1stDibs – Glenn Gissler Crafts a Serene New York Home for an Art-Loving Couple

1stDibs

January 2025

Originally published on 1stDibs

Glenn Gissler Design Transforms Upper West Side Residence into Art-Filled Sanctuary – As Featured on 1stDibs

Glenn Gissler Design’s recent project on Manhattan’s Upper West Side has been featured on 1stDibs. This modern, light-filled residence was crafted for a couple deeply passionate about art, resulting in a harmonious blend of contemporary design and cherished artworks.

Project Highlights:

  • Art-Focused Design: The home serves as a canvas for the clients’ extensive art collection, featuring works by Pablo Picasso, Dora Maar, Al Held, James Brooks, and Gary Gissler, among others.
  • Custom Furnishings: The dining area showcases a custom walnut table paired with Eero Saarinen chairs, illuminated by a Lindsey Adelman chandelier, creating a perfect setting for both intimate dinners and larger gatherings.
  • Thoughtful Space Planning: The expansive living and dining areas offer an open, loft-like feel, ideal for entertaining and displaying art, while private spaces like his-and-hers offices and a cozy TV den provide personal retreats.
  • Curated Furnishings: A George Nakashima wall-hung cabinet in the entry gallery complements the art display, adding a touch of handcrafted elegance to the space.

This project exemplifies Glenn Gissler Design’s commitment to creating spaces that are both aesthetically pleasing and deeply personal, reflecting the unique passions and lifestyles of their clients.

Originally published on 1stDibs

Glenn Gissler Crafts a Serene New York Home for an Art-Loving Couple

by STEPHEN WALLIS
Photography: Alexandra Rowley / Gross & Daley
Originally published on 1stDibs

Sometimes, a change of address is about wiping the slate clean and starting over with new furnishings and art. Other times, it’s more about bringing into a different setting things that you’ve long lived with and find meaningful, allowing them to be seen and experienced afresh.

The latter scenario is a pretty apt description of a recent interiors project that designer GLENN GISSLER oversaw for repeat clients on New York City’s Upper West Side. The couple traded a prewar apartment Gissler had designed for them a decade or so earlier for a condo in a newly constructed building just a few blocks north, and while they didn’t travel far, the move brought them a world away in terms of vibe.

. . . 

Read the full article on 1stDibs.com

West End Apartment

Built in 1840, the Greek Revival farmhouse would become a haven for some of the 20th century’s most celebrated artists. Designer Glenn Gissler removed the shutters from the home’s windows to achieve an “ecclesiastical purity [for] the Greek temple front” that offers a more contemporary appearance.

In the dining area of the open-plan living space, a panel from the calligraphic work, ‘Roman Notes’ by Cy Twombly, engages in a compelling dialogue with a Jacob Hashimoto dimensional collage. The composed scene is anchored by an area rug from Stark Carpet and illuminated by Lindsey Adelman’s smoked-glass ‘Branching Bubble’ chandelier. Iconic Eero Saarinen armchairs provide comfortable seating and a curvaceous counterpoint to the multiple geometries.

West End, NYC

West End Apartment

An expansive apartment residence on Manhattan’s Upper West Side offers the best of contemporary urban living. Its generously scaled, sun-drenched rooms are set within a newly constructed building with all the desirable modern amenities and gracious layouts reminiscent of pre-war apartments.

Glenn Gissler Design was commissioned to create a sanctuary for a couple seeking a fresh, calm living environment. Thoughtful architectural details that balance traditional and modernist sensibilities help create a transitional environment grounded in the 21st century, resulting in a sophisticated interplay between metropolitan vistas and natural light while integrating architectural elements that skirt stylistic boundaries. 

We collaborated with our clients to establish a chromatic narrative inspired by the neutral hues taken from beach rocks and sand. The nuanced palette weaves tonal whites and cool-toned grays inflected with subdued organic hues. The first agreed-upon selection was a Scandinavian flat-weave carpet, further defining the design sensibility and palette direction.

The furniture and furnishing we assembled have clean lines and graceful modern proportions, creating understated spaces that eschew ornamentation in favor of pure form. Against this backdrop, the couple’s art collection becomes the focal point as you move between the rooms.

 

Beyond the home’s backdoor and through a split rail fence, summer visitors are greeted by an unobtrusive pool and a former art studio dubbed the “Pleasure Pavilion,” where a swim follows rustic lunches. Several weathered Adirondack chairs rest below a mature Sugar Maple tree, providing a respite from the midday sun.

