Detail of Hedge Gallery

Only in its forth year, the 2011 SF20/21, held at the Festival Pavilion at Fort Mason, has had a big impact on the modern design scene, and it has continued to grow its repertoire.

Sponsored by Gucci and Christies this year, the San Francisco Art and Design Show & Sale expanded its 21POP Atelier, the collection of pop-up shops curated by Stanlee Gatti, which showcased more contemporary and cutting-edge designers, artists and artisans.  This year’s selection included Anandamayi Arnold, Matt Dick, Angelina DeAntonis, Wendy MacNaughton, The Popular Workshop and Town Cutler.

Stanlee Gatti and Frish Brandt

Matt Dick in his 21POP Atelier

Joy Bianchi trying on a ring

Town Cutler’s 21POP Atelier

Stephanie Tuttle, Angelique Griepp, Jacqueline Sacks, Elizabeth Touw, Susan Dunlevy

Wendy MacNaughton in her 21POP Atelier

For the main show co-chairs Katie Schwab Paige, Allison Speer and Stanlee Gatti and honorary co-chairs Gina and Stuart Peterson collaborated with Elaine McKeon, the SFMOMA’s trustee advisor, and Designer Forum Chair Douglas Durkin.  They brought together 40 of the most prominent 20th century decorative and fine arts dealers from around the country and Europe.  Returning exhibitors were R20th Century Gallery and Hostler Burrows from New York, Hedge Gallery, Fraenkel Gallery, Monument, and Silverman Gallery from San Francisco, Ma(i)sonry from Yountville, Reform Gallery from Los Angeles, and The Silver Fund from London.  New to the show were Almond Hartzog and Anthony Meier Fine Arts of San Francisco, Gray Gallery of Los Angeles and Paris, and Daniel Blau of London and Munich.

Beauvais Carpets

Battersea

Nirav Tolia, Stuart Peterson, Megha Tolia

Hostler Burrows

Jenna Hunt, Emily Martin

Amarcord Fine Decorative Arts

Marilyn Garrow Fine Textile Art

Again serious collectors, SFMOMA patrons, interiors designers and architects, as well as social A-list, all turned out to admire and procure some of the 20th and 21st centuries finest examples of high design and art.  Ample sized Grey Goose cocktails, delicacies by McCall and a hot DJ kept the 700+ guests joyous and generous, including many gentlemen bestowing a modern jewel or two on blessed ladies or procuring coveted treasures for themselves.

Guests included politicians Willie L. Brown Jr. with Sonja Moledetskaya, and Matthew Goudeau, as well as collectors and design enthusiasts such as Randi and Bob Fisher, Dorothy and Ken Paige, Sara and Austin Hills, Alison and Mark Pincus, Alexis and Trevor Traina, Kathryn and Bo Lasater, Kate Harbin and Adam Clammer, Cathy and Ned Topham, Merla Zellerbach, Barbara and Larry Sonsini, Marissa Mayer and Zach Bogue, Helen Hilton Raiser, Jennifer Raiser, Jenna and Brian Hunt, Nion McEvoy, Summer and Brooks Walker III, Concepción and Irwin Federman, Angelique and Troy Griepp, Dolly and George Chammas, Bobbie and Mike Wilsey, Susan Swig, Pat and Bill Wilson, Diane Morris, Danielle Boutros, and Mitchell Benjamin and Ricky Serbin.

Darrin Schnabel, Bill Brady, Allison Speer

Manizeh Rimer and Alison Pincus – Zach Bogue, Alexis Traina, Marissa Mayer

Dede Wilsey and John Buchanan – Suzanne Tucker and Timothy Marks

Anandamayi Arnold’s 21POP Atelier

Karen Caldwell – Claudia Juestel and Matthew MacCaul Turner

Also in attendance were architects Ronald Rael, Virginia San Fratello, Richard Beard, and Gregg de Meza, interior designers; among them, Suzanne Tucker, Jay Jeffers, Ken Fulk, Geoffrey de Sousa, Candace Barnes, Matthew Leverone, Will Wick, Cecilia Sagrera, George Brazil, Matthew MacCaul Turner, Benjamin Dhong, landscape architects Stephen Suzman and Todd Cole, and lighting designer Jonathan Browning.

Christopher Anthony Ltd.

Michael Purdy, Ken Fulk, Jay Jeffers, Glenn De Mattia

Fraenkel Gallery

Monument

George Brazil, Jennifer Gustafson, Cecilia Sagrera-Hill, Greg de Meza

Ma(i)sonry

From furniture, lighting, jewelry, and objets d’art to paintings and photography, once again the show had it all.  This year many more contemporary designers and artist were in the mix.  Wunderkind David Wiseman was at hand at R20th Century, showing some of his latest creations in glass, bronze and porcelain.

Silverman Gallery exhibited an international range of current artists, such as Canadian multi-media artist Scott Treleaven, local conceptual artist Ginger Wolfe-Suarez, California photographer and sculptor Matt Lips, and Argentine multi-media artist Lucas Michael.  Interior and furniture designer Charles de Lisle introduced his collection of furniture and lighting to a larger audience, and Antoinette Faragallah captivated with her ceramic pieces at Gray Gallery.

Lisa Alexander and Lindsay Bolton

Douglas Durkin – Alex Chases and Maria Manetti Farrow

Kate Watson and Eoin Harrington – Kate Harbin and Will Harbin

R20th Century Gallery

Jennifer Raiser and Mitchell Benjamin – Serena and Alec Perkins

Alicia Cheung, Sarah Lynch – Lillian Goodwin, Liza Cannata, Alex Turner, Ali Sonsini Turner

Amy Schoew and Sergie Azzolino – Candace Barnes, Janelle Loedner, Andrea Suarez

I am very much looking forward to what next year’s show will bring, as more 20th century treasures will see the light and new artists and designers will be discovered.

San Francisco interior designer and green living writer, Sophie Azouaou, recently lead a seminar at the Las Vegas Summer Market on trends in high rise design.  It was very special event this year, as the International Market Centers (IMC) held its first Las Vegas Market as a combined entity.

IMC is now the world’s largest operator of showroom space for the furnishings, home décor and gift industries with its acquisition of several buildings in High Point, N.C. This unites Las Vegas and many of the High Point home furnishings showrooms under one ownership group.

Sophie Azouaou

While attendees sipped award winning R&B Cellars wine and nibbled on Vital Choice Seafood Organic Trail Mix, sponsores from San Francisco were acknowledged as Green experts in their fields.

Here are Sophie’s DO’s at a glance:

• Specific small scale furniture to deal with space limitations in High Rises
• Energy efficient window coverings such as Roller Shades, or Honey Comb shades that are Green assured. Finding Greener alternatives in the shades themselves by opting for organic fabrics.
• Energy efficient appliances: HE washers and dishwashers
• Efficient water usage via low flush toilets, showerheads and faucets
• Indoor air: purifying plants recommended, to complement the décor and purify the air, Low VOC Paint (Volatile Organic Compounds) and organic wall papers  (Mod Green Pod) to avoid toxic gas exposure
• Floors: recycled leather tiles, reclaimed floors or slip resistant recycled glass tiles
• Furniture: sustainable Alder, Bamboo, Rattan or Wicker
• Glass tops: lead free for end, coffee, or DR tables
• Mattresses: 100% wool or soybean based to avoid allergies, asthma. Organic mattress covers reommended for a healthier sleep environment
• Rugs: in natural fibers such as Abaca, Jute, paper, Seagrass or 100% wool to reduce allergies, asthma and chemical exposure via toxic dyes
• Seat fillers and cushioning: Latex or Bio- hybrid foam instead of standard foam
• Upholstery: vegetable leather and natural textiles

Sophie Azouaou with Margaret Casey

All attendees were treated to beautiful samples provided by Earth Friendly Products, Grand Somar Lands’ End, Instone Granite and Marble, Living Tree Community Foods, Shear Miracles By Robyn,100% Pure, SophiSticate Interiors, Suki Skincare and Vital Choice Seafood and Organics.

The seminar was well received. Attendees learned that they did not need to sacrifice comfort and design to lead a Greener and healthier life. They left motivated by the new Green High Rise trends unveiled to them.

Living room by Navarra Design (Photo: Matthew Millman)

Managing any remodel, big or small, requires a generous amount of patience, finely tuned people skills and much diplomacy, as well as incredible organization.  Now imagine juggling four homeowners, a prominent charity, an overloaded contractor, countless sub-contractors and over thirty interior designers, architects, landscape designers and artists, all within an incredibly tight deadline.  That is what the Executive Director of the San Francisco Decorator Showcase is in charge of.

This year Leal Buck stepped into the shoes of beloved veteran Delanie Borden; and once again, for the 35th year to be precise, a dated Pacific Heights mansion has been transformed into a gem.  They say, ‘too many cooks spoil the soup’, but thanks to the dedication of all involved egos were put aside, extravagant expectations were abbreviated and limitations were conquered with creativity.

View from the top floor

Katie Traina and Todd Traina

Margo Tarantino, Jack Lesinski, James Tarantino, Tom Lesinski

“I always love to see the surprise elements the designers tuck into their rooms at the Decorator Showcase—Grant Gibson’s faux-burled wood table, Brian Dittmar’s tucked-away Julia Child moment in his cookbook nook, and the double-vision of Green Couch’s bedrooms on the top floor.  The entire Showcase is based on fantasy, so that seems like what it should be about.” – Sarah Lynch, marketing director

The 6,224 square foot Italian-style villa on 2950 Vallejo Street was originally constructed in 1927 by Gottschalk and Rist, the acclaimed architects who also designed the historic Villa Montalvo in Saratoga.  Located on the desirable block bordering the Presidio, which was also home to previous showcases, it has exceptional views of the Palace of Fine Arts, the Golden Gate bridge and the Bay.  But the views inside equally captivating, as each room has gone through a metamorphosis that can only be truly appreciated if one has seen the home in its original state.  Congratulations to all my colleagues for their vision and hard work!

Debbie Reynolds and Roxanne Fleming

Monica Pauli and Jenna Hunt

The patron preview event and grand opening party are always wonderful events where we can mingle with supporters and fellow designers, some of whose work we can view first hand in the home and from whom we can get feedback from the horse’s mouth, so to speak.  But I would recommend to anyone who has attended a crowded party to always come back and see the showcase during a quiet day, as the design can be appreciated so much more when not blocked by countless people.

Allison Speer and Alison Pincus

Samantha Duvall, Ian Stallings, Carolyn Chandler

First impressions count very much in a classic mansion, and as soon as you enter this gracious home it exudes a welcoming elegance.  The grand entrance hall was designed by artist Willem Racké in collaboration with interior designer Leigh Edwards who selected the furnishings and the art.  Willem painstakingly painted the walls in layers and layers of a rich butterscotch lacquer and glazed the elaborate coffered ceiling in a deep rusty red with bronzed accents.

Entrance hall with view towards dining room (Photo: Rebecca Kmiec)

Staircase in entrance hall before (Photo: Willem Racké)

Staircase in entrance hall (Photo: Rebecca Kmiec)

Terry Gross, Willem Racké, Lisa Erickson

Kerry Devine and Steven Miller

Sayareh Farsio and Ali Mozaffari

To the right and towards the stunning views is the living room, whose commission was won by Kathleen Navarra.  She aimed for balancing the captivating drama awaiting beyond the arched windows with a bold and layered design that grew out of the reproduction of an enormous 17thcentury portrait of the Marchesa Balbi by Flemish Baroque painter Anthony van Dyck.

Kathleen Navarra

Kathleen told me that she has been dying to use this piece, and that the scale of this room was perfect to accommodate it.  The painting appears dark and moody, but upon close inspection it reveals a variety of rich colors on which Kathleen based the room’s palette brightened with shades of cream and hot fuchsia.

Living room before (Photo: Navarra Design)

Living room after (Photo: Matthew Millman)

“The living room felt magical in the evening as dusk fell over San Francisco.  The decor of the room is such a compliment to the beautiful skyline that you peer at through the large windows.”  - Jenna Liddell Hunt

Distinctly modern elements harmoniously blend with traditional antiques, exotic elements and early 20th century pieces that highlight the large-scale fireplace, carved arched doors and high-reaching windows.  Jonathan Browning’s organic branch chandelier and contemporary upholstered sconces feel surprisingly appropriate set against the Flemish Baroque painting.  Interesting details capture the eye all around the room.

Living room after (Photo: Matthew Millman)

Lewis Butler, Debbia Kay and Scott Kay

“Majesty reigns, but lets her hair down, in Kathleen Navarra’s regal yet hip living room, watched over by a large renaissance portrait.  Lighting by Jonathan Browning adds just the right touch of Elizabethan edge and mystery.  A true “Midsummer Night’s Dream”.  And not many royal residences have a view like this!”
Andrew Horn, furniture designer

None of us designers could create magic without our most talented artisans and skilled workrooms.  Grant K. Gibson’s dining room is a perfect example.  Katherine Jacobus created an eye-fooling burl finish on the grand dining table, so wide that it accommodates two chairs at each end, a dramatic black and white stenciled floor in a design reminiscent of David Hicks, and a moody gray cloud finish on the ceiling.  Madina Aryeh, a couturier amongst workrooms, fashioned the understated drapery from a deep blue heathered wool fabric by Henry Calvin with a pleated detail accented by grosgrain ribbon along the lead edges.

