONarD LaUDEr historic patron of the met

33 Picassos, 17 Braques, 14 Gris and 15 Légers – in all, 79 paintings, most of them from
the “heroic” period of Cubism, between its inception in 1907 and Braque’s departure
for the front in 1914. That is the extraordinary donation made to the Met by Leonard
Lauder – in his own words, “a gift to the people who live and work in New York and those
from around the world who come to visit our great arts institutions.” This treasure trove,
patiently assembled since 1996, is now being given its first exhibition at the museum.
Its estimated value is a little over a billion dollars, or an eighth of the philanthropist’s
fortune, as calculated by Forbes magazine. Now 81, Leonard is the elder son of Estée
© mma 2014 Jackie neale

Lauder, eponymous creator of the cosmetics company. With his brother Ronald, he had
already established a reputation as one of the most important collectors and supporters
of art in New York, having gifted hundreds of works to the Whitney Museum. In 2006
Ronald paid the record sum of 135 million dollars for Gustav Klimt’s Portrait of Adele
Bloch-Bauer, now on show at his Neue Gallery on Fifth Avenue. F.Z.
n www.metmuseum.org

8
24 JAN--01FEB 2015

BRUSSELS

O N E O F T H E M O S T I N S P I R I N G FA I R S I N T H E W O R L D
 PORTRAITs neW YorK

PETER MARINO alchemist of interiors

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

artists. The felicitous marriage of art and architecture is, indeed, the theme of “One
Way,” the exhibition about Peter Marino opening at the Bass Museum of Art in Miami
this December. B.L.
n www.bassmuseum.org

FRANçOIs PAul JOuRNE master of time

As a worthy heir to the master watchmakers of the 18th century, François-Paul Journe
makes jewels of precision in his manufactory in Geneva. In his constant quest for the
perfect measurement of time, he multiplies innovations, such as the sonnerie souveraine, the
chronomètre à résonnance and the remontoir à égalité. Symbolizing the alliance of refinement
and technique, since 2004 all of the movements in the near-thousand pieces turned out
by his atelier have been in 18 karat pink gold. But the multi-medaled talent of the Maison
F. P. Journe also lies in its ability to offer series of watches wholly assembled by the same
watchmaker.To celebrate the inauguration of its tenth boutique, in Beirut, this summer, the
brand unveiled its Byblos blue chronometer adorned with Arabic numerals and signed with
the Phoenician letter “Jodh.” François-Paul Journe is now turning to female clients with
Élégante, his first women’s collection, for which he has developed a mechanism that stops

©fP. Journe
time when the watch is no longer worn. B.L.
n www.fpjourne.com

AMIN JAFFER the enchanter

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

Haidar, curator of the department of Islamic Art at that venerable institution. V.B.
n www.christies.com

10
© ARNAUD CARPENTIER
 PORTRAITS Paris

JeAn-cyRIlle bOuTmy at the helm

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

play a prominent role, so as to make them “an unmissable antiques venue in France”.
A restoration scheme with the designer Philippe Starck is also on the drawing board. M.M.
n www.marcheauxpuces-saintouen.com

mIchel JAnneAu urges ongoing Patronage

With a PhD in Economics to his credit, Michel Janneau envisaged becoming a university
professor. Instead, he went into the familyArmagnac business, before joining Louis Roederer.
From 2003, he encouraged this prestigious Champagne house to become a patron of the
BnF, France’s National Library. Eight years later, the Fondation Roederer was founded. “It is
fundamental to conceive sponsorship as a long-term commitment,” recalls Louis Roederer’s
Executive Vice President, Michel Janneau. The brand has since collaborated in Paris with the
Grand Palais and the Palais deTokyo. “Our presence there is the fruit of a perfect coincidence
between the birth of our foundation and the contact made by this museum at the same time.”

© champagne roederer
OthercollaborativeeventsincludetheFestivald’ArtLyriqueinAixenProvence,theDeauville
Photography Festival, Planche(s) Contact, and the 20th anniversary of the Café de Flore’s
Literary Prize. “But we’re also keen on a discreet form of sponsorship, for example by awarding
a grant for photographic research.We take great pleasure in this type of patronage…” M.M.
n www.louis-roederer.com

lAuRenT dumAS or a seasoned collector

Founder and chairman of the real-estate company Emerige, Laurent Dumas made his
appearance in the art world world ten years ago. He has since collected over 500 works by
international artists. Always eager to learn new things, he is interested in the production
of both young and confirmed artists as well as classic abstract painting. It was his powerful
reaction to the work of the Dutch painter Bram Van Velde – “who took his passion to
extremes with an honesty that I find very moving, in addition to the tremendous force of
his painting” – that urged him to start collecting and set the tone for his future purchases.
Combined with his love of travel, his curiosity about humanity, history and anthropology
governs his choices. He is currently developing his corporate spirit in the field of art. The
Villa Emerige, in the 16th arrondissement of Paris, will allocate a grant to an emerging
© manolo mylonas

artist, while Laurent Dumas’ own collection will be on show in the Marais district from
October, and a book will present selected works from this ever-growing collection
(featuring Elmgreen & Dragset, Buren, Garouste, Grasso…). M.M.
n www.emerige.com n www.villaemerige.com

12
 Jules Maeght gallery

inaugural show opening

Art in Motion
November 14, 2014 - January 31, 2015

Pol Bury
Alexander CAlder
Marshall ellioTT
Vassily KAndinsKy
Kirstie MACleod
Joan Miró
Clovis PrÉVosT
Tracey snelling
Kal sPelleTiCh

Jules Maeght gallery

149 Gough St. - San Francisco - CA 94102
www.julesmaeghtgallery.com
 the Salon Art+DesiGN

1 2

eveN More
international
3
For its third edition, The Salon Art + Design is hosting
55 galleries from ten different countries, with no less than seven
new dealers from Germany, England, France, Italy and the
United States eager to come to Armory Park Avenue and be
associated with the success of this young fair.