In the entry gallery, a bespoke runner–crafted in homage to a vintage Swedish flat-weave carpet–establishes the residence’s tonal language. A series of flush-mount fixtures punctuate the ceiling, while picture lights, conceived by modernist master Paul Rudolph, provide discrete art lighting for the side walls. An artwork by Gary Gissler takes pride of place at the far end of the space, while a series of c.1960 ink-on-paper works by Al Held are hung on the left wall.

The side garden features a 19th-century urn in an established bed of pachysandra that came with the house. This is consistent with Glenn’s playful interpretation of classical tradition, which is part of the house’s Greek Revival roots.

A wall-hung cabinet by modern master George Nakashima, fashioned in black walnut and pandanus cloth, floats below a figurative work by the American abstract expressionist painter James Brooks. The silhouette of the undulating vase contrasts with the geometry of the cabinet and the cubist composition.

Just inside the library, a circa 1820 Biedermeier Bar Cabinet is stocked with spirits, where guests are encouraged to help themselves to a cocktail. Hanging above are works on paper by Wilfred Zogbaum (left) and Tomas Eldred (right). The Klismos Chair, one of a pair, is attributed to T.H. Robsjohn-Gibbings.

A striking work on paper by the legendary artist Pablo Picasso hangs above a console table at one end of the living area. The vase, vessel, and branches provide a counterpoint to the table’s geometry.

In the entry hall, a pair of circa 1830 hall chairs rest atop a custom ‘falling block’ patterned hook rug, which Glenn designed for the space. Above the chairs, in what amounts to a mid-20th-century artistic dialog, are works by Alexander Calder (left) and Le Corbusier (right). The Calder is the first work inside the house, which Glenn chose because Calder’s homestead and studio–still maintained by the late artist’s family–are less than two miles away.

In this art-filled view, a pair of swivel armchairs from Holly Hunt, upholstered in a nuanced textile, balance two framed collages by Conrad Marca-Relli, a celebrated modernist whose works are in the permanent collections of many museums. A sculptural lamp, ‘Tornade’ by Hervé van der Straeten, articulates the composition, with a view into the gallery with works on paper by Al Held.

The swimming pool was existing when Glenn purchased the house. He left the coping, but removed the awkward patios to allow it to fit quietly into the backyard landscape as a reflecting pool. The property expands beyond the back gate for some distance before connecting to hundreds of acres of the Roxbury Land Trust’s many preserves.

Diaphanous curtains, suspended from custom-crafted hardware, diffuse natural light and help soften the room’s acoustics. The architecturally refined stepped ceiling detail was introduced to add a pre-war plaster detail to this new construction apartment.

The side garden features a 19th-century urn in an established bed of pachysandra that came with the house. This is consistent with Glenn’s playful interpretation of classical tradition, which is part of the house’s Greek Revival roots.

A John Saladino glass table lamp, circa 1970,  graces a bespoke cabinet with a stone top. The recessed cabinet panels are covered in grass cloth, adding dimensionality.

Beyond the home’s backdoor and through a split rail fence, summer visitors are greeted by an unobtrusive pool and a former art studio dubbed the “Pleasure Pavilion,” where a swim follows rustic lunches. Several weathered Adirondack chairs rest below a mature Sugar Maple tree, providing a respite from the midday sun.

Quiet geometric forms and horizontal planes, emblematic of modernist design, are balanced against the sweeping curves of the circling chairs in this layered space. The interplay of lustrous woods–from the hand-finished flooring to the walnut dining table and accent furnishings–creates a pleasing interplay with the blue-grey textiles.

In the entry hall, a pair of circa 1830 hall chairs rest atop a custom ‘falling block’ patterned hook rug, which Glenn designed for the space. Above the chairs, in what amounts to a mid-20th-century artistic dialog, are works by Alexander Calder (left) and Le Corbusier (right). The Calder is the first work inside the house, which Glenn chose because Calder’s homestead and studio–still maintained by the late artist’s family–are less than two miles away.

Two tailored sofas complement the living area’s club chairs, providing generous seating for intimate gatherings while framing rich urban vistas through an expansive wall of windows. A bespoke coffee table and streamlined ottoman center the layout. The custom ceramic ceiling fixture is from Dumais Made.