Dining room before (Photo: Grant K. Gibson)

Dining room after (Photo: Kathryn MacDonald)

These elements set the stage for a design that pairs polish with playfulness, as Grant added an acid yellow booster chair to the formal neoclassical dining chairs upholstered in Kelly green leather.  Floating above it all is an asymmetrical multi-arm chandelier by Lindsey Adelman.

Dining room after (Photo: Kathryn MacDonald)

Grant K. Gibson

Madina Aryeh and Suzanna Allen

Palmer Weiss and Katherine Jacobus

The kitchen is often one of the most challenging spaces at the showcase, and this year Tish Key had to incorporate a brick arch over the range.  Instead of painting it she left the rustic finish and offset it with a variety of materials and colors.  The sidewalls and countertop of the cooking niche are lined with a gorgeous white-veined black marble slab, and the backsplash is covered in white marble mosaic tile accented by a functional clock with Roman numerals integrated into the stone.  White cabinetry, a rich pecan floor and a shiny white bead board on the ceiling freshen up the previously gloomy ‘70s look.  On the window side the countertops are made from a combination of white Calacatta marble and blue enameled Lava Stone, adding a splash of color.

Kitchen and breakfast room before (Photo: Tish Key)

Kitchen and breakfast room (Photo: Rusty Reniers)

The breakfast nook is accented with deep brown grass cloth wall covering and blue and white patterned Roman shades.  A round pedestal table is surrounded by reproductions of a T. H. Robsjohn-Gibbins oak and rush chairs.  Tish has turned an incredibly dated and most uninviting kitchen into a modern, functional and welcoming living space, highlighting how diverse materials and finishes can live together most harmoniously.

Cooking alcove before (Photo: Tish Key)

Cooking alcove after (Photo: Rusty Reniers)

Sink area after (Photo: Rusty Reniers)

Tish Key

Mary Jo Kovacevich & Laura Hunt

“Everyone needs a cookbook nook.  It is the ultimate luxury!”
Guest at the patron party

Brian Dittmar took a nondescript space many of us designers barely noticed during the walk-through due to its transitional and blah appearance and turned it into a room all of us wanted to spend time in, proven by the crowds during opening night.  He was intrigued by the leaded glass bay windows and dreamed of a welcoming and useful extension to the kitchen.  An avid cook Brian imagined himself relaxing in this cozy alcove while reading cookbooks or watching the Food Network, and the idea of the “Cookbook Nook” was born.

Cookbook nook before (Photo: Brian Dittmar)

Cookbook nook after (Photo: David Livingston)

It really is a genius use of the space, which now boasts a mouthwatering color palette influenced by French macaroons and sumptuous furnishings that invite lingering.  A Swedish Deco pedestal table and secretary from Björk Antikt & Studio are paired with a comfortable lounge chair upholstered in luxurious mohair by Lee Jofa who also supplied the fabrics for the desk chair, portiere drapery and pillows.  Wouldn’t we all love a cookbook nook, especially one as charming as Brian’s?

Cookbook nook after (Photo: David Livingston)

Cookbook nook after (Photo: David Livingston)

“I never thought I’d meet Julia Child’s neighbor or learn to cook an omelet at the Showcase, but I found the opportunity to do both in the Cookbook Nook!” – Paul Benson, furniture designer

Brian Dittmar

Holly Baxter and Scott Heldfond

“Brian Dittmar started with Harry Potter’s room below the stairs, but turned it into a room fit for a queen, the lettuce queen.” – Matthew MacCaul Turner, interior designer

The second floor library apparently was the owner’s favorite room, not hard to imagine even prior to the renovation, as it boasted detailed wood paneling, an elaborate plaster ceiling and breathtaking vistas.  Heather Hillard was persuaded by the view of the Presidio forest to leave the slightly greenish/brown stain on the wood paneling in its original condition.  She based the rest of her monochromatic palette on the shades of the underside of Eucalyptus leaves, redwood trees and Japanese maples.

Library with fireplace (Photo: Michele Lee Willson)

Library facing the bay view (Photo: Michele Lee Willson)

Heather also channeled Frances Elkins’ design for a home in Lake Forest, IL and placed an emphasis on luxury and comfort by creating three different seating areas, each with multiple upholstered pieces in neutral textiles consisting of linen, wool, silk velvet and leather, mostly from Holland & Sherry.

Bookcase in library (Photo: Michele Lee Willson)

Heather Hilliard and Cecilie Starin

Claudia Juestel  and Michael Friedes

I thought Heather Hilliard created a quiet, natural-feeling retreat.  I’m a huge Kim Frohsin fan, so I especially loved her art. – Melanie Coddington, interior designer

Matt Murphy who made his showcase debut this year designed the master bedroom.  A close friend of Donald Cameron, longtime partner of Tommi Parzinger, he paid tribute to the mid-century furniture designer by incorporating a whole collection of his work, pairing it with a Biedermeier secretary and blending it with Matt’s own designs inspired by Parzinger.  Aiming for New York Fifth Avenue vibe from the ‘50s and ‘60s he chose luxurious materials like lacquer, exotic woods, glazed leather, alpaca, silk moiré and linen.  A predominantly black and white palette is accented with bursts of color that draw the eye to unique pieces.

Master bedroom

Dressing table in master bedroom

Dresser in master bedroom

Thomas Hutson-Wiley, Tinsley Hutson-Wiley, Matt Murphy

Perhaps a first this year, one of the homeowners also was given a room to design.  Fashion designer James Tarantino was the family’s representative during the renovations and very actively involved in the process.  When the showcase representatives asked him if he would like to take over the master bedroom closet he was honored.  Very much a minimalist he covered the walls in black fabric and displayed three mannequins in pared down silver satin gowns of his own design, which in an homage to his parents James made from the fabric of the old drapery in the living room.

James Tarantino

James told me that he lived in the home back in the ‘70s and then moved away to pursue his career in fashion.  When his father got ill he decided to come back to reconnect and spend time with him, a time he most treasures and something he said he will never regret.  Homes truly are all about family!

Barbara Chambers and Nancy Hammonds

“It has been a magical transformation and I am really proud of all the designers involved in this.
James Tarantino, one of the home’s owners

Anyone who has seen the master bathroom before has to appreciate what Petaluma designer Val Fiscalini achieved.  She converted the long, cold and awkward space into a spa-like retreat.  Not being able to move the plumbing she angled the striking tub, custom-made by Sonoma Cast Stone in Metalcrete, a concrete material that is “plated” with a genuine metal finish.

Master bathroom, before (Photo: Val Fiscalini)

Master bathroom, after (Photo: Christopher Stark)

Master bathroom (Photo: Christopher Stark)

Val shortened the main space and centered the door into the shower and toilet area, which allowed her to place matching storage cabinets with display shelves on either side of the opening.  She also offset the shower for a more comfortable scale, which provided a space for cleverly placed back-lit mother-of-pearl-lined niches.  As a result the overall proportions of the master bath are considerably more appealing.

Master bathroom (Photo: Christopher Stark)

Val Fiscalini

Melissa Martin and Josephine Fisher

“It is quintessential Decorator Showcase in its display of creativity and elegance.  But the elegance is contemporary and livable – perhaps more inspirational, less aspirational than in previous years.”
Lisa Boquiren, marketing strategist

The attic of this grand home includes a generously sized room perfect for an adult party space, as envisioned by Marion Philpotts, Jonathan Staub and Lowell Tom of Philpotts & Associates.  Known for their penchant toward the exotic they took inspiration from the large scale and colorful portraits of New Guinea tribesmen by Santa Barbara photographer Brian Hodges.

Rumpus room, before (Photo: Philpotts & Associates)

Rumpus room, after, with bay view (Photo: Matthew Millman)

Jonathan told me that they wanted to keep the room very open for large-group-entertaining, for which they planned only to major seating groups, one taking in the splendid views and consisting of four black De La Espada enveloping “Nest” chairs, reminiscent of 18th century French “Porter’s” chairs, surrounding an organic custom bronze table by Blue Barn Arts Foundry, and the other one with a generously scaled custom day-bed placed on Brent Comber’s “shattered” Douglas Fir base.  I can see a great party with Salsa dancing on the expansive floor lit with ring-shaped light projections by Beachside Lighting, or perhaps something more tribal given the inspiration of the room.

Rumpus room, before (Photo: Philpotts & Associates)

Rumpus room, after (Photo: Matthew Millman)

“Satala Swing” by Aqua Creations

Performer and light projections on floor

Lowell Tom, Jonathan Staub, Marion Philpotts, Brian Hodges

Frank Eddy  and Matthew MacCaul Turner

“Showcase design is always best when designers are un-bound – by budgets, convention, owner restrictions and/or drapery tie-backs!” – Steven Miller, interior designer

I mentioned that a brick arch in the kitchen might have been challenging, but how about a wall going half-way across a room?  It was strictly specified that it the partial wall in the attic front bedroom had to remain.  Jeff Schlarb and Lisa Bakamis of Green Couch were not intimidated, but instead used it as the inspiration for their overall design.  They extended the wall almost touching the front windows and placed a framed window, giving the appearance of a see-through mirror, in between the now apparent two rooms, each of which they furnished with pieces from Bungalow 5 in identical designs, but in two distinctively different color schemes.  One is pale, neutral and quiet, the other rich and fiery.  What the designers called “Two Sides to Every Story” is a perfect study of the impact of color.

Right side of guest bedroom (Photo: Peter Medelik)

Left side of guest bedroom (Photo: Peter Medelik)

Desk area at right side of guest bedroom (Photo: Peter Medelik)

Desk area at left side of guest bedroom (Photo: Peter Medelik)

Lisa Bakamis and Jeff Schlarb

“I am not often wowed by a total design concept, but Green Couch’s room impressed me with their clever vision and way of thinking outside the box.  Their use of the same fabrics and pieces as polar opposites to project different personalities of an awkward space won me over.  I walked away from that room saying; I never would have thought of that, which is something I love to see.” - Michael Friedes, interior designer

Third floor corridor with a collection of works by Jennings Tofel from Lost Art Salon

Gaétan Caron and Rob Delamater

“Huge style, tiny hallways!” – Rob Delamater, art dealer

Cathleen Gouveia is not afraid to take on a challenge.  At last year’s Marin Designer Showcase she added a third floor deck with Nana doors to the attic bedroom suite.  So suspending a heavy bed from the ceiling with nautical ropes seems easy by comparison.  Influenced by the construction of the Golden Gate Bridge, which can be seen from the windows, it apparently was quite a feat of engineering.

Cathleen Gouveia

But according to Cathleen it can now ‘hold nine men with cocktails’, all clearly enjoying views all the way to Sausalito, whose docks and Otis Redding’s song about them “Sittin’ by the Dock of the Bay”, provided the basis for a design that combines rustic inspiration with urban finesse.

Penthouse bedroom before (Photo: Cathleen Gouveia)

Penthouse bedroom (Photo: Matthew Millman)

Earthy tones and materials are set against walls in polished Venetian plaster by Todd Merrill of Venetian Walls.  The boldness of the bed is balanced by the practicality of the niche whose built-in dresser by Mitchel Berman not only provides much needed storage, but also creates an excellent display space that is lit with a pair of pendants.

Penthouse bedroom (Photo: Matthew Millman)

Tineke Triggs and Julie Metzger

“Cathleen Gouveia’s penthouse bedroom was quite fun and unusual.  The black, grey and gunmetal suspended bed, part nautical part old-fashioned Folsom Street, is just high enough to see the Golden Gate Bridge.  I quizzed the designer on the strength of the ceiling attachments, and it is all properly designed by an appropriate engineer.”  - Stephen Suzman, landscape architect

In the adjacent bathroom Mark Newman was also inspired by the views of the Presidio forest, and he translated nature into an urbane concept that emphasizes texture.  Artistic Tile’s gray limestone tiles, softly carved with a three-dimensional leaf pattern, flow into polished Venetian plaster walls stenciled with matt leaves, created by clearly a very busy Willem Racké.

En suite bathroom, before (Photo: Mark Newman)

Vanity area in en suite bathroom (Photo: Christopher Stark)

For the focal point Mark designed an elongated oval vanity whose doors are covered in an unusual textured teak surfacing from Beckman Moore Yaki Studio.  The rich burgundy tones of the vanity and the matt golden sheen of the custom mirror by Applegate Tran contrast harmoniously with the cool walls and floor.  Understated and sophisticated this bathroom now feels masculine and calming at the same time.

Shower in en suite bathroom, before (Photo: Mark Newman)

Shower in en suite bathroom (Photo: Christopher Stark)

Mark Newman

Many of these grand homes have generous walk-in safes, and Alison Davin of Jute Home turned this one in the basement into a Champagne cellar.  My kind of girl!  Lined with reclaimed wire-brushed wide oak paneling, reminiscent of Champagne barrels, a long buffet and storage bench that span the length of the room and a Moroccan tile floor, Alison made the most of this space, surely inviting plenty of private tastings to come.

