HYLAND
predominantly white, they are grounded by a swathe of green
grass, as if to hint at winter's end. On the opposite wall is
its opposite number, a geometric composition by Simeon
Braguin, art director of Vogue in the 1950s and a mentor of the
young Andy Warhol.
Intervening between
modernist naturalism
and pure abstraction
is a contemporary
work of altogether
different tempo, Chris
Antemann's amusingly
subversive play on
Meissen porcelain,
an erotic tumble of
androgynous figures.
Perhaps no object
in this consummate
apartment is as
telling—indeed as
symbolic--as the trio
of Greek maidens,
incarnations of Venus,
designed by Arman
at the end of his life
for Daum, two in bold sea green oxidized bronze, one in
palest peach-hued pate de verre, standing like the Three
Graces, as if to proclaim the master bedroom in which they
reside a haven of art and beauty, providing an imprimatur
