furniture and mid-century tableware sit comfortably in Libeskind’s challenging spaces, and the couple rotate them regularly. The contents of the apartment read like a Who’s Who of the best designers of the 1960s: the Eameses, Ernest Race, Roger Capron and Herbert Bayer. The pieces were bought at
or through galleries, and the couple talk like biographers when they speak about the designers they collect.fashion, you can walk through the 1960s-inspired interior into the apartment next door, which they also own and have filled with Hungarian art from 1890-1956. ‘Kirk has always had the collector’s instinct,’ says Wiltse. ‘When I first met him, I found all these stickers inside cupboard doors, peeled off the fruits he had bought at New York’s Greek market.
The dining room features a framed print of Lucienne Day’s ‘Small Hours’, a Robin Day table and chairs, and a bespoke table by Brown and Wiltse’s friend Michael McCoy.Unlike many collectors, who prefer to operate in the shadows, Brown and Wiltse actively seek to put as much of their collection before the public as possible, while living with it on a day-to-day basis. When not on display, works are stored in one of their 14 climate-controlled storage units in Denver that total 3,000 sq ft.
We meet at the Textile Museum in Washington DC, for the opening of ‘Art by the Yard – Women Design Mid-Century Britain’, a show that only happened because of their efforts and which features works by Jacqueline Groag, Marion Mahler and Lucienne Day, all loaned from their collection. In their orbit are dealers and curators, architects, academics and film directors; all praise their enthusiasm and approachability.
From left, Wiltse’s 1950s-style wedding dress, made from Lucienne Day’s ‘Calyx’ fabric; ‘Flotilla’ print by Lucienne Day; a console by Robin Day; and a print by Jacqueline Groag.
JohnJo_Lewis
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