Wine cellar, before (Photo: Alison Davin)

Champagne cellar by Jute (Photo: Peter Medilek)

Alison Davin

“The safest wine cellar I have seen!  Loved the rough-hewn wood walls.”
Matthew Schoenwald, landscape designer

Sonya Jacobs-Burkin and Mark Manning

The showcase is such a wonderful confluence of design intelligence, fantasy, and generosity — the tremendous effort of many enables smart, motivated students to attend a top-notch academic high school.  What’s not to love?
Jennifer Raiser, social and fashion columnist

AND ONCE AGAIN, IT’S ALL IN THE DETAILS

When you really spend time in these rooms you notice how much attention designers pay to the tiniest of details, and this year’s showcase is no exception.  From a wallpapered ceiling to a gilded fireplace screen, oversized cabinet knobs, exquisite embroidery and convertible furniture every surface and element are covered.

Large nailhead trim on grosgrain ribbon along the crown molding and “Scala Baroc” wallcovering by Ulf Moritz on the ceiling in Kathleen Navarra’s living room (Photo: Navarra Design)

Eglomisé hand-gilded glass fireplace screen by Villafranca Studio in Kathleen Navarra’s living room (Photo: Matthew Millman)

Fuchsia lining inside the corner pleat on the custom sofa in Kathleen Navarra’s living room (Photo: Navarra Design)

Polished nickel doorknobs from Baldwin used as cabinet knobs in the kitchen by Tish Key (Photo: Rusty Reniers)

Custom cigarette table in hand-turned and polished aluminum by Paul Benson in Brian Dittmar’s cookbook nook (Photo: Brian Dittmar)

Silver painting on Venetian plaster by Linda Horning in alcove by Jo Ann Hartley

Silver-leafed mylar panels by Willem Racké covering the dated painted glass window in the staircase (Photo: Rebecca Kmiec)

Mid-century inspired custom embroidery by Villa Savoia in library by Heather Hilliard (Photo: Michele Lee Willson)

Convertible stool/cocktail table with removable horsehair cushion designed by Heather Hilliard for the library (Photos: Michele Lee Willson)

Mother-of-pearl-lined niches at shower in master bathroom by Val Fiscalini (Christopher Stark)

Custom bronze coffee table with built-in flower container in rumpus room by Philpotts & Associates (Photo: Matthew Millman)

Custom metal bracket for rope in penthouse bedroom by Cathleen Gouveia (Photo: Matthew Millman)

Custom glass sleeve over metal bracket for rope in penthouse bedroom by Cathleen Gouveia (Photo: Matthew Millman)

Carved limestone tile by Artistic Tile in shower of Mark Newman’s penthouse bathroom (Photo: Christopher Stark)

Stenciled Venetian plaster walls by Willem Racké and “Daedelus” bronze sculpture by Peter Boiger from Coup d’Etat in Mark Newman’s bathroom (Photo: Rebecca)

Horn door pulls by Ochre on buffet in Champagne cellar by Jute (Photo: Peter Medilek)

Art collection at the home of Lorna Meyer and Dennis Calas (Photo: Drew Altizer)

Mark your calendars for the (Private) Collections Spring Art Tour benefitting Enterprise for High School Students returning on April 14th, 2011.  For the 11th year a diverse group of new and returning collectors will open their homes for private viewings and guided tours.

For the past 10 years, Enterprise has fashioned Private Collections into a most successful event by making available ten prestigious art collections to art patrons and enthusiasts.  Among the collectors whose homes have been showcased are Ann and Gordon Getty, Raoul Kennedy, Claire and Dan Carlevaro, Chara Schreyer, Orlando Diaz, Janet and Clint Reilly, John and Gretchen Berggruen, George and Dorothy Saxe, George Hecksher, and Lin and Jim Willis.

“Figure with One Arm” fired clays sculpture by Stephen De Staebler at the home of
Lorna Meyer and Dennis Calas (Photo: Drew Altizer)

Once again the tour will give art aficionados the rare opportunity to gain access to the private homes of some of the city’s most prominent art collectors including Alan and Ruth Stein, Lorna Meyer and Dennis Calas, Jeremy Stone, Richard and Lenore Niles, Ann Hatch and Paul Discoe, Clinton and Janet Reilly, Laurie Ghielmetti, Rod and Gussie Medeiros, Keith Whiteman and Richard Perillo and Pamela Joyner.  This year’s event will be hosted by Lorna Meyer.  Jay Jeffers, Mary Lou Castellanos and Jane Ivory serve as committee chairs.

On Wednesday, March 30th, 2011 from 6:00pm to 9:00pm (Private) Collections will kick off with an exclusive Pre-Tour Party in the Nob Hill penthouse of Jon Taylor and Peter Waterloo, who have an extensive collection including Keith Haring and Wassily Kandinsky.  Jay Jeffers will be hosting the Post-Tour Party on April 14th, 2011 from 5:30pm to 9:00pm at his design studios.

Tickets are $ 500.00 per couple for a visit to the house of their first choice and an invitation to the exclusive pre-party, individual tickets are $ 200.00 per person for the first choice home and invitation to the post-party, and $ 100.00 per person for one of three choices and invitation to the post-party.  For tickets please visit (Private) Collections.

Kyle Bunting and Claudia Juestel at Seasons Bar & Lounge at the Four Seasons
(Photo: Moanalani Jeffrey)

Very few in design are not familiar with Kyle Bunting the brand which makes some of the most extraordinary cowhide rugs; but the company’s namesake founder is quite illusive. So I was considerably surprised by Kyle Bunting’s candor when we set down with at the Four Seasons for tea.

We shared the Artisan cheese plate and walnut bread, scones with lemon curd (with advance notice) and a selection of petit fours, accompanied by “T” Floral Jasmin green tea in a French press. And there I learned about how passion, confidence and persistence can lead to tremendous success, both professionally and personally, especially when doused with love. No doubt, Kyle Bunting is a man of passion, and he credits the love and support of his wife Libby for much of his accomplishments. He confidently talked about how he was humbled by their first meeting and how he got his now thriving business started in a shotgun shack warehouse in San Francisco’s Hunter’s Point. Success is one of those curious and complex things, and I am always in awe of people who can take a great idea and persevere to actually turn it into a fortune.

Kyle Bunting color hides (Photo: courtesy of Kyle Bunting)

Kyle Bunting’s company has grown tremendously during the last couple of years, a time when many in our industry were quite satisfied with simply remaining at status quo. Always looking towards the future the line now includes rugs, upholstery material, furniture and wall coverings. It is represented throughout the United States and in countries as far as Germany, Great Britain, China, the United Emirates, New Zealand and Japan. With a faithful following of interior design and architectural firms like Kerry Joyce, Cheryl Rowley, Jan Showers, David Rockwell, McAlpine Booth, Amanda Nisbet, Jiun Ho, Jay Jeffers and Gensler, as well as orders coming in from individuals all over the world, the sky is the limit for Kyle Bunting.

“Jet Stream” designed by Neri & Hu (Photo: courtesy of Kyle Bunting)

“Alhambra” designed by Kris Lajeskie (Photo: courtesy of Kyle Bunting)

“Jet Stream” wall covering in Victor Churchill butcher shop in Sydney Austria
designed by Dreamtime (Photo: Paul Gosney)

Claudia Juestel: Your home is near Austin, Texas, but I understand you previously lived in San Francisco back in the ‘90s. Please tell us more about that.

Kyle Bunting: I moved into San Francisco in 1994 and lived here for ten years. I had a career in the television production business. Sky TV was a business my brother and I and another partner owned. I was a Texan by birth, and I relocated to the Bay Area because Sky TV was an in-flight television production company. So we owned the management contracts for all the airlines to produce and exhibit all that advertising and content you see when you fly. United was our major carrier, and so most of our clients were in the tech industry. It made sense for us to move to San Francisco. This is such a great place. It is my adopted second home, if you will.

Sky TV (Image: courtesy of Sky TV)

Custom rug for Michael Hampton’s bedroom at the 2010 DC Design House
(Photo: courtesy of Michael Hampton)

Then in 1998 Ziff Davis acquired Sky TV. After the sale I spent about a year transitioning the company to Ziff’s control and management, and at that time bought my first place. I had a good friend by the name of John Opella I had gone to school with in Austin, and who was who was a designer living in New York. I called him to come out and help me with my place. We went to the San Francisco Design Center together, and he walked me around and showed me all the stuff that he wanted me to approve. And all of a sudden this world opened up to me. Wow, there’s this crazy place that is like a private couture shopping center for designers and their clients, for home furnishings. Isn’t this really great?

And through the process of doing my first place and working with John I got intrigued by design. Since then John actually has done a series of patterns for us. But back then I kind of caught the design bug by doing this with him. When I stopped working with Ziff I was buying, renovating, and turning over real estate, between 1999 and 2000. I became very interested in the real estate business, which lead to this business.

“Mr. Crowley” art piece in Elizabeth Tigar’s living room (Photo: courtesy of Kyle Bunting)

CJ: So how did you get your cowhide business started? Where did the idea come from?

KB: The inspiration actually came from my father. My dad was a creative entrepreneur who every once in a while would chase some weird thing he thought was an interesting creative idea. So while he ran a manufacturing company that made outdoor sporting goods, like backpacks, tents and things like that, he also created a plastic cover for telephone books. Remember telephone books? That was just one of many random things that my dad did.

My parents were both from central North Carolina, and on my mom’s side of the family, my grandfather and uncles were high-end wood workers. They did custom furniture and millwork. These were the guys that you brought in for the insanely complicated, very expensive work. So my dad had this crazy idea. He told them, “Hey, build me some table frames and I’ll glue them together and stain them. And then, because I keep getting these milk rings all over our furniture from the boys, and I’m tired of hearing their mother complain about it, and I’m tired of it ruining our good furniture, I will cover them in something more durable”. He took a piece of plywood and went to a leather place and asked for the most and warp-resistant and durable leather they had. They turned him on to some cowhide leather, and he bought it. He started cutting it up into little pieces, glued it onto the plywood, and dropped it into the interior of a frame, and the table was done. I was about ten years old and I remember that all of our friends and neighbors thought that it was a really cool idea and looked pretty neat.

My dad also used to drag me around, and we would take the tables and go to rodeos and shows in Texas where they were selling oil equipment and things like that. Bankers, ranchers, and oil guys would say, “Wow, that’s a Western-looking cowhide table top, I’ll take two!” So may dad would get my uncles to make the frames, and he would make the tops. So, fast-forward 25 years when I caught the design bug. I had some old pieces and things my dad had done for me, and I had just met my future wife Libby. And without going too far down that really corny lane, she is my muse for me, my real inspiration. Libby just brings it out of me.

Kyle & Libby Bunting at Gump’s (Photo: Drew Altizer)

“Bittersweet” bar front by Neri & Hu (Photo: courtesy of Kyle Bunting)

“Mirage” rug in a living room designed by Eric Roseff Designs
(Photo: courtesy of Eric Roseff Designs)

CJ: What is your wife’s background?

KB: She is one of six kids, from a large Irish Catholic family from Eugene, Oregon. She is an Oregon Duck who came down to the Bay Area.

CJ: So you met here in San Francisco?

KB: Yes. I came from Texas; she came from Oregon. She worked for Credit Swiss and J.P. Morgan in the advanced banking business. It was love at first sight! This is one of those great cheesy stories of all time, it’s worse than “Top Gun”. Because when I was a single man I was very comfortable introducing myself to someone; but I was not a man of lines. I would not have any problem going up to someone saying, “it’s nice to meet you, what’s your name?” or saying something normal. But I was so overwhelmed when I saw, not met, when I saw Mrs. Bunting. I knew that was it! Libby is about eight years my junior, and I was I guess about 32ish. So I was ripe, I was ready! And I remember being not of lines, I approached her and I said, “So that’s what you look like”.

CJ: That’s the only line you ever needed I suppose.

KB: It ends up being the only line I guess I ever needed.

CJ: Was it the same for her?

KB: I guess it was; invariably she came round to it. It wasn’t the same for her instantaneously, but her part of the story is, “Whatever, who is the guy with the cheesy line?” It was her girlfriends who noticed that they had never seen anybody look at anyone that way. It was just a magical thing. I am kooky, nutty, lovey-gubby for Libby. She is just a really amazing individual who has been incredibly supportive. She had her moments, of “This will never send our kids to school, your furry carpets”, but she was always believed that if I loved it enough it was going to work out. She is incredibly genuine in her creative support. It has really been extraordinarily useful thing to me to find somebody who inspires me and at the same time gives it to me. Libby doesn’t deliberate; she just gets it.

When I say she is a muse, it’s because I move pretty quickly, and her being there and being supportive is great. Her capacity is 90% a mother, which means 70% taking care of me, and 20% taking care of the children, and then the balance of 10% she can carve out she helps the company.

“Caravan” designed by Jiun Ho (Photo: courtesy of Kyle Bunting)

Custom square rug in Geoffrey De Sousa’s media room in San Francisco, CA
(Photo: Matthew Millman )

So, what happened in August of 2001, was that I resigned from the television business, was doing this real estate thing and met my future wife. So I was having this history from my father and my mom kind of cooking around upstairs, and I literally woke up in the middle of the night with this idea.

CJ: Which was what exactly?

KB: Which was to do what my dad had done the tabletops, but to do them as carpets, to do them in a way that would be contemporary and transitional, that would involve color, that would be really exciting and invigorating, and on an enlarged scale. Nobody had ever seen that before. Immediately Libby was right on it. We jumped on a plane the next day and flew cross-country to meet with my father. And I told him, “Dad you‘ve got tell me how you do this stuff. Oh, and by the way, this is Libby I’m marrying.”