The swimming pool was existing when Glenn purchased the house. He left the coping, but removed the awkward patios to allow it to fit quietly into the backyard landscape as a reflecting pool. The property expands beyond the back gate for some distance before connecting to hundreds of acres of the Roxbury Land Trust’s many preserves.

An Ethiopian carved chair, circa 1900, pecan-toned herringbone floorboards, and the gestural marks of a Cy Twombley work on paper forge a sophisticated interplay of linear patterns in this vignette.

Just inside the library, a circa 1820 Biedermeier Bar Cabinet is stocked with spirits, where guests are encouraged to help themselves to a cocktail. Hanging above are works on paper by Wilfred Zogbaum (left) and Tomas Eldred (right). The Klismos Chair, one of a pair, is attributed to T.H. Robsjohn-Gibbings.

Subtle adjacencies draw your eyes around a space. These proximities can transform individual pieces into an alchemical relationship where each element enhances its neighbors. Such is the case with Rispal’s ‘Giraffe’ floor lamp from the 1950s and the architectural turret visible just beyond the window. The side table is by Warren Platner for Knoll.

With a flat-screen TV hanging on the adjacent wall, this armless corner sofa affords ample seating for movie viewing, especially on chilly winter evenings with a crackling fire. Chunky seagrass matting underfoot grounds the tableau.

A pleasing geometric tension emerges between a linear-patterned carpet and mosaic-inspired wall covering. A tuxedo arm sofa provides primary seating in this intimate retreat. Artist David Shapiro created the suite of works on paper.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

One corner of the Library is animated by Architect Frank Gehry’s iconic ‘Wiggle Chair,’ fashioned from corrugated cardboard. The graphic, curvaceous silhouette breaks free of the room’s geometric order. The custom-designed bookcases accommodate part of the couple’s book collection.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

In the gentleman’s study, bespoke cabinetry finished in a soft earth tone provides a backdrop for a lifetime’s collection of books and cherished artifacts. Bold picture lights cast light across the curated assemblages, lending depth and intimacy.

In this view of the living room, an unusual 19th-century Thebes chair fashioned from slender bamboo branches sits in front of a pair of cocktail tables by T.H. Robsjohn-Gibbings. Directly above the fireplace is Untitled (Dollar Bill) 2000 by Thomas Friedman; to its left is a portrait by the late Donald Baechler, which was Glenn’s first art purchase after arriving in New York.

The silhouette of a vintage ceramic Kelby lamp with hand-applied modernist decoration sits on a richly grained walnut side table. Linen curtains with a subtle woven texture frame the composition.

A second custom-designed hook rug rests on the upstairs landing, which features the home’s original spindles and handrail. A pair of African masks adds a tribal note.

A suspended pendant hangs in front of the powder room mirror. The linear rhythm of the powder room’s linear wallcovering contrasts with the matte solid marble washstand.

The kitchen retains its farmhouse sensibilities but was updated with modern appliances. Muted-sage green cabinetry and trim are offset by black granite counters and the original floors, which Glenn stained dark walnut throughout. Period-style fixtures and pendant lights hang from the beadboard ceiling to illuminate the space.

Earthtones ranging from sandstone to rich brown punctuate this guest bedroom. A ceramic lamp by Dumais Made–one of a pair in the room–rests atop a vintage nightstand.

The breakfast room has a simple round pedestal table paired with directors’ chairs. The tableau is comfortable and unassuming, inviting guests to enjoy coffee while watching the mist burn off the morning landscape, the birds visit the feeder, and a few chipmunks scamper about. The Russell Wright servicewear is part of an extensive collection that could serve an expansive buffet dinner.

In the guest bedroom, wall-spanning Belgian linen curtains are suspended from custom hardware. A bespoke bench harmonizes with the upholstered bed, while above, a multi-branched chandelier cascades light. Two framed works on paper provide an artistic focal point.

In this view of the living room, an unusual 19th-century Thebes chair fashioned from slender bamboo branches sits in front of a pair of cocktail tables by T.H. Robsjohn-Gibbings. Directly above the fireplace is Untitled (Dollar Bill) 2000 by Thomas Friedman; to its left is a portrait by the late Donald Baechler, which was Glenn’s first art purchase after arriving in New York.

Lyrical, calligraphic works on paper by the late Brice Marden hang above a bespoke upholstered bed in the primary suite; their gestural forms find a counterpoint in David Shapiro’s composition on the opposing wall. A simple yet sophisticated three-tiered paper pendant by Ingo Maurer bathes the space in gentle light.