B enoît Sapiro, co-founder of the Salon, evokes its creation: “With

Christian Deydier, then president of the Syndicat National desAntiquaires
(SNA), we started working on this idea of taking the excellence of the
Biennale des Antiquaires abroad by creating satellite fairs that could also
help attract a large international audience to Paris. In the end, with Robert
Vallois, we created this association between the SNA and the American
organizer of fairs, Sanford Smith.” It was a great success, thanks to the
limited number of exhibitors presenting artworks and furniture from
the 19th century to the modern era, plus design and a few sorties into the
18th century and tribal arts. The geographical situation was ideal, on the
Upper East Side, attracting large numbers of New York collectors who
came and returned as the neighbours that they were, and who appreciated 4

the eclecticism on offer. Like the Biennale des Antiquaires, albeit with
smaller booths, the Salon makes it possible to reconstitute history and
present artists who, in their day, were shown in the same places, even if not
all of them attained the fame of Miró, Picasso or Dalí.” This is particularly
important to the director of Galerie Le Minotaure who loves to champion
the avant-gardes of the 1910-1950 era, overlooked by art history. The quality
of the ensemble also attracted prestigious new exhibitors, such as the
Parisian galleries Kreo and Dutko, Ulrich Fiedler from Berlin, and the New
York dealer DeLorenzo, who had never taken part in a fair before. M.M.
n www.thesalonny.com
Left-hand page: Jedd Novatt, LX, 1999, painted steel,
H. 70 cm (©Diane de Polignac) 1. Albert Paley, Custom
Forged Steel Dining Table, 1984, H. 28 cm (©Lillian
Nassau LLC) 2. Benoît Sapiro (©Archives Galerie Le
Minotaure) 3. Mathias Bengtsson, Growth chair, 2013,
solid bronze, H. 100 cm (© Galerie Maria Wettergren)
4. Hélène Binet, Christ Church in Spitalfields 03’, 2012,
digital b/w silver print, H. 153 cm (©ammann // gallery)

15
THE SALON ANCIENT ART
2 of a prestigious piece of furniture that may be found in the collections
3
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)
16
Charms of the pre-modern
The passion for ancient art is something that is handed down
from one generation to the next, as evidenced by the handful of
Parisian dealers who are showing their works in an intimate
and eclectic spirit.
Boosted by its success at the Biennale des Antiquaires, Galerie Kraemer
is continuing its “Twins” adventure in NewYork by showing a photograph
of the Met or the Frick Collection, alongside its very tangible pendant,
which in this instance is presented in a container. Without false modesty,
Laurent Kraemer, a descendant of the family that inaugurated the gallery
in Paris in 1875, notes that “We are frequently mentioned in the New York
Times and the Financial Times as the most important gallery in the world
for this period, so American collectors know us well, but it’s always good
to refresh contacts, especially during the hanging.” This is also a good
moment to gauge the development of a more youthful, international
clientele, one ever more inclined to match classical furniture with
modern art. As for Oscar Graf, his gallery dates back no further than
2010, but he acquired a keen eye as a young man in the company of his
decorator father and antiques dealer grandmother. He is offering a dozen
pieces from the 1900s, a period that witnessed the arrival of Nordic lines
in Austria and Germany and the development of Japanese influence in
France and England. At Berès, founded in 1951, eclecticism is the name of
the game, what with drawings by the Nabis and paintings by Simon Hantaï
and Robert Motherwell. Says Florence Montanari Levy, granddaughter
of the gallery founder, “We are seeing that collectors appreciate there
being a new salon with strong paintings, championed by genuine French
dealers.”. M.M.
 I N
S S
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30

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PALAIS BRONGNIART, PLACE DE LA BOURSE, PARIS 2 E

SPECIAL EXHIBITION: ARCHITECTS DRAWINGS FROM THE COLLECTION
OF THE BIBLIOTHÈQUE NATIONALE DE FRANCE
International Lectures of the Salon du dessin:
Architectural drawings - a window on the architect’s inventiveness
INFORMATION: +33 (0)1 45 22 61 05 · INFO@SALONDUDESSIN.COM · WWW.SALONDUDESSIN.COM
the Salon MODERN ART
1
2
1. Matéo Hernandez, Maternity, 1936, black granite,
H. 103 cm (©Galerie Dumonteil) 2. Henry Moore, Reclining
Figures, 1931, pen brush and ink, chalk, and wash,
38.1 x 27.9 cm (©Connaught Brown) 3. Henry Valensi,
Fès la Mystérieuse, 1924, oil on canvas, 132 x 200 cm
(© Archives Galerie Le Minotaure)
18
3
The 1910 to 1950 period
takes pride of place
At the Armory collectors can revisit European classics from
the first half of the 20th century, but also discover work by
American artists often overlooked by art history.
The London-based Richard Nagy is showing Austrian and German
expressionists, his speciality: Oskar Kokoschka, Egon Schiele, Otto
Dix, George Grosz and Oskar Schlemmer. For this dealer active since
1980, “New York is still the centre for art, the place with the most active
collectors.” Pierre Dumonteil, who has opened a gallery in New York
after his Parisian space in the 7th arrondissement, is showcasing Matéo
Hernandez, who already features in the collections of the MET, with a
Motherhood showing a chimpanzee and her young. As for Benoît Sapiro,
director of Galerie Le Minotaure and co-head of The Salon, he is linking
different periods and specialities this year by joining forces with dealer
Philippe Jousse in order to connect modernist furniture to the avant-
garde and European abstraction. “I see the highly architectural and
very spare furniture of Charlotte Perriand and Pierre Jeanneret as an
extension of Abstraction-Création, a movement that is particularly close
to my heart. We have therefore recreated a 1950s interior with paintings
and sculptures from that period, or a few decades older.” Continuing in
this same vein, the gallery Diane de Polignac is putting the emphasis on
lyrical abstraction from France and also from America, with names such
as Paul Jenkins, Sam Francis and Mark Tobey. But the real discovery is
Loïs Frederick, an artist born in Nebraska in 1930 who died in Paris in
2013, and whose vigorous, richly textured brush evokes the memory of
sweeping plains and rocky mountains. M.M.
Egon Schiele, Blond Girl in Underwear
1913, pencil on paper, 46.5 x 31 cm
(©Private Collection, Courtesy Richard
Nagy Ltd., London)