So she met my parents, and we figured the thing out. And then for about the next eighteen months I buried myself in a hole in the wall, just me backed up against the Bay experimenting. I bought leather from S. H. Frank and cut it up. I was playing with things and techniques, making prototypes and goofing around. Once we felt like we had something that was tangible in a marketable way I approached Eric (Erik Hughes) and Geoff (Geoffrey de Sousa) of De Sousa Hughes and I said, “Eric, I don’t know you from Adam, but I bought from your pal, so you have to take a meeting with me”. De Sousa Hughes, which has been our local showroom representing us since then, has always been incredibly receptive, open and very supportive of emerging artisans. They have great vision and are tremendous supporters of bringing in new things.

CJ: That’s what makes them so unique as a showroom.

KB: They are unlike any other. We are now represented in fifteen or sixteen showrooms in North America. Most of that is with corporate showrooms like Holly Hunt or David Sutherland, who are outstanding partners, make no mistake about it, but De Sousa Hughes is a unique showroom, and it really follows their mantra; and I don’t think anybody else does it so well.

“Jet Stream” rug and wall covering at De Sousa Hughes (Photo: Matthew Millman)

“Kashmir” designed by Kyle Bunting (Photo: courtesy of Kyle Bunting)

CJ: So they got you started?

KB: So Erik and Geoff were the first people in the showroom business who really understood what we were doing, and they were very supportive.

CJ: So you went the wholesale route? You didn’t say, “Okay, let me open up a store, hang up some rugs and see what happens”.

KB: Well, that is not entirely true. I don’t want to say that I was the first, because it wouldn’t probably be true. I can’t prove it, but I do think it was significant that in 2002 or 2003 I had some very rough prototype and said, “Could you put this on the floor and see if you can run some orders for it?” and that we also put up a website and started buying Google Ad Words. People all over the world were finding us. As a design-focused artisan brand trying to reach the trade and the public we followed the idea that if they are going to search for leather rugs and if we cast a wide enough net, maybe by the time they stumble into us, they’ll go, “That’s cool, I’ve never seen a thing like that.” It really worked, and we were writing one out of twenty orders from the showroom, but we were getting business from people all over the world.

CJ: And, who were those people? Was it individuals, designers?

KB: It was about 50/50. There were design-focused individuals who were savvy enough to use the web and who just kind of stumbled on us, or they were designers who were in the markets where we did not have representation. Then, of course my friends in the trade business helped. The Internet ended up being the best possible strategy. We very early on adopted the idea that we wanted to post almost everything we could, so people could see it online. We developed our site to show our work, which opened it up to everyone. At the same time it enabled us to support the showrooms and let them garner a customer base.

CJ: When you say we, who was that in those days? Did you have staff?

KB: The company was me and a few people that I would go find to help me make things. Our first studio was in Hunter’s Point. We rented a 1000 sq. ft. building at the end of Underwood Street, right by the Bay. In this dilapidated space, we developed the first prototypes. I’ll never forget the landlord’s reaction to the first rugs we made. He said, “Those look awesome and all, but make sure you don’t forget to market them, because no matter how cool they are no-one will buy them if you don’t let the world know about it.” He was very supportive. I think we took those words to heart; we have promoted our work heavily ever since.

In that space we could only receive one radio signal, a metal station from San Jose. We found inspiration in some of the songs and more than a few of our design names are inspired by that music. “Mr. Crowley” is a rug design, and also an Ozzy Osbourne song for instance.

CJ: You have certainly come a long way.

KB: We have come a long way. The next shop was in the stacked car basement of my house in Seacliff. Things were done very simply then. It was funny because we used to literally take razor blades and hold them in place on the lines and then hit them with mallets to cut the pieces. And then we got sophisticated and found a man with a cutting machine.

CJ: I assume since you created something new there was no machinery for this.

KB: There were leather-cutting machines for shoes; but I didn’t have those, and I didn’t have all the razor-bladed dies to do all of this. But I figured it out and got into having that type of machinery.

I actually found a man who had a place in the Mission where they put clothes together, otherwise known as a sweatshop. They made motorcycle jackets; so they knew how to work with leather, and they had one of these machines. I would show up once a month with all these bales of leather stacked on my shoulder, and we would put a big plastic bubble around the machine because the cowhide fur would go everywhere. I would sit in there with hair all over me looking like a snowman, cutting, cutting, and cutting. I would shake off in there and then wrap this whole plastic bag around me, and I would shuffle out of the place so I didn’t get hair all over their leather. Cutting white cowhide, the fur it generates in a room full of black leather, going on black motorcycle jackets, it’s worse than rolling around on a dirty floor if you’re wearing a cashmere sweater. It picks up everything.

“Mirage” designed by Jiun Ho (Photo: courtesy of Kyle Bunting)

“Reflect” designed by Ryan Brewer (Photo: courtesy of Kyle Bunting)

“Fez” designed by Kris Lajeskie (Photo: courtesy of Kyle Bunting)

CJ: So you didn’t use color in those days?

KB: We didn’t do color in those days. We used hides with a real natural palette. We created patterns. We used all these earth tones, and it was beautiful. It was actually a few years later when Cheryl Rowley, a designer in Beverly Hills, emailed one night. I’m proud to say, that even to this day, and this is not trying to brag, that with hundreds of requests a month I still deal with about half of them. I love talking to customers and hearing what people are thinking about and what we can we do. So I always respond to these calls.

And one night, Cheryl is in Los Angeles, and I am in Austin, and it’s about nine o clock my time, and I get this email saying “I stumbled across your website, pretty cool stuff!. Can you do this?” I looked at it, and I saw who it was. “Wow, that’s Cheryl Rowley, that’s a big deal, she is really talented!” I called her, and she answered the phone, and I told her “I just love what you do”. I’m kinda goofy that way, and then I asked “What are you thinking?” She said that she wanted a runner in Astroturf green, about three feet wide, and fifteen feet long. Of course because I knew Cheryl I said, “Sure, absolutely!” So then I had to find green cowhide, and I did. I knew how to get it, but when I digested it a little bit, I did start to wonder what is was trying to do. We billed it and sent it, and I warmed up a little, thinking that it was kind of cool. About three months later she emailed me these photos. The rug was for her personal home, and it was absolutely outstanding and spectacular and appropriate in every way. This was a long time ago.

CJ: And you were sold?

KB: I was sold. Actually it wasn’t so much being sold, as I was being humbled at exactly the right time. Cheryl was so viable; she opened my world. I have to admit that she was singularly responsible for teaching me two things: helping us to be wide open as to what could be possible with color, and also teaching me to trust designers. Everybody gets their own myopic perspective on everything. Cheryl really helped us to realize trusting the designers, to see what they’re going to do with our component. It opened us up and it bought color into our lives.

Green hide (Photo: courtesy of Kyle Bunting)

CJ: After you saw that image, did you immediately start playing with color?

KB: Yes, we started with one single color; and all of a sudden we went from having seven or eight natural colors, which would be like taking a drive to the country, and there you see the colors grazing, to a palette of fifteen or sixteen. Now the whole palette has seventy or so, so you got about fifty dyed and twenty natural options. Nobody else has that.

CJ: So back then did you do single color rugs, or did you combine colors like at that point?

KB: Both.

CJ: Immediately? Just from doing that one green rug?

KB: Yes. Most of what we did always was not restricted by print because we did everything online. So I started finding tanneries, requesting custom dyelots, putting the colors together, and then photographing them and uploading them to the website. So now I could say, “We’ve got fuchsia! It’s called azalea. Order it!” And I remember a designer from Japan ordered a herringbone runner in all fuchsia. It looked like somebody had killed Barney, and chopped him up and made him into this rug. It was just awesome! It did some tremendous things for us.

“Mr. Crowley” in Azalea designed by John Opella (Photo: courtesy of Kyle Bunting)

“Maroc” designed by Kris Lajeskie (Photo: courtesy of Kyle Bunting)

“Confusion” designed by Kyle Bunting (Photo: courtesy of Kyle Bunting)

Color and the whole process helped us to understand how our work relates to branded designers and collections. When designers are branded they get a royalties, and we have done our fair share of that. We have done work with David Rockwell, an outstanding brand and individual. We also worked with Jiun Ho here locally, who is immensely talented and who has incredible vision. John Opella, who is not only a good friend and outstanding designers but also one of New York City’s finest decorative painters, has designs in there as well, as do Jim Bunting and Kyle Bunting.

What we did from the beginning, and which was really important to us, was two things: when you specify something it is the same price per square foot, any pattern, any color, any size. I don’t care if it is round, square, trapezoid. I don’t care what the repeat is. We are going to figure out how many square feet that is, and we are going to charge you that cost. If you bring me a new crazy complex pattern, I might surcharge you just a little, just to figure it out. But usually we just say, “If you let me add that to our library, and we’ll credit you” we put just build in. We will have something else to offer other customers. We felt very early on that it was really important to have 100% flexibility on the specification side where you could get exactly what you wanted. When we said custom, we meant custom. The other thing was that we wanted to be very, very design neutral.

Let me be clear, I get a lot of credit, which we probably have earned, for innovation, and for probably creating a new category for decorative design. Hide rugs and products we make did not exist or weren’t what they are now, and we take credit for that. But design credit for being some great vision on the pattern and detail side goes to the designers. But we are quick to tell you that we created this really cool thing and that we’ll want some credit for that, and if you try to compete with me on the cowhide side of the leather business, good luck.

“Black Dog” designed by Kyle Bunting (Photo: courtesy of Kyle Bunting)

“Rewind” designed by Ryan Brewer (Photo: courtesy of Kyle Bunting)

“Rip Cord” rug in living room designed by Geoffrey Bradfield (Photo: Peter Rymwid)

CJ: So where are the rugs actually made?

KB: They are made by hand in our studio in Austin, Texas, in six weeks or less, by the way. We get our hides from Italy. What happens in the leather business in the U.S. is that actually salt-packed skins are put on barges and run down to Mississippi from where they go to South America to get tanned and then brought back here. This business does not exist in North America.

CJ: They don’t have the skills to do the work here?

KB: No, the perception of chemically pervasive activities involved, for political purposes, they are have legislated it out of the country to win points and win favor with various constituents for being perceived as helping everybody out. But it’s just like any other political story that killed an industry in the process. Now whether that’s good or not, whether that business should have left or not, whether there was the environmental benefit worth the job losses or not, is for somebody else to decide. But the good news is if you are trying to be sustainable and ecologically friendly, then it is actually a benefit to have that business, if it is chemically delicate, to be centralized in one area, because you develop specialists and you develop treatment for water, and it is controlled to its best degree.

Going to Northern and central Italy, where most of this leather is tanned, you see these small towns that share the water treatment facilities. When the machine breaks they pick up the phone, and the guy runs down the road, puts the parts back in, and they keep going. You couldn’t do that here. The good news for people using leather and wondering if it is a sustainable resource, Italian leather is as sustainable as you can get, because it is all done in one place, and they have perfected the process. It’s an aggregate.

It would almost be as if you tried to take LCD television manufacturing and decide that it doesn’t need to made in Japan or Korea and think that Puerto Rico is a great place to do that. You just couldn’t invent that business there, or do it in an environmentally practical way. So we get our leather from Italy, from tanneries that are focused on sustainable production. But from my side of the business I challenge anyone that finds out a business model that is built to be sustainable from the ground up, and they actually yield the numbers we do, so that less material is necessary, which is the best way to do it. We use it everything.

CJ: You don’t have to make coasters from scraps?

KB: No, we don’t.

“Photograph” designed by John Opella (Photo: courtesy of Kyle Bunting)

“Caravan” designed by Jiun Ho (Photo: courtesy of Kyle Bunting)

“Surrender” rug in living room designed by Allan Moore & Associates Interiors
(Photo: courtesy of Kyle Bunting)

CJ: You don’t have to. What did you actually study when you went to university, and how does it relates to what you do today?

KB: I think it sounds like it relates more than it really does. I was actually in one of those college programs where it was an inter-college program between the local Liberal Arts School at the University of Texas and the business school. So I have a very unique degree, the only one that I know of. I have a Bachelor of Arts in Marketing. So I have a liberal arts degree; I have a BA in marketing from a Liberal Arts College at the largest public school in the country.

CJ: And then you went into TV, then a little real estate, than back to the roots with your father’s idea, and then a whole new career?

KB: So for me the curve was university to this television business we created and sold, to real estate development, which kind of created the design bug, to this idea, and low and behold now the joke is that I am now seeking to become the Hide-Master of the Universe.

CJ: The Hide-Master of the Universe. You may be on your way. Last year you created a limited edition of furniture for Gump’s. How did that come about?

KB: My wife and I used to live in a building in Pacific Heights, and Diane Dorrans Saeks was our neighbor. Diane not only became a professional resource for me, she also became a customer and has a Kyle Bunting carpet in her house. She was an early customer, and Diane actually knew Marta Benson, the CEO of Gump’s, and said, “You really ought to meet Marta. They’re doing some exciting things at Gump’s. You and her need to get together.” She introduced me, and when Marta and I met I actually had a period where I did angel investing, or very light venture work. No means to infer that I was a V. C., but I provided some capital to some people who had some good ideas. One of the companies that I helped fund was a furniture rental company that operates internationally, called Home Essentials.