The furnishings in this corner of the living room include an English Arts & Crafts table, a pair of 1940s French Bergeres covered in lush velvet, and a vintage industrial-inspired lamp. It’s the perfect spot for an intimate dinner for two or as a sun-splashed work desk. The art includes a piece by David Dupuis (left) and an anonymous tantric work from India (right).

Upon observation, the nuanced textures of the bedding and bespoke curtain fabric emerge, evidencing an interplay between warm and cool neutrals. 

With a flat-screen TV hanging on the adjacent wall, this armless corner sofa affords ample seating for movie viewing, especially on chilly winter evenings with a crackling fire. Chunky seagrass matting underfoot grounds the tableau.

Handcrafted Danny Kaplan Studio table lamps grace twin bespoke walnut nightstands, flanking a custom upholstered bed. The furnishings rest on a quietly graphic area that inspired the room’s color palette.

Senior Designer: Craig Strulovitz
Photos by Alexandra Rowley

Introspective Magazine: Hudson River Estate

1stDIBS: INTROSPECTIVE MAGAZINE

HOME TOURS

Introspective Cover

With This Handsome Hudson River Estate, Glenn Gissler Redefines Gracious Living

by Fred A. Bernstein
Photography by Peter Murdock

In Nyack, New York — not even an hour’s drive from Manhattan — the interior designer created a home that makes its owners feel as if they’d been transported to a faraway resort.

It takes GLENN GISSLER almost two hours to drive from his apartment in Brooklyn Heights to his weekend house in northwestern Connecticut. So, he might envy his clients — an investment banker, his wife and their young daughter — who live in a Lower Manhattan loft. Getting to their weekend house, in Nyack, New York, takes all of 45 minutes. And that includes crossing the Hudson River, which the city apartment and the country house overlook from opposite sides.

Nine years ago, when they bought the Manhattan apartment, the couple hired Gissler to design its interiors, a job that included helping them assemble a collection of ABSTRACT EXPRESSIONIST ART. Then, three years ago, when they started looking for a weekend house, they turned to Gissler for advice. After a few false starts, the couple found a newly constructed COLONIAL REVIVAL/shingle-style home that fronts the river at its widest point. Architect David Neff had given the 5,200-square-foot home traditional details while keeping the interiors open and light.

“The rooms are well proportioned, not too grandiose,” Gissler says. And the setting couldn’t be better. The house, he says, is set high enough to offer spectacular Hudson River views and low enough to feel close to the water.

The couple bought it, and Gissler proceeded to outfit the interiors with a smart mix of new and old furniture, much of it European. “The house is very much American, but it’s not AMERICANA,” says the designer, who studied architecture and fine arts at the Rhode Island School of Design, then worked for an architect (Rafael Viñoly) and an interior designer (JUAN MONTOYA) before founding his own practice, in 1987.

Here, Gissler leads Introspective on a tour of the house, on which he collaborated with his senior designer, Craig Strulovitz, also a RISD graduate.

 

Read the full Article on 1stdibs.com

 

Maine Home + Design

MAINE HOME + DESIGN

APRIL 2019

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Design Alchemy

by Beth Dunlop
Photography by Jonathan Reece
Styling by Glenn Gissler & Craig Strulovitz 

A house in Sorrento surrounded by water blends seemlessly into the landscape

 

Shore House, as its owners call it, is a new house with deep roots in history, intimately connected to both to both time and place. Its architecture reflects the strong vernacular traditions of downtown east Maine but in a modern enough way that you know that it is of now, not then. Like so many of the best houses, it i a study in subtle contradictions, some yin and some yang. At once elegant but casual, buttoned-up but laid-back. Inside you’ll find family treasures mixed with auction house finds and up-to-date additions. Throughout, says interior designer Glenn Gissler, it shows the owners’ “appreciation for patina, quirkiness, and the willingness to tolerate less than perfection, giving the house a sophisticated and considered aesthetic with a ‘nothing precious’ vibe.”

It is a quiet retreat for two but near enough to extended family to be a gathering place for many. It is, as the owners spelled out, a house that is comparatively small but, as Gissler puts it, “lives spaciously.” Gissler, who is based in New York, had worked with the homeowners before; their home base is Boulder, Colorado, but they have a pied-à-terre in Manhattan that he designed. The architects–Kay Stevens Rosa and Augusto Rosa of Bar Harbor’s A4 Architects—had not previously worked with the couple but found that their goals and ideas for making the house were perfectly aligned.