19
 FERNAND LEGER (1881-1955), Femme au cordage, 1930
Oil on canvas,
Signed and dated 'F. LEGER /30' lower right
41 x 33 cm

THE SALON : ART + DESIGN

New York, Park Avenue Armory
November 14th to 17th 2014
Opening November 13th
Booth C2

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

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

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

BOULAKIA FINE ART

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

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

THE SALON ART DECO
1 4
2
3
1. Alberto Giacometti, Pair of silvered-bronze
Dompteuse table lamps (©DeLorenzo Gallery) 2. Jean
Royère, Ours polaire armchair, 1947, wool, oak wood,
H. 70 cm (©Galerie Chastel-Maréchal) 3. Jean
E. Puiforcat, Art Deco centerpiece, Paris, c. 1930,
silver and glass (©JVDM Fine Art Silver) 4. Paul
Dupré-Lafon, Desk, (© Galerie Dutko)
22
Art Deco still riding high
Art Deco and the great furniture designers of the 1950s are
still in demand overseas, not least in New York, as can be seen
in the choice of the Parisian galleries.
She insists that it has nothing to do with the fact that her husband is
the organiser, but still, Cheska Vallois is full of praise for The Salon: “It’s
fantastic. American collectors love this joyous, light-hearted atmosphere
which is so very French!” The gallery is presenting a selection of its heavy-
hitters, with names like Jean Dunand and Jean-Michel Frank, “in order to
give an idea of Art Deco at its most sumptuous.” But for the occasion
the celebrated gallerist on Rue de Seine is also letting out a dozen pieces
by Eileen Gray, whom she considers the most important of all. The
Anglo-Irish designer can also be found at New York dealer DeLorenzo,
inaugurating his first participation at the fair, even though he has been
around since 1980. Today, the gallery is also hosting eight contemporary
designers and the booth is setting up a dialogue between generations,
through the creative visions of Emile-Jacques Ruhlmann and Isamu
Noguchi, but also Fernando Mastrangelo, born in 1978.
At the Dutko gallery they are sticking with the classics, with a desk by Paul
Dupré-Lafon from 1935. As Guillaume Savin remarks, “We noticed that
in New York the younger generation of designers and collectors still has
a strong interest in Art Deco, especially in this new age of mixing periods.
With its perfect, timeless lines, this desk is both a functional object and
a piece of sculpture, by an author who is of course much sought-after.”
The same is true of the designers represented at L’Arc en Seine, which
has built up a strong network of local collectors whom it provides with
pieces by Jean-Michel Frank and Alberto Giacometti, whose creations
 Christian Boutonnet - Rafael Ortiz

www.heliumpublicite.fr

The Salon Art + Design

New York
Booth A2

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

THE SALON ART DECO
2 not forget the Ours polaire by Jean Royère, with their original velvet, hair
1. Jean-Michel Frank, Quartz Lamp (©Galerie L’Arc
en Seine) 2. Alvar Aalto, Pair of armchairs, 1930’s
(©Modernity) 3. Eileen Gray, Cup in black and
silver lacquer, 1920 (©Vallois–Paris/Photo Arnaud
Carpentier) 4. Jean-Michel Frank, Inverted U-shaped
table sheathed in parchment, 1930 (©Vallois–Paris/
Photo Arnaud Carpentier)
24
are extraordinarily modern, yet date from the 1920s and 30s. But let us
and legs, acquired by the Chastel-Maréchal gallery from the family who
commissioned the pieces and had kept them since 1952. This is also the
vintage of the Présidence desk, one of Jean Prouvé’s most accomplished
pieces in terms of its concept, its use and its design, displayed here by
the Downtown Gallery. The first version was created for the director of
the Chèques Postaux office in Brussels, but the model was developed and
enriched by different ranges of colour, just as the architect and designer
did with his buildings. “The Americans,” Hélin Serre points out, “were
the first to appreciate this aesthetic. It goes well with minimal art while
echoing the heritage of the industrial era, which remains important in
the United States.” M.M.
 2 RUE DES BEAUX ARTS - 75006 PARIS
www.galerie-leminotaure.com

