The cerused oak dining table and chairs in the manner of Jean-Michel Frank represent Frank’s gift to the twentieth century: elegantly plain furniture that bears the discrete neo-Baroque curve. Above hangs a faceted pendant lamp by Pierre Chareau. The startling scarlet of the walls is Donald Kaufman custom paint, its color inspired by Jim Dine’s painting, “Bathrobe” which hangs against it.

A long Colonial bench with original paint, almost modern in it simplicity, is surmounted by a series of eight self-portraits by Jim Dine.

A nineteenth-century chair, modern in its angles, is accompanied by an etching of Edvard Munch.

In a corner of the family room, we created a lively dialogue between pieces of 1950s furniture–including Eero Saarinen’s famous ‘Womb’ chair and ottoman, a crisp white “Akari” floor lamp designed by Isamu Noguchi, later works of contemporary fine art, and a suite of boldly calligraphic works on paper by Richard Serra. The platform bench is by George Nelson.

The rustic patina of the Kitchen is in sharp contrast to the elegance of the other rooms. An antique oak farm table is surrounded by antique 17th century rush-bottomed chairs, all lit by a single pendant from Urban Archaeology. The sheer simplicity of the farm furniture presages that of the 20th century pieces used elsewhere in the house.

Above the upholstered headboard, two vibrant prints by Joan Miro, and at the bedside, a classic Louis Poulsen lamp.