First there was the site. The house sits on a spit of land with 270 degrees of shoreline, part of a larger camp that had been in the extended family for some decades, all in a particularly picturesque part of the state. Settled in 1762 and incorporated in 1895, the tiny town of Sorrento is often considered to be one of Maine’s most photogenic spots.

“Sorrento is a little town preciously tucked into the land, with a dancing coastline and amazing views of Mount Desert Island,” says Kay Stevens Rosa. “It has a rare combination of foreground, middle ground, and background, so we knew the house would be all about the view.”

Those nightlines were a prime goal in the architecture. “The desire was to maintain the natural landscape trees, and ledge outcroppings and to use the interstitial views to arrange interior spaces,” recalls Kay. In the living room, large doors and windows maximize the view of Mount Desert Island; the office looks out to the northwest, where the owners’ boat (a 38-foot Downeast cruise) is moored. The eat-in kitchen and adjoining screened porch gaze toward Hancock Point, and the owners’ suite—which gets bathed in the morning sun—has what Kay terms a “serene cove view.” Water, water, everywhere.

To clad the 3,500-square-foot house, the Rosas selected bleached white cedar shingles that will eventually turn silver, as well as ebony-stained trim. The padding and the organically laid stone patio are a clear nod to the historic vernacular architecture of the region, though simplified and modernized. “We feel it is important for a structure to be true to its own time as well as its context and history,” says Kay. Among the hallmarks of A4 Architects’ style are variations in scale, including varied ceiling heights, and the use of curves to accentuate the most important spaces—in this case, the entry porch and the living room.

For the architects, it was important that the Shore House would blend into the tree line and be less visible from the water. They preserved view corridors and sought to enhance indoor-outdoor relationships. “The desire was to maintain the natural landscape, trees, and ledge outcroppings,” says Kay. “On this site it was important that the house not be too imposing.” A hallmark of A4 Architects’ work is, she says, “the use of texture and color to evoke comfort, warmth, and scale.”

The first floor of the house has a grandly proportioned double-height living room with vaulted ceilings and a tile-clad fireplace. Other rooms include an owners’ bedroom suite, “his and hers” office spaces, and a kitchen—spaces that Kay describes as “gracious yet informal.” A butler’s pantry—inspired bar connects the kitchen and living room, the latter possessing a cozy corner library and TV nook for two. There’s also a multipurpose mud/laundry/gear room, a powder room, and a screened porch. The architects added a loft overlooking the living rooms. It is home to an art studio, an exercise space, and a play area for visiting grandchildren. Although it is, functionally speaking, a one-bedroom house, Kay points out tat several rooms, including the art studio and one office, can be used as guest bedrooms as well.

The sense of context inherent in the architecture is carried from the outside in, with random-length oak floors throughout and painted board-and-batten walls. Gissler drew his inspiration for the palette of the upholstery, paint, and window treatments from the hues of the landscape and from an existing rug with soft green and lavender stripes. To that end, one of his first purchases was a small one that set the tone: a grape—and gold-hued William Morris textile (the pattern is Kennet) that is used on accent pillows both on the sectional sofa and the twin velvet wing chairs.

Much of the furniture is American arts and crafts style, or at least from that period just after the turn of the twentieth century. Some of it, says Gissler, came from the original family house on the property, a large Victorian cottage. Other pieces are new, among them the living room sectional sofas and wing chairs, which came from the North Carolina-based Lee Industries, and the modern Gustavian chests in the bedroom, which Gissler sourced from the Texas furniture company Wisteria. “The furnishings and decorations have a solid confidence one might associate with homes at the turn of the twentieth century,” he says.

The floor coverings—including rag, cotton hooked, and sisal rugs—all have what Gissler calls “a summer ease.” To provide a sense of continuity between past and present, Gissler opted for a variety of vintage-style light fixtures throughout the house. “In places where other smight have resorted to recessed lights, we used pendant lights that provide a more pleasing kind of illumination. In some fixtures we used vintage clear Edison light bulbs,” he says. “Absolutely everything is on dimmers to allow for ‘ambiance control.’” A large-scale faux antler chandelier (from CDN Antler Designs) hangs in the living room; other light fixtures come from Rejuvenation and Schoolhouse. Although the new furnitures and fixtures reflect the aesthetic spirit of the house, they are very much of their time. “We do not fake antiques,” says Gissler.