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

Park avenue armory, new york

november 13-17, 2014
Booth B-2
THE SALON desiGn
1 3
2 of natural materials.” The art-craft distinction is also uncertain in the
1. Gerrit Rietveld, Zig Zag chairs, 1950’s, stained
pine (© Modernity) 2. Mikko Paakkanen, Grand
tabouret, 2012, solid oak (© Galerie Maria Wettergren)
3. Ingrid Donat, Large chest of drawers with 5 gears,
2013, bronze, H. 90 cm (©Carpenters Workshop Gallery)
26
Where functionality
meets sculpture
The appeal of Scandinavian design seems inexhaustible, all
the more since a new generation is on hand, revisiting Arts
& Crafts ideas. The same tendency, indeed, can be observed
internationally.
Landmark moments in Scandinavian design are on show at The Salon,
notably at the Modernity gallery from Stockholm. Classics such as
Finn Juhl, Alvar Aalto and Otto Schulz are sure to find takers in spite of
the hike in prices – as Isaac Pineus explains: “This market has moved
on considerably in the last few years, with growing interest reflected
in record auction sales. Consequently, the prices for rare pieces have
risen.” Maria Wettergren illustrates this Nordic spirit in Paris through
the work of Danish, Norwegian and Finnish designers who play a great
deal on functional ambiguity. “These pieces,” she points out, “are located
between design and art, while offering a fresh reading of Arts & Crafts.
Often made using new technologies such as 3D printing and digitally
controlled Jacquard looms, they are notable for their crafts skills and use
designs of Ingrid Donat at Carpenters Workshop, in Paris and London.
She even uses the term “sculpted furniture.” Working mainly in bronze,
she draws on references such as Art Deco, Gustav Klimt, Armand-Albert
Rateau and tribal tattoos. As for Todd Merrill Studio in New York, they
have opted for a new series by Joseph Walsh in which, once again, the
language of design engages in a strong dialogue with sculpture, working
on the texture and qualities of the material. Which, in her way, is what
Hélène Binet does in her close-up photographs of Le Corbusier’s
concrete surfaces, offering an original and sensuous vision of the material
at Cologne’s Ammann Gallery. M.M.
 JANSSENS VAN DER MAELEN
Fine Art Silver
Decorative Arts - XX th

THE SALON + DESIGN

New York, Armory Park
November 2014
Booth A18

TEFAF
Maastricht (NL)
March 2015
Booth 266

ph : objetdartstudio.com

www.fineartsilver.com
THE SALON NON WesterN Art
1
2 market for tribal arts has seriously expanded, thanks to a new breed
1. Senufo woman, Ivory Coast, late 19th century,
wood, beads, H. 28 cm (©Galerie Lucas ratton)
2. Teke mask, Congo, late 19th Century (©Galerie Lucas
ratton) 3. Incised fish mortar, Olmec, 1100-500 BCE
(©throckmorton Fine Art, Inc.)
28
expanding
the imagination
The gallerists presenting art from other worlds feel like
privileged guests at The Salon, all the more so because of their
small number. They enjoy meeting collectors from outside their
specialist world.
Bearing a surname to conjure with in the world of African arts, Lucas
Ratton was well satisfied with his first participation at The Salon last
year. “The adventure appealed. True, I had local connections, but I
felt it was a good opportunity to go further both with collectors who
might offer me pieces and with those looking to buy, especially as
The Salon is held during the big sales of modern and contemporary
art, giving us the chance to meet international clients.” Today, the
of collector who likes to mix periods and specialities. “The market for
African art was very active in the United States in the 1970s, then it
slowed down a little. Which means there’s plenty of room to regain
ground!” Active for over twenty-five years, the New York-based
Throckmorton Fine Arts is more interested in consolidating the
market for pre-Columbian objects, Chinese jade and antiques, but also
promotes vintage and contemporary photography. For them, the fair
is a chance to show some Maya ceramics from prestigious American
collections. As Kraige Block points out, having been around the event
in the last two years as visitors, we thought we could work alongside
all these important galleries.” Also based in New York, Joan B Mirviss
is offering her booth to the Japanese ceramist Ogawa Machiko, born
1946, who is one of only six women to have won the prestigious Japan
Ceramic Society Award. M.M.
GALERIE BERÈS
25 quai Voltaire, 75007 Paris, France
T : 00 33 1 42 61 27 91
beres@galerieberes.com - www.galerieberes.com

Simon HANTAI (1922 - 2008), Tabula, Acrylic on canvas

H. 236 W.200 cm. Signed and dated lower right S.H. 80

THE SALON : ART + DESIGN

New York, Armory Park
13 - 17 November 2014
Booth B5
THE SALON CONTEMPORaRY aRT

Focus on Italian artists

Starring in fine exhibitions in France and the United States,
2 Italian artists also enjoy a strong market over the Atlantic,
where they are particularly well represented atThe Salon this year.

Lucio Fontana will be the main attraction on the booth of Robilant +

“Ten years ago,” recalls Alessandro Galli, “the market for this artist was
3
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)
Voena Gallery, which has spaces in London, Milan and Saint-Moritz.
concentrated mainly in Europe and New York, but now he is known all
over America, and even in China and the United Arab Emirates. This is
what you would call a fast-moving market, because the lure of the prices
impels some players to put works back on sale only a few years after
acquiring them. But if you compare it to the American artists of the same
generation, there’s still that missing zero, and we can predict that prices
for the most attractive post-war artists will continue to climb!” Galleria
Mazzoleni from Turin is coming to The Salon for the first time with Lucio
Fontana and Alberto Burri. “We are also going to put a special focus on
Arte Povera,” says Stefano Dalla Villa, “a movement that is enjoying great
success at international fairs. In parallel we are showing works by Giacomo
Balla, one of the major figures of Futurism who featured in the masterly
exhibition at the Guggenheim Museum in New York.” At Galerie M.F.
Toninelli, from Monaco, the Italian sequence begins with Gino Severini
and continues with Giorgio De Chirico, Marino Marini and Giorgio
Morandi. “As an exhibitor I go back even before The Salon,” recalls Louis
Toninelli, “because I took part with Sanford Smith (organizer of the
American fair) in the 1988 exhibition, celebrating the 75th anniversary of
the Armory Show, which in fact was held on Lexington Avenue, not Park
Avenue, where we are now, but it still brings back good memories.” M.M.