One of the other investors was a group called Cardinal, which was run by a guy named Rusty Rose. Rusty was famous because he was George W. Bush’s partner when he owned the Texas Rangers baseball team; but he was also one of the early investors in Restoration Hardware. Marta used to work for Restoration Hardware. So we instantly connected a bunch of rally wacky dots on people who we were two degrees of separation on, and just really kind of hit it off.

Erik Hughes, Kyle Bunting, Marta Benson, Christian P. Arkay-Leliever (Photo: Drew Altizer)

CJ: Well Marta is fabulous, so that’s easy.

KB: She’s amazing anyway! Marta said, “You know, let’s do something.” She was so thoughtful and courteous; she knew how our trade relationships worked, our showrooms and said that she did not want to be a problem. So this was over two years ago. It took about a year of some phone calls and running into each other, kind of the romance of “What do we do?” to kind of get our heads around what might be possible. I registered at Gump’s when I got married, and a few other places. But Gump’s was the place with all the china and flatware, a brand that is forever embedded. I have a Gump’s old croc wallet that I carried for years and bought when they had a store in Dallas, Texas. This is an old brand. But Marta and I were persistent with one another, trying to figure stuff out.

Family room at the “Modern by Design” Metropolitan Home Showcase
designed by Jeffers Design Group with custom rug (Photo: Matthew Millman)

KB: Late in 2009 we kind of ran into each other at the Met Home Showhouse, a project we did with Jay Jeffers, who I an outstanding designer. He is just great, what a great guy! So Marta and I sat down, and she said, “What do you want to do?” and she offered a blank canvas. I said that our brand is involved in our tagline, which we say is “the extraordinary in hide”, now predominantly a surfacing material. And our claim to fame is this piecework we do that doesn’t require any stitching; so it looks really incredible and its highly detailed design work. That’s our bread and butter. But I really have a vision for what we can do that is much more interesting than just cowhide rugs.

I said, “With your permission, I’d like to create some interesting artistic impressions. Some of them would be wrapped in canvas, some of them would be in form of furniture. I actually would like to create some furniture items that would be practical. And I’d like to do it in a very vibrant and eye-catching way that will get people’s attention, and to fulfill my objective in this, which is to show people what’s really possible and turn them on to something else.” Marta and Gump’s couldn’t have been more supportive. Their goal and their mission was to find a way to show people that Gump’s is more than what you think it is, and there are all these cool crazy things happening there and you should go check them out.

CJ: Because Gump’s had kind of gone in a different direction at some point, until Marta came on board and brought it back to what everybody loved.

KB: Exactly! They bought it back to what it was. So what they’ve tried to do is say, “Look, we’re going to bring in people to do something kind of cool and give them a lot of flexibility and remind people what’s really great and how much Gump’s cares about design and innovation.” So we decided to do the furniture and to imbed some of the collection patterns into the items themselves. I thought why not integrate elements of the rugs and wall coverings we’re known for into the line itself. For me, this was the easiest way to show capability and design potential. Additionally, we felt a vibrant color palette was critical.

Ottomans (Photo: courtesy of Kyle Bunting)

“Clutch” table with two intertwined shapes representing Kyle and Libby Bunting’s relationship (Photo: WR Studio)

On the artistic side we took some of the pattern work from John Opella, Ryan Brewer, who currently runs design for the company, and Christian P. Arkey-Leliever who helped me design a lot of the furniture, and myself. We made four 4’ by 5’ stretched canvases in these beautiful flat walnut frames of our patterns work, but shrunk down to itty bitty pieces. It’s really cool, it’s really raw, and it has a lot of handwork where it is not quite as tailored. But it’s vibrant, and it’s hide and it’s wow. That was what we did on the art side.

“Shift” art designed by John Opella (Photo: WR Studio)

“Flume” art designed by Ryan Brewer (Photo: WR Studio)

On another transitional side, that’s more art meets furniture, I found this great resource, and I bought these old Mannheim frames, these old Louis XVI chair frames. Manheim is a legendary, old school furniture company. Your mother’s mother knows the name, and many still swear by it. I think that history and legacy is pretty special. So I went out and found ten people who had a relationship to the business and who were designers who I really cared for and appreciated, and thought would like to do this. I said “Hey, we are doing this thing with Gump’s, and I’d like you to design a chair”. On the showroom side, both Eric Hughes and Geoffrey De Sousa both designed chairs, our local impresarios, and Marvin Wilkinson and John Ellsworth who own John Brooks, who also represent us in Scottsdale. Kara Mann, a dynamic designer out of Chicago, designed a chair. Jan Showers, a great designer and furniture producer in Dallas, designed a chair. We also have Kris Lajeskie who is an outstanding designer in New Mexico and New York, and Holly Hunt, who represents us and is incredible supportive, put chairs together. And there are a few others.

Art chairs from left to right (Photo: WR Studio)
“Erik” by Erik Hughes
“Marvin” by Marvin Wilkinson
“Jan” by Jan Showers
“Art” by Art Ellsworth
“Goeffrey” by Geoffrey De Sousa

Art chairs from left to right (Photo: WR Studio)
“Kara” by Kara Mann
“Tiffany” by Tiffany Antoun
“Kris” by Kris Lajeskie
“Holly” by Holly Hunt

CJ: So this is all limited edition? How many pieces?

KB: Just one.

CJ: Oh, very limited!

KB: Just one original. These are not production items, these are artistic chairs. They are available for sale, a portion of the proceeds goes to Gump’s charity, which is the California College of the Arts. They are all individual one-of-a-kind expressions. With the other furniture we wanted to take the custom experience the designers know from the showroom side of the business into the retail environment, but make it really simple. So we said, “These are the five different finishes that you can put on the wood, and here are nineteen colors. I have matching lacquer, and I have a matching cowhide, and you can mix and match all of this in any way. So, if you want pink lacquer on the console, and you want those four cream and brown leathers wrapped on it, great.” It’s the most simplistic structure, narrow and simple way. It works great for retail, because we took the fabric part, which is what designers know as the most fun but is the most challenging from a client’s side, and simplified it.

“Runway” consoles in various finishes and hide colors (Photo: WR Studio)

CJ: You obviously make the rugs. Who makes the chairs, who makes the consoles?

KB: We have partners we work with to produce all this stuff. So, we have the art chairs that are one of a kind and we have the artwork. But we actually have production pieces that have hide integrated into the pieces in some form or fashion, because it’s our signature material.

CJ: So as a result, you are now also a furniture manufacturer.

KB: So, yes we are now in the furniture business with Kyle Bunting Hide Furniture. In the line there is a wood-based and hide-covered ottoman, there is what could best be described as the blending of a club and a wing chair with a wood base and covered in long furry silver hide. I don’t know if it looks like it’s about to run away, or it looks like a goat, but it is a very comfortable chair. There is also a console, which I’m very excited about because it’s a nesting console. As designers we know a lot of time we try to find the right length console. It is a long rectangular console, I think about eighteen by maybe fifty, but it has two narrow tables that nest from the side that you can slide in and out, and the pattern continues across the top. So, you can stretch it to fit the back of a sofa, whatever your needs are, with one piece of furniture.

“Fog Hide” chair (Photo: courtesy of Kyle Bunting)

“Runway” console (Photo: WR Studio)

CJ: That is an innovative piece. Who designed it?

KB: I designed it! Sure, this is my thing. There is also a similarly designed cocktail table. And there is a focal table that includes brass and wood and a wrap that is very interesting to me. But in my opinion, the signature piece is a screen. We have created hide damask, and it must be seen to be believed. On one side of the screen we have cut the pattern in a platinum silver and a slate blue, but then on the other side the background is like a slate blue with a platinum silver, and with the same finish on both sides. So what you get is a piece of furniture that if you just turn it around is still the same item with the same color, but it just feels a little different.

“Neu” screen (Photo: WR Studio)

“Neu” screen reverse side (Photo: WR Studio)

Custom “Cowboy Hat” wall covering at the W Hotel in Dallas, TX
designed by Tracy Overbeck Stead (Photo: courtesy of Kyle Bunting)

CJ: So how did you arrive at that? You worked with two-dimensional color blocking patterns for years and years, and all of a sudden you’re designing three-dimensional objects.

KB: I had a lot of help from a lot of really talented people. Christian P. Arkey-Leliever is an incredibly talented designer whom we had met through the licensing relationship we had with David Rockwell, and with whom we developed a great professional as well as personal relationship. Christian had designed furniture for Hickory Chair. I embraced him, and I said, “We’re friends, let’s do this together and figure this out”. And he was beyond significant in the development of a lot of these items.

CJ: So was he a muse, a technical advisor?

KB: A little bit of everything, a confidant, an assistant, everything you could think of. For example the damask pattern that’s on the screens is a pattern Christian developed for us a couple of years ago. He is an immensely talented man. Somewhere between Mrs. Bunting and her support, and just what she brings to the table in every way for me personally, and Christian’s professional support in understanding furniture and being a designer, is what really made this stuff a reality. This would have never happened without the two of them, and of course without Marta’s support.

CJ: It must be exciting, because while when you successful with your business doing the same thing, it must be rewarding to create something entirely new and different. It has always been cowhides. Have you ever thought about maybe other hair-on-hides, like rabbit for example?

KB: No, we are very, very strict and focused on cowhide. Cowhide is a piece of leather that is a sustainable resource. I’m not a supporter of using fur product, not for a political reasons or anything like that, it is just not my thing. It is not durable enough for what we do, for the surfacing applications on the floor, and it is also a little bit tricky to work with, for the way we do things. Cowhides are perfect! I don’t want to use horses. I am a fan of Mr. Ed, and we like horses. So we’re sticking to cow and hair-on-hide leather.

CJ: How about laser-cutting holes and such?

KB: Actually on the design side everything we do is developed digitally and cut by very sophisticated machines that use knives as opposed to lasers, to get a cleaner cut, and then everything is handmade. It’s like an Exacto knife controlled by a machine that runs really fast, and is incredibly sharp, and you better get out of its way.

CJ: And hairs must be flying everywhere. How do you keep it contained?

KB: My business is probably dirtier than the indoctrination barbershop at the U.S. army where they shave everybody’s head when they come in. I’m the only place that has more hair everywhere than that place.

CJ: What do you do with all that little fuzz?

KB: We vacuum it up and clean it. It’s one of those natural by-products, it’s beyond biodegradable, its hair. It disappears very quickly.

CJ: You have gone into a whole new direction with the furniture. Do you have any other ideas and uses you might want to explore?

KB: I have wall covering, rugs, upholstery, furniture, and we also do art. Really the possibilities are unlimited. We have done all sorts of quirky things we don’t promote. We have done lampshades for Gump’s. We recently did a huge tapestry for a client with these insignias and some monograms in it. I think the point of these examples is that we are finding immense challenges and immense opportunities within this business. I think we are lucky in that we have a good idea and we a quality product. So we are getting requested and getting recognized. What we wanted to do all along, which was to have designers call us with crazy ideas. It’s really been a hell of a journey, and I think we’re just beginning a scratch of what is possible. So our idea is to innovate and use this material in every possible way.

“Jet Stream” wall covering in bedroom designed by Eric Roseff Designs
(Photo: courtesy of Eric Roseff Designs)

Custom cowhide bedspread designed by Merle Lindby-Young
(Photo: courtesy of Merle Lindby-Young)

CJ: How about your durability? How about a bunch of stilettos on a rug at big cocktail parties?

KB: There’s is an interesting irony about hair on hide, in that it is the inverse of a normal rug, highly stain resistant. Spill peanut butter on it get a piece of gum stuck on it, you can clean it off, no problem. With normal rugs that’s a huge deal, right? The biggest problem for hair on hide is the vacuum cleaner. The only problems we ever have with this product are the beater brushes. So when we ship our products we tell people to vacuum it only if you can put it on a very high setting, where it will lift, but no beater brush is involved, or preferably please sweep it and vacuum around the edges. Also if you put a cigarette on it, or you break an ink pen in two, and you get some on the rug that you absolutely cannot clean or fix, just send it to us, and we will get the pieces out, repair the rug and send it back to you.

CJ: How do you get the same color again?

KB: Trade secret.

CJ: Fair enough, but most importantly you can fix anything.

KB: Yes we can fix it.

“Crush” designed by Christian P. Arkay-Leliever (Photo: courtesy of Kyle Bunting)

“Promenade” rug at David Sutherland Showroom (Photo: courtesy of Kyle Bunting)

CJ: Have you not had that brainstorm over a decade ago what might you be doing professionally today?

KB: Having been in the production and executive side of television, I would probably be involved in some kind of kooky branding, advertising, marketing way, because it is very natural to me. Invariably I probably would have ended up there, helping innovators and companies that had something really cool find a way to get their voice heard. I would have ended up, God forbid, in the advertising business.

CJ: Now you are doing all that for Kyle Bunting.

KB: Yes, promotions for my own business.

“Loop” by Ryan Brewer (Photo: courtesy of Kyle Bunting)

“Ripcord” designed by Ryan Brewer (Photo: courtesy of Kyle Bunting)

CJ: Who is Kyle Bunting without his fabulous hides? I think I’ve got a pretty good idea. But please ad if you like.