For the interior designer and architects, the melding of old and new, time and place, formal and casual was the key to finding the perfect balance. It’s a combination of style, substance, and serendipity, along with what Gissler likes to call alchemy—a formula that creates and enchanting home.

 

Cultured Lifestyle Magazine

CULTURED LIFESTYLE MAGAZINE

MAY / JUNE 2018

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A Man of all Seasons

by Project Senior Designer, Craig Strulovitz
Interior Design: Glenn Gissler 
Photography: Gross & Daley

Not all professional interior designers have a signature ‘look,’ a Brand to call their own. Some have cleared the hurdle—Glenn Gissler being one—a designer who brings his own perspective and profession.

 

Layer architecture, 20th-century art, literature, fashion, historic preservation, architectural history and immediately you see Gissler’s expertise is not just interior design.

His interests and knowledge manifest the diversity of the work–exquisitely crafted and integrated into the architecture of the space.

Recently celebrating a 30th anniversary, Gissler has authenticated that he is a designer bringing a culminated perspective to the profession. The work is diverse.

What makes his work so special, is his ability to marry architectural concept with curator sensibility—a reverence for fabric, mixed with natural lighting—ultimately Gissler and client create environments built and nuanced around personalities and needs.

This project from a Colorado couple with a fantasy of the Ottoman Empire, richly figured carpets and ornaments for their two bedroom apartment in a 1920’s Greenwich Village building.

Gissler and Senior Designer Craig Strulovitz decided to articulate the room separations using casings, moldings, and portieres to create a greater sense of sequence to the rooms. To further emphasize room separations, the color palette colorations were changed from one room to the other, with a livid lacquered cinnabar as the color in the entry. Judiciously placed mirrors expanded and lightened the spaces.

Very interested in vintage textiles, the clients wanted to create a warm and rich oasis for the time they spent in NYC. Gissler introduced a layering of Persian rugs and embroidered or tapestry wall-hangings. A selection of patterned textiles, woven or embroidered rather than printed, and often antique in appearance, are carefully juxtaposed. Many of the upholstery and pillow fabrics are actually new, but they have a luscious, aged look.

The result is not a recreated Turkish Interior, but a place where imagined and actual travel meet the incomparable comfort of home in this case, a second home in one of the most charming neighborhoods New York City has to offer.

NOTEBOOK: The entry was lacquered in the Farrow and Ball color Loggia. Upon entering the apartment you are greeted by an 18th Century English oak chest of drawers placed in front of an oversized copper clad mirror, used to display an array of curated objects including a brutalist lamp and tramp art box. The room also includes a fantastic work by artist Giorgio Morandi.

The dining room became a Library Area which can be used for occasional entertaining, centered upon the Empire round table the clients brought from Colorado. The vintage chairs are from an Art Deco ocean liner. Meant to be flexible, the table may be set up as a dining table, buffet, or bar. At right, a portiere in Kavet’s double-sided “interweave” fabric marks the separation from the bedroom.

In the living room is an antique Tabriz area rug with stylized floral pattern in indigo and cream, is keynote of this richly patterned and textured room. The custom Belgian sofa is from Jonas. Interesting objects—two Paris of mounted oryx horns; a cross-legged Aesthetic Movement table—add detail and depth. Boudin armchairs upholstered by Jonas in Bellinger’s vibrant Paprika “Pasha” velvet flank the exquisite late 17th century English crewel embroidery with exotic floral motif, from Fuller’s Fine Art Auction. The antique Korean blanket chest made of elmwood with original iron hardware, severs as a shared table.

A Victorian Eastlake side table, in the sitting room, is juxtaposed with a pair of Dorothy Draper walnut tables from Assemblage, Ltd. The long English roll arm sofa in charcoal linen is from Restoration Hardware. The Patrick Naggar candle scones for Pucci are modern, yet Thomas Edison-like, of blown glass, with barequartz bulbs. Photograph above the sofa is by Hiroshi Sugimoto.

Paint and light fixtures were used to transform the white kitchen to a warm and inviting gathering space.

The master bedroom is nothing less than sumptuous and enveloped in a soft green palette. The walls are papered in a Fiori pattern by Rose Tarlow, woodwork is painted with Farrow and Ball ‘Lichen,’ the curtains and portiere as a custom made from Corragio fabric in the same pale teal. Above the upholstered headboard hangs a vintage textile, from the clients own collection, printed on velvet.