30
 A x e l Ve r v o or dt
w w w. a x e l-v e r v o or d t . c o m
Pa r t i c ip a nt a t
T he S a lon : A r t + D e s i g n, Ne w Yor k , Nov e m b e r 13 -17 t h 2 014 , b o ot h A4

Pr ot ot y p e of ‘ E g y p t i a n C h a i r ’ b y Mo g e n s L a s s e n (19 01-19 8 7 )
Ma n u f a c t u r e d b y A .J . Iv e r s e n , D e n m a r k , 192 8
C a n v a s b a c k a n d a r m r e s t s , o a k f o o t r e s t , 6 3 x 70 x 74 c m
32
 interior DESign

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

P ierreYovanovitch says that he works “to make people happy”. In his

Parisian offices, a stone’s throw from the Madeleine, he pins up thank-you
messages from his clients. They give him energy. His approach to interior
design is similar to a great couturier’s as he creates his collections: “It’s an
eternal new beginning. I don’t systematically add a touch of ‘Yovanovitch
style’. I feel strongly about respecting the atmosphere of a place.” When
3
tackling a new project, he begins by outlining a structure, then focuses
on natural light. “Once these two fundamentals have been established,
the decor comes very quickly.” His unique manner of balancing the
straight lines of the architecture and the curves of the interior decor was
something he learnt from Pierre Cardin. “I admired his way of creating
geometry in three lines.” He worked with the couturier on his men’s
fashion collections for ten years. It was a trade that he entered almost by
accident, as a result of the people he met, but this was where he discovered
his love of fabrics. “I adored visiting Italian luxury textile factories.” His
signature traits include contrasting plush silk velvet upholstery with Left-hand page: Exhibition design for the AD Intérieurs
natural wood parquet floors and polished marble with shiny metal doors. 2010 show, in Paris, at Artcurial, on the theme “French
Style” (©Jean-François Jaussaud Luxproductions)
He uses this process to design interiors that are always grandiose yet 1. Main lounge (detail) in a chateau in Provence
comfortable, extremely luxurious without being ostentatious. And how (©photo: Jean-François Jaussaud, Luxproductions)
2. Pierre Yovanovitch (©Matthieu Salvaing) 3. Kitchen
does the man top home decoration magazines call the most prominent in a chateau in Provence (©Matthieu Salvaing)

33
interior design
2 out of a fairy tale. Last year, he commissioned a huge carpet for a Parisian
1. Exhibition design for the AD Intérieurs 2012 show, in
Paris, at Artcurial. Sofa designed by Pierre Yovanovitch
(©Jean-François Jaussaud Luxproductions) 2. Front door
of an apartment in Place des Ternes, Paris, in raw steel
with gold leaf finish (designed by Pierre Yovanovitch)
(©Jean-François Jaussaud Luxproductions) 3. Lounge
of an apartment (detail) in Place des Vosges, Paris,
with burnished steel “bubble” chimneypiece, designed
by Pierre Yovanovitch (©Jean-François Jaussaud
Luxproductions)
34
exponent of French style define it himself? “Rigorousness!” he exclaims
from the heart. “My collaborators are almost all architects.” Yovanovitch
also respects the French tradition of grand decorative schemes and calls
upon craftsmen of the highest calibre. The famous ceramic artist Armelle
Benoît, based in Normandy, works with him on swimming pools straight
townhouse from Robert Four, the renowned weaver of Aubusson rugs
and tapestries. “For me, some great craftsmen are true artists. I feel very
close to their creative process.” Meeting artists is one of Yovanovitch’s
great pleasures in life. He is currently working on a project that fills him
with delight: a collector has asked him to turn his private mansion into
a showcase for contemporary artworks. “They are being specially made
for the place that will house them. I’m working directly with the artists,
Daniel Buren in particular.” Yovanovitch’s artistic fibre is expressed in
the furniture he designs for his projects: bubble-shaped metal chimneys,
shiny as mirrors, vast sofas with organic forms and cloud-like alabaster
suspension lights. “A line of products is currently on the drawing board,”
says the man who dreams of making his agency into the ultimate symbol
of French lifestyle. Axelle Corty
COLLECTING DESIGN
INGRID DONAT
COMMODE AUX 5 ENGRENAGES
2013
BRONZE
H90 L160 W48 CM / H35.4 L63 W18.8 IN
LIMITED EDITION OF 8
 fashion colours

fashion with very

apparent motifs
For the past few seasons, prints and patterns, once considered
risky, have become sure-fire hits on the catwalks. Not only do 2
they convey the designers’ own sources of inspiration but also
proclaim the fashion houses’ artistic identity.