KB: You have figured it out. I’m me. Although our company profile is fairly high, my world is a fairly private affair. I am in an incredible place: I’ve got a business that it is busting at the seams and is doing incredibly well. We are having a blast! I am married to an insanely great woman, and we got awesome kids.

CJ: What do you guys do for fun?

KB: I play with my kids, and anything with little kids is fun. Doughnuts on weekend mornings to watching movies, whatever it is, with children the simple things in life are incredibly better.

CJ: So the best thing that ever happened to you was going to that bar?

KB: Yeah, this business started and developed in the 2000s, or in the Os. Three incredibly important things happened to me in the Os: Caroline Bunting was born in Austin a five years ago, and Jack Bunting was born in San Francisco over seven years ago. But literally almost ten years ago was the weekend of the Union Street Fair when I stumbled into Mrs. Bunting, and that changed everything.

CJ: You fell in love, and an idea was born in that energy.

KB: All that energy, and my wife went in that direction. God bless her! That’s the story! We are enjoying life.

CJ: That’s the story, thank you.

KB: Thank you.

“Eclipse” in lobby at Bisha Hotel & Residences designed by Munge Leung
(Photo: courtesy of Kyle Bunting)

Alison Pincus, Bunny Williams, John Rosselli, Andrea Stanford

San Francisco-based One Kings Lane hosted a select group of friends at New York’s famed Winter Antiques Show at the Park Avenue Armory, followed by dinner at New York’s chic Monkey Bar restaurant.

Alison Pincus, Allison Speer and Andrea Stanford

In attendance were One Kings Lane co-founder Alison Pincus and general manager Andrea Stanford, Vogue editor Alexandra Kotur, iconic interior decorator Bunny Williams and her husband antiques dealer John Rosselli, Allison Speer, 1st Dibs founder Michael Bruno, Duane Hampton, and Nathalie Kaplan.

Sheila Kotur, Alexandra Kotur, Nathalie Kaplan and Alison Pincus

Andrea Stanford, Duane Hampton and Alison Pincus

Michael Bruno and Alison Pincus

Detail of Wreath by Tish Key Interior Design (Photo: Michael Bello)

Children of Shelters, founded in 1995 to help children living in transition and in shelters, assists an estimated 4,000 homeless children.  Their two annual holiday events, Jingle & Mingle and Santa Fest are their major benefits to finance programs such as back-to-school clothing, one-on-one tutoring, college and secondary school tuition assistance and more.

This year the Board of Directors, Lois Pavlow, Serena Fairchild Sheldon, Summer Tompkins Walker, Sarah R. Moore, Heidi Castelein, Alison Kiley, and Kate Sheridan Chung, along with their board members, organized their tenth Jingle & Mingle event.  It brought together San Francisco’s society and design community to cheer the holidays and to raise money in them most creative of spirits.

Held at the historic Presidio Officers’ Club guests got to bid on some of the most creative and stunning holiday wreaths while enjoying wines and cocktails and tasting hors d’oeuvres from various San Francisco restaurants.

Summer Tompkins-Walker and Vanessa Getty

The venue was designed by Ken Fulk Design and provided comfortable lounge areas throughout the Officers’ Club, a much-appreciated option to rest one’s heels for a moment.  But most of the activity of course was around the stunning wreaths, as guests wondered what the designers were inspired by and where some of the more unique materials came from.

Over 50 of the top Bay Area designers and artists conjured up exquisite one-of-a-kind creations to be auctioned off.  Shapes and materials pushed the boundaries of what we generally expect from a holiday wreath.  From squares to deer heads, and from magazine pages to electrical wires and old light bulbs, nothing was off limit, and the results were the reflection of the impressive creativity San Francisco has to offer.

Ken Fulk, Jo Labagh, Nelson Bloncourt

Raising a toast to artistry and to support of Children of Shelters were Vanessa Getty, board members Lana Adair, Melissa Barber, Summer Tompkins-Walker, Jenna Lidell-Hunt and Bryan Hunt, Karen Caldwell, Angelique Griepp, Helen Hilton Raiser and Jennifer Raiser, Joy Bianchi, Jessica and Jason Moment, Kate Harbin, Sobia Shaikh, Elizabeth Touw, Holly Baxter and Lindsay Bolton.

Sobia Shaikh, Susan Dunlevy

In friendly competition designers came to appraise their colleagues’ creations and to view their own, hung from old doors and lit to highlight their allure.  Amidst them were landscape architect Stephen Suzman and Katharine Webster, architects Ken Linsteadt and Aleck Wilson, interior designers Douglas Durkin, Ken Fulk, Steven Volpe, Gil Mendez, Nicole Hollis, Vernon Applegate, Gioi Tran, Barbara Scavullo, Tish Key, Will Wick, Michael Burg, Beryn Hammil, Barbara Ashfield, David Hansen, Cecilia Sagrera Hill, George Brazil, sculptor Adam P. Gale, artists Daniel Tousignant and Shirley Robinson, Jennifer Perlmutter, floral designers Mandy Scott, Paul Robertson, lighting artist Michael Donnely of Dogfork Lamp Arts, seamstress Madina Aryeh, and retailers Marta Benson of Gump’s and Sue Fisher King.

“I love supporting Children of Shelters’ programs by purchasing a wreath every year at Jingle & Mingle.  I started buying wreaths for my own home six years ago and now I try to buy at least one wreath annually as a gift for friends.  These wreaths are one of a kind and my purchase makes a difference in the lives of many- that is a recipe for a great gift!” Anonymous

And now let me introduce you to:

THE TRADITIONALISTS

Beryn Hammil took red silk roses and dusted the edges of the petals in red glitter for a most elegant holiday wreath.

Beryn Hammil

Elizabeth Touw, Sobia Shaikh, Susan Dunlevy

Cecilia Sagrera and George Brazil created a wreath was influenced by the incomparable jewelry of Tony Duquette.  To represent the iconic designer’s penchant for unusual materials the gilded leaves illustrated his use of handcrafted metal, and the organically shaped berries represented the colorful gems.  Contrasted by a teal ribbon the arrangement looked worthy of a Roman emperor.

Sagrera Brazil Design (Photo: Michael Bello)

Sue Fisher King paired classic evergreen with touches of teal and turquoise in the form of pinecones dusted in teal glitter, sparkling birds and a turquoise satin ribbon.

Sue Fisher King

Jennifer  Fick, John Bradfield, Joy Bianchi

THE PURISTS

Gil Mendez’s 35 pound ring of humble everyday childhood memories was tailored beauty reminiscent of simpler times, created from red crayons tied with the perfect large red satin ribbon.

Gil Mendez Design

Jennifer Weiss arranged perfect bands of felt for their wintery piece that had the soft appearance of a winter-white cashmere coat.

J. Weiss Design

Barbara Ashfield’s and David Hansen’s classic star made from pale bird’s eye maple with black edges, held by an elegant black & white vintage ribbon from Ribbonerie, was evocative of the styling and palette of Biedermeier furniture.

Ashfield Hansen Design

“Children of Shelters is a charity very close to my heart, and I love Biedermeier.  So I am very happy to have won this beautiful star wreath to hang in my study all year round.” – Jenna Liddell Hunt

Jenna and Bryan Hunt

THE MINIMALISTS

Steven Volpe must have been inspired by the long nights of Winter with his irregularly shaped piece of blackened metal braces and black tulle.

Steven  Volpe Design (Photo: Michael Bello)

Melissa Barber and Erin Lowenberg

Gloria Marth is known for tailored their interiors fabricated a square wreath from steel reminiscent of an industrial window.

Gloria Marth Interiors

Jacqueline Sacks and Angelique Griepp

THE SENSUALISTS

Monica Duque’s organic creation was influenced by studio visits to various Bay Area artists.  Visiting John Lewis Glass in Oakland they stumbled across recycled glass disks that were waste from drilling holes in the fabrication of sinks for Kohler.  Combined with curly driftwood branches, surrounded by a ring wrapped in rope, the designers composed a wreath representing the chilly and dry air of Winter.

Duque Design Group

Michael Burg collaborated with c1901 in devising a simple large upholstered ring made from lipstick-red cowhide studded with nailheads.

Michael Burg Design & c1901

Katherine North returned to her roots with her firm’s design.  Her family owns Kelly Miller Circus, and in the 1940s her great uncle John Ringling North of Ringling Bros. Barnum & Bailey popularized what is called a web rope.  Web ropes are generally suspended from the top of the circus tent via metal cable rigging and are used to support areal ballets.  Katherine has always been very fond of those areal ballets, and to pay tribute to her family’s circus legacy she composed a wreath from web ropes tied together with metal cable rigging.

Northbrook Design

Helen Hilton Raiser and Jennifer Raiser

THE NATURALISTS

Douglas Durkin used traditional materials in an untraditional shape with a variety of natural elements, such as branches, different color mosses, pinecones and berries.

Douglas Durkin Design

Heidi Castelan, Douglas Durkin, Serena Fairchild

Decorum, an intellectual consortium comprised of four interior design firms, namely Ashfield  Hansen Design, Brian Dittmar Design, Sagrera Brazil and my own firm Adeeni Design Group, got together to create a wreath inspired by the four seasons.  Each firm created a lacquer square adorned with materials and objects reminiscent of Winter, Spring, Summer and Fall.

Decorum (Photo: Michael Bello)

Baylor Chapman, owner of Lila B Design, a certified green floral and garden design firm, likes to use long-lasting flowers, repurposed and sustainable materials.  They juxtaposed life and inanimacy by encapsulating nature in glass globe terrariums, forming a circle on a polished copper square.

Lila B Design

George Brazil, David Hansen, Michael Burg, Larry Martin

THE PROVOCATEURS

Ken Fulk, often pushing the boundaries of what may seem appropriate, literally went below the belt with his traditionally shaped wreath fashioned from pages of a porn magazine complete with a condom and hung from a black leather harness strap.  Let’s just say, there was a lot of talk about it throughout the evening.  In the end it served as an example of audacity paying off, judging by the amount of bids it had received.

Ken Fulk Design

Barbara Scavullo’s witty Wheel of Fortune actually spun, and it was filled with New Year’s resolutions where the winning numbers included messages like “ I will pay my bills on time”, I will have more sex”, “I will give pedestrians the right of way” and “I will send a handwritten letter instead of an email”.

Barbara Scavullo Design

Una Malan and Waldo Gibson

THE STORYTELLERS

Gump’s recalled Christmas traditions with a framed vintage photo of their legendary store surrounded by beautiful quotes from Charles Dickens, Charles N. Barnard and others written in the most gorgeous red calligraphy.

Gump’s (Photo: Michael Bello)

Nicole Hollis’ creation could be considered minimal in display, but it was full of movement and made you linger to watch a creature running around a wreath and the spinning head of a snowman, all simply projected in white light onto the door.

Nicole Hollis Interior Design (Photo: Michael Bello)

Kate Harbin, Douglas Durkin, Rachel Latch

Shirley Robinson created a beautiful old-fashioned round plaque with the delicate painting of a goldfinch on snow-topped branches of evergreens, recalling romantic memories of winter.

Shirley Robinson

Jason and Jessica Moment

THE LUMINAIRIES

Kimberly Ayres’ hexagon-shaped design made from brass tubing tipped with decorative bulbs would also make a beautiful light fixture.

Kimberly Ayres Interior Design

Ricky Serbin and Mitchell  Benjamin

Michael Donnelly took the idea of the wreath horizontal, more reminiscent of European Advent wreaths.  A ring fashioned from a cluster of lit vintage fishing floats was suspended from a heavy metal bracket with iron chains.

Dogfork Lamp Arts

The beauty of the architectural design by Aleck Wilson made from intersecting sheets of acrylic was emphasized by the light behind it, which made it glow quite mysteriously.

Moroso Construction & Aleck Wilson Architects

Gary Friedman and Claudia Castillo Ross

THE METALSMITHS

Ken Linstaedt designed an almost delicate criss cross of metal rods accented with big chunks of glass to form a spiky “ring”.

Ken Linstaedt Architects (Photo: Michael Bello)

Michael Bello, Kaylee  Tierney, Robert Whitworth

Metal sculptor Adam P. Gale, the frontrunner for the highest bids, created two wreaths this year, both of course in his signature material.  One was a free-standing, with riveted squares of steel fashioned into a ring, and the other one was a jewelry-like circle comprised of bronze bands in the shapes of circles and squares, attached to the door with a very serious metal bracket.

Adam P. Gale

Adam P. Gale, Megan Murr, Holly Mitchell, Josh Lambert

Kelly Keiser fashioned their wreath from rusted bells and keys strung from a willow ring, the perfect choice for a country house.

Kelly Keiser Splendid Interiors

Laticia Headings, Maya Hiersoux, Kelly Keiser

THE LUXURISTS

Daniel Tousignant bejeweled a red stag head with hundreds of red rhinestones, as its antlers formed the circle of a wreath.  Hanging from one of them was a generous spherical ornament painted with one of Daniel’s meticulous landscapes.

Daniel Tousignant for JAK Home

Daniel Tousignant and James Geras

Chandler Prewitt turned an animal skull, hemp romp and crystal into an object of opulence that felt like an over-scaled mystical tribal necklace.

Chandler Prewitt Design

Katherine Jacobus and Gloria Marth

Tish Key’s tailored creation was traditional in shape but modern in execution.  The swirly coral-colored felt ring was suspended from a tan leather belt, evoking the Equestrian glamour of Hermès.