A ssisted by a certain Azzedine Alaïa in 1965, Yves Saint Laurent

designed a collection called “Homage to Mondrian”… epitomized by a
short shift dress imitating the Dutch painter’s aesthetics and colours.
Throughout his career, the couturier would, in his own way, exhibit
the works of Nicolas de Staël and Serge Poliakoff. Nearly fifty years
on, motifs, whether abstract or figurative, borrowed from artworks or
animal stories heard in childhood, are making a (permanent?) comeback.
To quote couturier Maxime Simoens, “Motifs enable us to tell a different
story at each fashion show. They define the mood of the clothes by 3
leaving a real impression on us. They recall things from our past; they
convey a message.” More than simply being visually pleasing, they affirm
a fashion house’s identity. While Kenzo is a notorious aficionado of Left-hand page: Chanel spring 2014 prêt-à-porter
tigers and other wild beasts and Jean-Charles de Castelbajac has never fashion show (©chanel) 1. “Lady Dior” bag in hand-
painted python leather (©Dior) 2. Givenchy spring
been shy of showing his ongoing attachment to Pop Art, some formerly 2014 prêt-à-porter fashion show (©Givenchy par
overcautious fashion designers are now daring to try bolder prints. At riccardo tisci) 3. Cher Dior “Fascinating Emerald”
ring, in yellow gold, diamonds, emeralds, sapphires,
Givenchy, Riccardo Tisci really made people sit up and take notice with tourmalines, rubies and garnets (©Dior)

37
FASHION COLOURS
“the designer can express himself in a more personal manner, can reveal
2 coat or such and such a sweatshirt.” Longstanding obsessions or current
1. and 2. Valentino spring 2014 prêt-à-porter fashion
show (©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, limited
edition of 20 (©Vincent Wulveryck/Cartier 2013)
3. Van Cleef & Arpels, “Extraordinary Butterflies” watch,
permanent collection (©Van Cleef & Arpels) 4. La Dior
VIII Grand Bal “Plissé Soleil” watch (©Dior) 5. Vacheron
“Fabulous Ornaments” watch, Indian manuscript model
(©Vacheron) 6. Piaget “Limelight Dancing Light” watch
(©Piaget 2014) 7. Boucheron violet “Crazy Jungle Hathi”
watch (©Boucheron Paris) 8. Bulgari “Diva” watch,
inlaid with 366 diamonds (©Bulgari)
38
his ferocious Rottweiler print in 2011 and his innocent Bambi print in 2013.
This year, he has found his inspiration in African tribal masks. “By using
a motif on one or several of his garments,” continues Maxime Simoens,
what he really likes. Castelbajac’s naive Pop Art, Tisci’s neo-Gothic look
please people because they can feel the passion behind such and such a
crazes thus find themselves associated with clothes paraded down the
catwalks. At Chanel, Karl Lagerfeld attested to his interest in culture by
recreating the interior decor of an art gallery for his spring-summer 2014
fashion show. Not content with dressing his models in Pantone colours,
he gave them packs of drawing paper to carry instead of handbags. The
same season, Miucca Prada teamed up with six grafitti artists (El Mac,
Mesa, Gabriel Specter and Stinkfish) and illustrators (Jeanne Detallante
and Pierre Mornet) for the backdrop to his fashion show, elements of
which were reiterated on his dresses. Through her clothes, the Italian
designer thus became a patron of the arts. At Céline, Phoebe Philo
drew on the graffiti once photographed by Brassaï, producing a fantastic
picture-within-the-picture effect. Other experts in patterns and prints
include Valentino’s two creative directors, Maria Grazia Chiuri and Pier
Paolo Piccioli. For them, each season has a new source of inspiration,
such as their Rome Opera workshops (spring-summer 2014), the Garden
1 2 3

4 5

6 7 8
FASHION COLOURS
1 must, on the contrary, always be noble. Hence the multiplicity
2
1. Maxime Simoëns 2014 “Resort” collection (©Maxime
Simoëns) 2. Chanel “Constellation du Lion” watch
inspired by a 1932 Chanel collection (©Chanel joaillerie)
3. Louis Vuitton autumn 2014 prêt-à-porter fashion
show (©Louis Vuitton Malletier)
40
of Eden (summer couture 2014) and the commedia
dell’arte (autumn-winter 2014-15). In the press
release presenting their latest fashion show, they
explained: “The clothes are basically simple… on
which decorative elements appeal to the sense of
sight and touch, by suggesting escapism and personal
interpretation.” Where luxury really excels is in the
quasi-sacred alliance between the printed motif, which
does not always have to be discreet, and the fabric, which
of the materials chosen. Take, for example, those playing host
to Nicolas Ghesquières’ energizing floral prints at Louis Vuitton
(autumn-winter 2014-15). By splashing luscious plant and animal prints
all over their capes, dresses, coats and other outfits, Dolce & Gabbana
have reinvented fairy tales without playing the “bling” card, which has
become this two-man team’s signature. The economic crisis has clearly
had a massive impact, even in fashion. What is needed is sense and
sensibility – exactly what printed motifs add to a garment, one of their
prettiest roles no doubt being to reassure people. The garment thus
appears familiar to potential buyers, making them even more eager to
purchase it. In every sense of the term, prints illustrate semiotician
Roland Barthes’ theory (expressed in his book The Fashion System, 1973):
fashion is a language. Sophie Rosemont
 GALERIE MAEGHT

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

Ceramics
september 5th to november 1st 2014

42, RUE DU BAC 75007 PARIS

TÉL. : 01.45.48.45.15 - FAX : 01.42.22.22.83
www.maeght.com - paris@maeght.com
42
 Wine BordeAux

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

T he great Bordeaux wines originated in the angry waters of two rivers:

the Garonne and the Dordogne, which grow calmer as they flow into the
Atlantic Ocean, in the Gironde estuary. Europe’s largest estuary, bordered
in the south by the forest of Les Landes, tempers the oceanic climate by
moderating temperature extremes, thus ensuring mild winters and warm
summers that enable the vines to mature to perfection. The very poor
soil, composed of pebbles or gravel (hence the word “Graves”) and clay,
in which only vines can grow, gives rise to the singularity and complexity
of these wines. The three main red grape varieties grown in this soil are
Cabernet Sauvignon, Cabernet Franc and Merlot. The masterly blending
of these varieties is what characterizes Bordeaux wines. Cabernet
Sauvignon reigns over the left bank of the River Garonne, in the Médoc
region, north of Bordeaux. This pebbly soil has given birth to some of the
world’s most famous red wines. Names such as Margaux, Mouton, Lafite
and Latour tantalize the taste buds of wine lovers across the globe. These
Left-hand page: The vineyard and Château Pichon-
Longueville, in Pauillac, in Médoc. Vines aged thirty
years old on average grow in a soil composed of sand,
gravel and clay called graves (©Axa) 1. Château Pape
Clément, in Pessac, on the outskirts of Bordeaux,
owes its name to its most famous past owner, Pope
Clement V (1305-77). In the 1980s, entrepreneur and
wine lover Bernard Magrez took over the reins of the
château and gave this grand cru classé a more worldly
aura (©Château Pape Clément) 2. Tasting a bottle
of Château La Dominique, Saint-Émilion Grand Cru
(©J.B. Nadeau) 3. A map of the Bordeaux vineyards
(©CIVB)

43
Wine bordeaux
Grand Cru classé on the label of Château Lynch-
Bages guarantees the excellence of this superb wine
from Pauillac ©Pierre Grenet – astoria Studio)
Bordeaux Wine
claSSification
The great Bordeaux wines have
a hierarchy all of their own.
Grand Cru classé printed on the
label indicates a prestigious vintage.
In 1855, wishing to display the finest
Bordeaux wines at the Paris Universal
Exposition, Emperor Napoleon III asked
winegrowers and merchants from the region
to draw up a classification system that was
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
and Angélus climbed to the highest position,
alongside Châteaux Ausone and Cheval
Blanc (Premier Grand Cru classé A).
44
A bottle of the celebrated Château d’Yquem, the only Sauternes in the premier cru supérieur
category. The magic of this dessert wine comes from a fungus called Botrytis cinerea, also known
as noble rot, which intensifies the sweetness and aroma of the white wine. D’Yquem wines may be
kept for an extraordinary length of time (©Yquem/Photo Jean-Pierre bost)
highly complex, very elegant red wines will improve in quality if left to
mature, and to those who know how to wait, will reveal a rich aroma
beyond compare. Grown on the right bank of the River Dordogne, in
vineyards stretching as far as the eye can see, Cabernet Franc and Merlot
grapes dominate in Saint-Emilion. Sixty per cent of the grapes used to
make Château Cheval Blanc are Cabernet Franc. Adjacent to the Saint-
Emilion vineyards, the Pomerol estate is most conducive to Merlot
grapes, from which intense, opulent, voluptuous wines are made. Take,
for example, Château Pétrus (over 80% Merlot), one of the most sought-
after and expensive wines in the world. But without man’s help, the land
would not be so fertile. Generations of winegrowers have toiled to make
the great Bordeaux wines into the epitome of excellence. In the 12th
century, the Duchy of Aquitaine, of which Bordeaux was one of the major
cities, passed into English hands. The city became England’s principal
wine supplier. In the 14th century, when England lost control of the
province, the export of Bordeaux wines across the Channel was Europe’s
most profitable trade. The fame of Bordeaux wines has continued to
spread ever since. A major turning point came in the early 17th century
when the Bordeaux aristocracy invested massively in viticulture. Noble
families acquired vast estates in Médoc and had châteaux built for
themselves in the midst of the vineyards. From then on, wine was
identified with the place in which it was produced, the château that
6, rue de l’Odéon 75006 Paris / +33 1 55 42 92 10
serierare@serierare.com / www.serierare.com
wine Bordeaux
1. Christian de Portzamparc’s white wave for Château
Cheval Blanc amid the St-Émilion vineyards (©Cheval
Blanc/Photo. erick Saillet) 2. Philippe Starck's project
for a new wine cellar for Château les Carmes Haut-
Brion (©Les Carmes Haut-Brion)
the new
wiNe CeLLarS
Prestigious wine estates are calling
upon top architects and designers
to bring their wine cellars up to date.
Over the past few years, wine cellars
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 verdant backdrop. At Château
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.
46
4
3. Mario Botta’s “cathedral of wine" for Château Faugères. The owner of the château, Silvio Denz,
wanted a contemporary building to house today’s most innovative vinification technology (©J.B.
Nadeau) 4. The ageing, blending and vinification cellar at Château Pavie, with decor and lighting
designed by Alberto Pinto (©J.B. Nadeau)
guaranteed its quality and reputation. This was a remarkable innovation
in the history of wine producing. At the same time, people discovered
one of the characteristics of great Bordeaux wines: the fact that they
improve with time. Since the late 17th century, they have enjoyed pride
of place on the dining tables in great European capital cities and have
become a symbol of the French art of living. The search for excellence is
still ongoing in the Bordelais region today. Over the past ten years, major
advances in vinification methods have further improved the quality of
the wine. In the new wine cellars (see box, left), natural gravity is used in
the vinification process. The grapes from the harvest are placed above
the vinification vats. Grape juice flows down naturally to the bottom of
the vats, without being crushed or pumped as it was previously, until it is
put into barrels to age. Since the fruit is treated more respectfully during
vinification, the wine gains in elegance and aromatic complexity. Another
major innovation is the assembling of grapes from different plots of land.
Assembling, or blending, is an exciting phase in winemaking that involves
separating, testing and analysing the wine produced from each plot of
the vineyard, and then composing the best possible vintage for that year.
The new wine cellars contain vats large enough to hold the wine from
each of the estate’s different plots. The elaboration of a wine is extremely
finely-tuned, so as to create a style, an emotion and a personality peculiar
to each grand cru. Franck Zennaro
Read ConnaissanCe des arts
eveRywheRe, eveRytime...