Tish Key Interior Design

Laura Miller and Michell Ojala

THE CONSERVATIONISTS

Gioi Tran and Vernon Applegate created art out of chaos and trash.  Due to their recent office move they were left with a ton of wires and burnt out light bulbs ready for the dumpster.  With a great sense of humor, a generous dose of creativity, and hours of twisting and tying the result was a wreath out of the ordinary.

Applegate Tran Interiors

“This piece could have sold for $100K at Art Basel Miami.” Holly Baxter, Baxter & Cook Art Advisors, who had just returned from Art Basel.

Drew  Altizer

Will Wick, known for his industrial aesthetic composed an unpretentious yet beautiful wreath from a large vintage rope formed into a perfect circle and strung from an old pulley, simple and effective.

Wick Design Group

Jennifer Kelly and Will Wick

Me and my team at Adeeni Design Group wanted to reuse some leftover acrylic from a recent café project.  Inspired by its translucent quality and childhood memories of creating holiday paper cuts we designed a bright orange snowflake ring with a smaller snowflake suspended from the bottom.

Adeeni Design Group (Photo: Michael Bello)

When I walked into the festive room the first thing that caught my eye was this beautiful orange wreath in my favorite color orange.  I not only will display it happily during the holidays, but throughout the whole year.  It is a beautiful piece of art!  The whole event made me really feel the Holidays in all their glory, and it supports such a needed cause.” Karen Caldwell, Caldwell Snyder Gallery

Marta Benson and Karen Caldwell

Once again Jingle & Mingle raised a generous amount of money for Children of Shelters.  But as always it also allowed designers to showcase their creativity on a more intimate scale, and the lucky winners to bring home true works of art, many of which they will surely enjoy long beyond the holidays.

Galerie Steinitz

There are certain things one never gets tired of; and being surrounded by some of the most exquisite antiques is one of those things. The San Francisco Fall Antiques Show is the place for just that.

It returned for the 29th time to much fanfare, as always.  Michele Goss chaired this year’s preview gala benefitting Enterprise for High School Students.  She was joined by committee chairs Rosemary Baker, Peter Getty, Jenna and Bryan Hunt, Letitia and Michael Kim, Laura King Pfaff, Alison Gelb Pincus, Cathy and Mike Podell, Mary and Bill Poland, John Traina, and Suzanne Tucker.

Joy Bianchi, Derek Lam, Vanessa Getty

Award-winning fashion designer and San Francisco native Derek Lam served as the honorary chair and drew in even more of the fashionable set for the evening.  Despite an important play-off game by the San Francisco Giants opening night had a most generous turnout being one of the most popular social events of the season.

Dede Wilsey and Princess Michael of Kent

The fact that the game was shown on a large screen in the lecture pavilion surely helped wives to get their husbands to join them for the entire evening.  During the earlier part of the event there was quite a crowd in the backroom cheering on their team, and after the much anticipated win everyone celebrated by the always elaborate and delicious buffet and at the multiple bars.

The Finnegan Gallery

“The crowd here is very artistically cultivated.  Most people know about Jensen before they walk into our booth.” Gregory Pepin, Danish Silver

Among the guests were her royal highness Princess Michael of Kent, who gave a lecture about “Chinoiserie at Court” the following morning, Vanessa Getty who attended with her friend Los Angeles interior designer Ray Azoulay, Dede Wilsey, Denise Hale, Norah and Norman Stone, Princess Victoria Galitzine, Yurie Pascarella, Dagmar and Ray Dolby, Anne Marie and Christopher Bentley, Adriana Pope Sullivan and Bobby Sullivan, Sobia Shaik, Dorothy and Ken Paige, Joy Bianchi, Melissa Barber, Angelique Griepp, Merla Zellerbach, Helen Hilton Raiser and Jennifer Raiser, Karen and Oliver Caldwell, Restoration Hardware’s CEO Gary Friedman who thanks to Ed Hardy has added antiques to the company’s repertoire, Susan Dunlevy, O.J. Shansby, and Alan Malouf.

Norah Stone

Princess Victoria Galitzine and Albert Bartridge

As always there was also a slew of architects and designers on hand, including Madeleine Stewart who came up in from LA, Douglas Durkin, Stephen Shubel, Myra Hoefer, Candace Barnes, Stephen Suzman, Jay Jeffers, Ken Fulk, Stephen Sutro, Will Wick, Brenda Mickel, Matthew Turner, Cecilia Sagrera, George Brazil, Melanie Coddington, Barbara Ashfield, David Hansen, Brian Dittmar, Benjamin Dhong, and Lawanna Endonino.

Daniel Diaz and Denise Hale

Andrew Skurman and Suzanne Tucker

The stage was set for this year’s theme “Chinoiserie: Rococo to Eco” right at the entrance with two-story red pagodas made entirely from cardboard and designed by on of the city’s most prominent architects Andrew Skurman.

Kevin Conru Gallery

Douglas Dawson Gallery

Also a number of galerists included Chinoiserie in their display.  Dealers represented this year included Kevin Conru from Brussels, Galerie Chanel, Les Enluminures and Galerie Steinitz from Paris, Il Segno del Tempo from Milan, Michael Goedhus, Robert Bowman Gallery and Robert Young Antiques from London, Danish Silver from Copenhagen, Kentshire and Hostler Burrows from New York, Finnegan Gallery from Chicago, and Midori Gallery Far Eastern Art from Miami.  Local exhibitors include Daniel Stein Antiques, Epoca, Foster-Gwin, Hackett|Mill, Peter Pap Oriental Rugs, Therien & Co. from San Francisco, and The Ames Gallery and Thomas Livingston Antiques from Berkeley and Imari Gallery from Sausalito.

Merla Zellerbach, Helen Hilton Raiser, Jennifer Raiser

KC Lynch, Jenna and Bryan Hunt

Leticia and Michael Kim

“I think this is one of the most beautiful shows in the country.  The selection of dealers is very interesting, ranging from classic to eclectic, and we are very glad to be here.” Jeff Russak, Lawrence Jeffrey Estate Jewelers

Galerie Steinitz, always the anchor at the very end of the venue, provided another striking room paneled in boiserie from an 18^th century Parisian mansion.  A pair of inlaid side tables made from Anglo Indian boxes especially captivated me amongst the other as always stunning furniture and accessories.

Ryan Lippman, Robert Domergue, Jennifer Biederbeck, Rosemary Baker

Ray and Dagmar Dolby

Todd Traina and Katie Traina, John Traina

Robert Young Antiques‘ (London, UK) English country furniture and folk art was as popular as ever.  Once again they brought a rare example of a 19^th century Noah’s Ark from Germany, which was snapped up during opening night by a San Francisco collector.  But Mr. Young said that they could have sold it four times over.

Full hulled Noah’s Ark with original animals in hand-carved painted wood from Germany, ca. 1875 (Photo: courtesy of Robert Young Antiques)

These arks have an interesting history, as they were very popular with children in Europe because they were often the only toy they were allowed to play with on Sundays.  They were considered educational.  When parents ordered an ark from a carpenter they could select as few or as many animals as they liked.  Often over time godparents, aunts and uncles would gradually add animals to a child’s set by ordering additional ones each Christmas or birthday.

Susan Feldman and Alison Pincus

Allison Speer, Laurie MacCaskill, Susan Niven

Adrianna Pope Sullivan and Bobby Sullivan

Vittoire Brown, Keith Scott, Summer Tompkins Walker

Hackett | Mill (San Francisco, CA ) exhibited more traditional Japanese artists with post war American artists in a goal to mix education with sensuality.

“Makiko IV” bronze sculpture with oil-based pigments on patinaed bronze base by Manuel Neri, 2009 (Photo: courtesy of Hackett | Mill)

“Mushroom” magna acrylic painting on canvas by Jules Olitski, 1959 (Photo: courtesy of Hackett | Mill)

Michael Goedhuis (London, UK) deals in antique and contemporary Chinese art and told me that he believes that it will become very expensive, as the appetite for buying back their heritage and their art is intense amongst the wealthy in China today.

“Zak Zen” ink painting by Leung Kui Ting at Michael Goedhuis (Photo: courtesy of Michael Goedhuis)

“Is a Mountain” ink painting by Kan Tai Keung at Michael Goedhuis (Photo: courtesy of Michael Goedhuis)

Claudia Juestel, Joel Goodrich, Sande Schlumberger

Stephanie Tuttle, Bo Lasater, Paula Carano, Angelique Griepp

“I tend to meet a lot of younger collectors, as they are the ones interested in jewelry.” Sue Ollemans

Xanadu Gallery (San Francisco, CA) concentrated on Asian art and artifacts that included rare Tibetan tankas and early stupas from Tibet and Nepal, and Khmer sculptures from Cambodia.  An Indian stone sculpture sold at the beginning of the preview to a local collector.

“Uma” Khner stone sculpture, 12th century, Khmer stone sculpture of male deity, 10th century at Xanadu Gallery

Set of five Tibetan “Thangka” with five transcendent Buddhas, 17^th century, large Tibetan “Stupa” in gilt bronze, 15th century, small Nepales bronze “Stupa”, 17th century at Xanadu Gallery

Jenna Hunt and Sobia Shaikh

John Traina, Dede Wilsey, Trevor Traina

“I think Chinoiserie is something everyone is really interested in knowing more about.  And we have seen a lot of collectors from all over including Chicago, Los Angeles and New York.” Eric Petsinger, Epoca

Lawrence Jeffrey Estate Jewelers (Litchfield, CT) participated for the first time; and the owners told me that they sold an engagement ring early on.  I wonder who the lucky girl is.  They also mentioned that their more modern and eclectic pieces from Swiss and German ateliers got the most attention from the audience, as they can be worn in a casual way as well.

Swiss modernist gold bracelets by Brechbuhl and Gubelin at Lawrence Jeffrey Estate Jewelers (Photo: courtesy of Lawrence Jeffrey Estate Jewelers)

Art Nouveau fantasy charm bracelet with lockets and pendants from 1890 to 1940 Photo: courtesy of Lawrence Jeffrey Estate Jewelers)

Huge fantasy charm bracelet with lockets from 1880 to 1920 (Photo: courtesy of Lawrence Jeffrey Estate Jewelers)

I was intrigued by the charm bracelets owner Jeff Russak made from and Art Nouveau and Victorian medallions and lockets and combined in wonderful arrangements.  He said that often the hardest thing to find to finish a piece is the actual chain itself, which can be rarely found in the right style and size.

Lisa and John Grotts, Yurie Pascarella

Epoca (Photo: courtesy of Epoca)

Epoca (San Francisco, CA) who participated for the second time brought a mix of antiques and 20^th century pieces.

Art Deco chair from Epoca. (Photo: courtesy of Epoca)

A pair of gorgeous mahogany-veneered Art Deco Modern chairs from Paris got a lot of attention, but had sold right after opening to a local interior designer.  Bunny Williams also had her eye on a pair of Italian 19th century olivewood-veneered consoles.

Betty Kay Coakley, Gary Friedman, Kimberly Miller, Michale Polenski

Peter Fetterman Gallery (Santa Monica, CA) once again displayed a beautiful selection of black and white photography by legends in the field, such as Paul Caponigro, Henri Cartier-Bresson, Sebastião Salgado, Fred Lyon, Lilian Bassman, Annie Leibovitz, Martine Franck, and Elliot Erwitt.

“Mikhail Baryshnikov, White Oak Plantation” archival pigment print, 1990 byAnnie Leibovitz and other works at Peter Fetterman Gallery (Photo: courtesy of Peter Fetterman Gallery)

“Phillip Johnson, Glass House”  archival pigment print by Annie Leibovitz, 2000Peter Fetterman Gallery (Photo: courtesy of Peter Fetterman Gallery)

Danish Silver (Copenhagen, Denmark) showed their stunning collection of Danish sterling silver from the Art Nouveau and Art Deco periods up to more contemporary pieces by Georg Jensen and other prominent designers.

Ken and Dorothy Paige, Katherine Jacobus

Objects included a rare set of flatware in the “Parallel” pattern by Oscar Gundlach-Pedersen and a one-of-a-kind hand-hammered fish platter by Harald Nielsen, which sold for $ 195,000.00.

Rare Georg Jensen Henning Koppel water pitcher, 1948 (Photo: courtesy of Danish Silver)

San Francisco has had a love affair with Georg Jensen for nearly a century, starting with the Panama Pacific Exhibition of 1915 where locals got first introduced to his exquisite modern designs, and luckily Danish Silver has a showroom right here in downtown San Francisco.

Claudia Ross and Paula Carano

Joy Bianchi and Douglas Durkin

Sue Ollemans (London, UK) who specializes in oriental jewelry and miniatures, returned for the eight time and displayed a selection of Indian moghul jewelry dating from the 12th century to the 20th century and some pieces from Indonesia and Burma.

Guest, Sarah and Austin Hill

Mitchell Benjamin, Gina Toney, Susan Dunlevy, Ricky Serbin

Two of the most striking were a contemporary Indian necklace made from about 200 karat of Columbian emeralds carved in the moghul style and combined with nearly 20 karats of diamonds, as well as a royal necklace from the court of Bikaner in Rajasthan set with white sapphires and diamonds and decorated with enamel on the back.