Borgrgiaia
LasasagagadedessBo
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CONNAISSANCE D
GB: £7,80 GB: £7,80

Le soleil
se lève
€ Ch: 15 Fs CaN: CaN$ 12,25

sur monet
à marmot tan
€ BeL/Lux: 9,20 € esP: 9,70
Dom/Gr/Ita/NL/Port: 9,50
a - matéGot
- rewaL - Les BorGIa - tahar
- ImPressIoN - CoLL. emerIGe
- horN

O , E N F IN !
!
ChaNtILLy - musée PICasso

LE M U S É E P IC A S S
octobre 2014

M 05525 - 730 - F: 7,90 E -

RD

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available on
 Real estate

living in a piece
of fRench histoRy
A far cry from the property market in large French cities like
Paris, where the cost per square metre may be over 10,000 euros,
there are several little gems of provincial heritage that are not
only reserved for billionaires. 3

O wing to its national policies in favour of the preservation of historic

buildings, France abounds in exceptional residences, scattered all over
the country. Although the market for second homes has collapsed in the
last few years, chateaux, manor houses, windmills, hunting lodges and
other properties of architectural or historical interest still find purchasers.
From listed medieval ruins in the Dordogne to early-20th-century houses
architects built for themselves along the Rhine, it is hard to draw up a
precise typology for these homes whose prices vary between 100,000 and
several million euros (averaging between one and two million euros). “For
connoisseurs of these buildings, which often require major restoration and
upkeep, the “love-at-first-sight” element overrides the purely speculative 4

dimension,” explains Patrice Besse, an estate agent who specializes in

character properties. These clients may be English, American, Russian,
Chinese or French, are often well-informed and all share the same passion
for national heritage. Combined with their personal sensibility is the idea
of enhancing a site that may have an impact on the cultural heritage of the
region. “One must look outside the stereotyped view of converting these
properties into bed-and-breakfasts or renting them out for weddings,”
declares Patrice Besse. “By researching their history and highlighting
their architecture, interior decor or gardens, one may envisage a cultural
vocation for these buildings.” Michael Evans
n www.patrice-besse.com n www.emilegarcin.fr n www.sothebysrealty.com
Left-hand page, top: House on Gerzido beach, on
the Isle of Bréhat, Brittany (©emile garcin Bretagne)
Bottom: Chateau in Languedoc (©immobilier Foch,
sotheby’s internationnal Realty) 1. 17th-century manor
house in Luberon (©emile garcin aix-en-provence)
2. Prestigious residence in Uzes la Boissière, built
around a 9th-century Templars’ fortified tower
(©immobilier Foch, sotheby’s internationnal Realty)
3. 18th-century manor house, 35 minutes from
Deauville, Pays d’Auge (©emile garcin) 4. Architectural
prowess in the Cathar Country, unique reconstruction
of a listed fortress and its outbuildings, on a 92-hectare
estate (©agence patrice Besse)

49
My new york BY Nicolas Bos

1 2

3 4

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

Nicolas Bos’s new york treasures

This 42 years-old Parisian and art lover is chairman of jeweller Van
Cleef andArpels. If Nicolas Bos is such a connoisseur of NewYork,
that is because he lived on the Upper East Side between 2010 and
2013 when serving as chairman of Van Cleef and Arpels North
America. He oversaw the renovation of the store on Fifth Avenue,
firstopenedin1942,gettingPatrickJouin/SanjitMankutodesignan
extremely elegant space where each detail is a homage to NewYork
Art Deco. A collector of photographs and designer furniture, Bos
frequentstheWrightsalesroomon MadisonAvenue and visits the
New Museum, the Guggenheim and the New York Academy of
Bos swears by the packed shelves of the Strand Bookstore, an
EastVillage institution opened in 1927. He also enjoys the Proustian
atmosphere of Albertine, the French Embassy bookstore on Fifth
Avenue. Nor does our aesthete neglects earthly sustenance. He
favorstheorganicFatRadishonLudlowStreet–“alreadyaclassic”–
and Gato, for its delicious Mediterranean cuisine. And when it
comes to French gastronomy, his port of call is Daniel, flagship of
chef Daniel Boulud, another Frenchman who has found that the
U.S. agrees with him. A.C.
n vancleefarpels.com n wright20.com n newmuseum.org

Art, plus the eminent Metropolitan Museum – “especially the n guggenheim.org n nyaa.edu n metmuseum.org

CostumeInstitute,whichhasjustbeenrestored.”Haute-couture n strandbooks.com n albertine.com n thefatradishnyc.com

was a major source of inspiration for his jewellery. Reading-wise n gatonyc.com n danielnyc.com

50
 353 S
A R T L creator
I - maker
G since
H 1923T I N G S
3, rue de la Cité Universitaire 75014 Paris tel. +33 (0) 145 88 77 24 fax. +33 (0) 145 65 32 62
www.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
www.dior.com

CHER DIOR COLLECTION

Yellow gold, white gold, pink gold, diamonds, garnets,
rubies, tanzanite, sapphires and Paraiba tourmalines.