Ruby, diamond and emerald hairpiece from Mysore, Southern India, 19th century (Photo: courtesy of Sue Ollemans)

Chinese white Jade and silver box, Ming Dynasty (Photo: courtesy of Sue Ollemans)

“The architecture of San Francisco is intimate of warm-hearted, and the nuclear atom of people I have met here, whom I find intelligent and interesting and who have a breath of vision, those people are remarkable.” Michael Goedhus

Heidi Gerpheide, Jeffrey Alan Marks, Vanessa Brunner

Rick Nye and Carolyn Johnson

Laura King Pfaff and Elissa Stephens

Suzanne Tucker, Tony Wolfson, Phoebe Cowles

Therien & Co. (San Francisco, CA), a local staple at the show, displayed a wonderful array of antiques from private collections they stumbled upon during their European travels.

Bronze figures of the Pelplorphoroi by Fonderia Chiurazzim ca. 1904,  Roman marble table base C.E. with 18th-19th century porphyry top, Italian Rococo gilt wood etagere, 18th century at Therien & Co. (Photo: courtesy of Therien & Co.)

German Rococo painted and parcel-gilt commode, ca. 1750-1760 (Photo: courtesy of Therien & Co.)

Jessica Mullens and Jay Jeffers

Zane Hoefer, Myra Hoefer, Jeff Scott

Madeleine Stewart and Robert Wilson

Downtown (Los Angeles, CA) a familiar dealer from the SF20 show, joined the Fall Antiques Show for the first time.  And in the spirit of Chinoiserie, and with a healthy dose of humor, they likened their booth to a Chinese chicken coop in corrugated metal with stencils of eggs and chickens.

Downtown (Photo: courtesy of Downtown)

Maison Jensen Campagne chair in steel and brass, 1930s at Downtown (Photo: courtesy of Downtown)

“It is always our favorite show because they make it so easy.  We have had a lot of young people who are buying our stuff to go with contemporary art used as accent pieces.” Robert Young

Melissa Barber, Patrick Perigaud, Lisa Alexander

Marybeth La Motte, Alan Malouf, Sobia Shaikh

Midori Gallery Far Eastern Art (Miami, FL) has returned for the 27th year with their vast collection of Asian decorative art, including a number of 18th and 19th century Japanese Netsuke pieces, which are also functional having been used as toggles to hold boxes for pills or purses.

Midori Gallery Far Eastern Art (Photo: courtesy of Midori Gallery Far Eastern Art)

“Nikubori” ivory manju with cameo of the compassionate goddess Benten surrounded by celestial clouds by Kihugawa Masamitsu, ca. 1880 (Photo: courtesy of Midori Gallery Far Eastern Art)

Richly patinated lunar hare in wood with Umimatsu eyes by Tomoshige, 18th century (Photo: courtesy of Midori Gallery Far Eastern Art)

Habité (Los Angeles, CA) created a European executive office in their booth in France with an eclectic combination of American, French and Italian furniture.  A crowd favorite was the Monteverdi Young sofa designed by Maurice Bayley.

Sofa by Maurice Bayley for Monteverdi Young, 1960s (Photo: courtesy of Habité)

Fine European period antiques intermingled with more ethnic objets d’art and accessories from Africa, Asia and the Americas, as well as 20th century furnishings and contemporary art.  Overall the San Francisco Fall Antiques Show aimed for diversity in both age and origin, truly reflecting our modern lifestyles.

Olivia Hsu Decker

Christopher and Amber Marie Bently

Justin Fichelson and Marcy Carmack

Maria Ehmer and Karen Tamblyn

Daru Kawalkovski and Karen Sutherland

The lectures, always an important educational part of the show, were as stimulating as ever.  One of my favorites was the most engaging presentation by Adam Lewis about design legend Billy Baldwin.  I am already looking forward to next year.

“With a nod to the industrial and “found” approach, the space and objects share a more contemporary scene than perhaps in years past.  Less “furniture as art” that has prevailed over the past few years in the market, than consciously placed unique objects.” Philip Stites, Therien & Co.

Kathy Garver

Kathy Garver, the actress best known for her role as Cissie in the 1960s sitcom “Family Affair,” recently signed copies of her new book at the Ochi and Company showroom in San Francisco.

Gregory Garver, Kathy Garver, Lance Garver and Sophie Azouaou

The Family Affair Cookbook features her recipes and anecdotes, presented in a fun way that encourages the whole family to make meals together. Her appearance was a festive addition addition to Ochi’s event, which was geared to put everyone in the mood for creating a wonderful holiday atmosphere in the home.

Sofia Andreoli and Sophie Azouaou

Interior designer Sophie Azouaou, who has been named as Ochi and Company’s ambassador (she likes Ochi because it’s “where busy clients can get a room or their entire home furnished in one single place”), was on hand to give everyone her helpful holiday decorating tips. She stressed that it’s important for everyone’s health and happiness to remove all toxic products from the home.

Bruce Jennet, Sophie Azouaou and Ochi Tirta

High quality eco-friendly labels that Sophie recommended include Earth Friendly Products, Living Tree Community Foods, Shear Miracles Organic Salon Products by Robyn, Suki Skin Care, Vaska, and Vital Choice Seafood. She also recommends
McGary & Company for linens, and Green Works for flowers.

Vaska cleaning products were a big hit at the event

Anne Dautun and friend Nathalie

Coco Pai, owner of Coco Spa, with friend

Heidi Monaco, Sheila Ash, Anna Alioto, David Groves

Pascal Mouginot, Sophie Azouaou, Florence Mouginot

You can listen to “Decorating Tips for The Holidays” at www.sophisticateinteriors.com

Gate to SF20

Just as Zesty Meyers predicted a year ago SF20, the San Francisco 20^th Century Art and Design Show, is on its way to become the West Coast’s preeminent modernism show.  Judging from the turnout at the opening night gala that benefitted the SFMOMA SF20 is catching on quickly.  Honorary Chairs Carla Emil and Rich Silverstein, event co-chairs Katie Schwab, Allison Speer and Stanlee Gatti and Designer Forum Chair Douglas Durkin drew serious collectors from all over, supporters of SFMOMA, most interiors designers I know, and all generations of the social set.

Mayor Gavin Newsom, Carla Emil, Neal Benezra

Gary Garrels, Jeanne Lawrence, Norah Stone, Norman Stone

Pop 21 display in entry

Upon entering the Festival Pavilion guests were creatively introduced to the 20^th century by emerging local artists from the 21^st century.  In an open display, aptly named Pop 21 and expertly designed and curated by Stanlee Gatti, artists such as sculptors Nemo Gould and Lawrence LaBianca, surfboard artist Danny Hess, graphic artist Jeff Canham, and industrial/furniture designer Isao Takezawa showed off their creations, while giving us a taste of what the future may have to offer.

Stanlee Gatti, Luke Bartels, Mayor Gavin Newsom, Danny Hess

“Split Seat” by Isao Takezawa (Photo: courtesy of Isao Takezawa)

“The opening was extremely well attended and a resounding success. The curated exhibition by Stanlee Gatti was incredible and brought an exciting dynamic to the show.” Evan Snyderman

Jennifer and Doug Biederbeck

John Adair, Lana Adair, Chris Bass

Vanessa Getty and Connie Nielsen

Taking a step back in time the rest of the show included furniture, lighting, jewelry, objets d’art, paintings and photography from the teens through the nineties.  Familiar dealers like R20th Century, Hedge Gallery, Ma(i)sonry, Battersea, Peter Pap Oriental Rugs, Reform Gallery and Dragonette returned and were joined by new ones like Artefact Design & Salvage, Silverman Gallery and Domont.

Christopher Anthony Ltd.

Penny Coulter, Stanlee Gatti, Randi Fisher

Allison Speer, Oscar Ret, Susan Dunlevy

Battersea

Around 750 guests, mingled and indulged in delicious bites by McCall and cocktails by Grey Goose, but more importantly admired and shopped.  Some of the pieces were truly museum-quality, but you could actually take them home, for the right price that is.  Celebrating modernism were Mayor Gavin Newsom,  Charlotte Schultz, Norah and Norman Stone, Jill and Andrew Barnett, Jennifer and Doug Biederbeck, Vanessa Getty, actress Connie Nielsen, Dorothy and Ken Paige, Sara and Austin Hills, Merla Zellerbach, Mimi Haas, Alexis and Trevor Traina, Elizabeth Touw, Angelique and Troy Griepp, Karen Caldwell, Jennifer Raiser, Jenna and Brian Hunt, Randi Fisher, Lana and John Adair, and Alison Pincus.

Joel Goodrich and Jeanne Lawrence

David and Jacqueline Sacks, Angelique and Troy Griepp

Elizabeth Touw and Erin Kim

Allison Speer and Alison Pincus

Of course the world of design and architecture was also well represented.  Showing who was not in attendance may be the shorter list.  To name a few, Andrew Skurman, Suzanne Tucker, Stephen Shubel, Ken Fulk, Stephen Sutro, Geoff de Sousa, Charles de Lisle, Cecilia Sagrera, George Brazil, Brian Dittmar, Will Wick, Matthew Turner, Benjamin Dhong, Katherine Navarra, Kurt Melander, and Stephen Suzman.

John Bergruen, Suzanne Tucker, Douglas Durkin

Stephen Shubel and Rachel Prater

Mimi Haas and Brian Wilsey

Speaking of admiring and shopping there were temptations galore, and everyone got first dibs at some amazing pieces from over 35 gallerists from near and far including Los Angeles, New York and London.

Monument

Todd Merrill Antiques

R Gallery (New York) returned for the third year with new works by the most prolific young artist David Wiseman

R Gallery (Photo: courtesy of R Gallery)

Reform Gallery (Los Angeles) once again showed unique creations by California artists including J. B. Blunk whose work and legacy were the subject of a panel discussion the following night about the studio craft movement in Marin County.

Zach Bogue and Marissa Mayer

Claiborne Swanson, Trevor and Alexis Traina

Roxanne Schlumberger and Sandy Schlumberger

Modern Artifacts

“True appreciation of artifacts I think comes from understanding more about the objects, such as how they are made and where they come from.  SF20 was a perfect platform for everyone to get close to and have a better understanding of some of the best and most admired artifacts in the 20th century.  To me, seeing that many people are supporting this culture of preserving and passing on best works of human kind was simply amazing.” Isao Takezawa

Jill and Andrew Barnett

Suzanne Levitt and Elizabeth Touw

Ricky Serbin and Jennifer Raiser

Artefact Design & Salvage (Sonoma) is known for its rustic and recycled elements participated for the first time and provided a wonderful contrast to more formal works.

Artefact Design & Salvage

Dragonette (Los Angeles) not only brought some amazing variety of furniture, but also once again some exquisite pieces of vintage jewelry.  They got some serious competition in the jewelry department this time with Domont Jewelry that carried a huge collection of stunning large-scale necklaces, earrings and cuffs that made a number of women swoon, me being one of them.  “The bigger the better”, I say!  The booth at times was so crowed you could only get a split second look at a piece as someone was hovering right over you to get a peek at something else.

Dragonette

“For my first time at SF20, this was an incredible experience with amazing support across the board–from the organizers to the rich design community. For the gallery, it was refreshing to have our artists appear within a design context; it provided an new perspective and  it definitely pushed us to innovate our presentation–particularly with such esteemed neighbors (we were right across the  amazing booth from Hedge) . Jessica Silverman

Jenna and Bryan Hunt

Lorre Erlick and Rosemary Baker

Dorothy and Ken Paige

The award for the most beautiful booth goes to Hedge Gallery (San Francisco).  Designed by Houman Sharif, AIA of MEMarchitecture the modular eco pavillion created the most pleasing atmosphere to display the gallery’s collection of contemporary objects.  Selections by artists from Italy, France, Germany, UK, Japan, and California were expressed in materials ranging from patinated brass, anodized aluminum, ceramic, and antique mirror to reclaimed wood.

Hedge Gallery

In the spirit of art of Pop 21 Silverman Gallery participated for the first time, bringing works by local and national artists.  Matt Lipps was an instant hit with collectors whose haunting and darkly romantic photographs found their way to many Bay area homes that evening.  Art was well-represented with galleries such as Dennis Clark Fine Arts (Carmel) representing unique sculptural objects and Jeffrey Winter Fine Arts (West Hollywood) with a collection of paintings from the twenties through the forties.

“Untitled” C print by Matt Lipps (Photo: courtesy of Matt Lipps & Silverman Gallery)

Dennis Clark Fine Arts

The Silver Fund (San Francisco) was not the only dealer showing gorgeous sterling pieces this year.  Percy’s Silver brought some wonderful pieces including their specialty, claret jugs, which are silver-mounted wine bottles.

Matt Paige and Katie Schwab

Karen Caldwell and friend

Roselyne Swig and Susan Swig

Ma(i)sonry

Overall there was a wonderful variety of objects and furnishings representing the 20^th and 21^st centuries, which also resonated with collectors and made many dealers very happy.  On our way out we spotted quite a few bags, while red dots on many of the larger pieces were proof of a successful evening.

Ken Fulk and Stanlee Gatti

“The show felt like it came together this year and is developing into a spectacular American design show. Having the full support and involvement of the SFMoMA– and the dialogue that results from bringing all of these great curators and collectors together– adds a dimension to the show that is extremely rewarding for the dealers.” Zesty Meyers