New York: Lifestyle – Dinner At Home with Peter and Laurie

"Dinner parties are a venue for sharing discoveries and ideas in a warm personal and creative environment"

New York: Lifestyle – Dinner At Home with Peter and Laurie. French born New York based entrepreneur, Laurie Mallet and artist, designer and a serious collector, Peter Rittmaster graciously receive friends in their Chelsea loft. Their understated yet elegant lifestyle, which is more European than American, reflects their interests in the Arts. In fact the sophisticated couple are both at home in social and artistic circles on both sides of the “Pond”.

Above. Ozone Socks president and CEO, Laurie Mallet sports an antique Peruvian Sterling cuff and Peter’s latest necklace made from Tibetan beads. Twisting vocabularies, Peter Rittmaster’s wears the Classic Albert Slipper in blue velvet with silver barbed wire embroidery.

http://www.ozonesocks.com/

http://www.rittmasterart.com/

Dinner At Home with Peter and Laurie – Drinks

Spinach and Cheese Mousse - LesTrois Petits Cochons

Salmon Rillettes - Lobster place - Chelsea Market

Multicolor Biodynamic Carrots - Hawthorne Valley Farm

Mionetto Prosecco D.o.c.

The Loft. Though the loft is full of curious and interesting works of art it isn’t overcrowded.  The collections and works of art are beautifully displayed and render an elegant coziness and warmth to the room.  And wherever the eye rest one could spend hours. In fact, you can easily spot the couple at the New York Flea Market, or at the most glamorous auction houses and as this wasn’t enough, even on eBay, for Peter’s collecting vein is never saturated. 

The Collections: Antique Edge Weapons. Peter as a long time collector of antique edge weapons has turned his eye towards 1920 -1940 with these Sushi knives made by famous Japanese sword makers, artistically replacing the older damaged handles with his updated designs.

 

The Collections: Antique Edge Weapons. Peter's latest artworks are these Baby Blades, a series of knives with miniature babies on the handles composed entirely of hundreds of little plastic baby dolls. They sit on a table together with and antique Fourteenth Century Japanese Samurai helmet.

 

The Collections: Antique Edge Weapons. In the kitchen a collection of carbon steel chefs knives from 1890 Sabatier to modern Bob Kramer. Peter eschews stainless and all knives made after 1987 when recycled steel was introduced.

In the Kitchen. Laurie puts the finishing touches to an assortment of wild mushrooms from the Union Square Farmer’s Market.  Her mushrooms are lightly sauteed with organic red shallots and extra virgin olive oil and are served on an 1950’s black and white designed plate. Laurie sources the best and freshest ingredients and does hardly anything to them, the flavors speak for themselves.

 

The Menu

Wild Stripped Bass

Mushroom Casserole - Braised Endives - Nerone black Italian rice

American Artisanal Cheeses - Laurie's salad

Sarabeth 's Creme Brulee

The Table. Their dinner services and chargers needed a new twist, hence these amuzing Seletti Hybrid plates, the Sterling candlesticks are by Cartier and sit on the table together with crystal goblets. John Masheroni designed the table in the 1960s, the surface is in English Burl Wood, which is like the one used on the Rolls Royce dashboard. The cane-work chairs are, French Louis XVI.

 

 Wild Stripped Bass

Alaea - Sea Salt of Hawaii

 

Peter entertains guests with amusing stories and anecdotes at the table

 

The All AmericanCheese Plater

Bent River by Alemar Cheese

soft cow 's milk cheese in a Camembert style made in Minnesota

Rush creek Reserve by Upland Cheese Company

Raw milk Vacherin style cheese made in Wisconsin

Pleasant Ridge Reserve by Upland Cheese Company

Raw milk Alpine style cheese like Comte or Beaufort

To accompany Laurie's salad, all the American Cheeses are from "Lucy's Whey”  in the Chelsea Market and are served on a fifties ceramic painter’s palette.

Sarabeth 's Creme Brulee

Reptile Salad Plates - Anthropologie

 

 

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Venice: Gallerie dell’Accademia – Restoration - Jheronimus Bosch

 

Gallerie dell’Accademia – Restoration - Jheronimus Bosch 500. The international program of celebrations throughout 2016 to remember the great Dutch artist, Jheronimus Bosch on the occasion of the 500th anniversary of his death, starts in Venice with the preview presentation of the restoration of two of the three polyptychs belonging to the collections of the Gallerie dell’Accademia: The Triptych of St. Uncumber and the Four Visions of the Hereafter. The third work, preserved in Venice, the Hermit Saints Triptych, is currently in the final phase of restoration and will be exhibited at Gallerie dell’Accademia in the second half of May 2016.

http://www.gallerieaccademia.org/?lang=en

Photo by Matteo de Fina – Courtesy Gallerie dell’Accademia

Gallerie dell’Accademia – Restoration - Jheronimus Bosch 500. The preview of Triptych of St. Uncumber, and Four Visions of the Hereafter can be admired inside the museum of Gallerie dell’Accademia, until 7 February, 2016;  a unique event enriched by the setting up of a multimedia station which offers some phases of the restoration through images and video. The three Venetian works of Jheronimus Bosch represent significant moments in the production of the Dutch painter, characterized by evocative fairy tales, that, through splashes of color and light touches, created, fantastic and unreal, dreamlike visions, sometimes agonizing, sometimes tormented, undeniably unique,  a product of a peculiar interpretation of reality that still remains a mystery.

The central panel represents the crucifixion of a female saint, Uncumber (also called Liberata or Wilgefortis). The left wing shows St. Anthony in meditation, the right wing a monk leading a soldier. Originally a kneeling male donor appeared on each wing. These figures were over painted but are now revealed through X-radiology, infrared reflectology and infrared photography. According to dendrochronlogy analysis of the central panel’s wood, the youngest growth ring dates from 1480, so the panel could not have been painted before 1489, and an execution before 1493 is unlikely. The exteriors of both wings have been stripped; what was represented there is unknown.

Above. Triptych of St. Uncumber and a detail before and after restoration.

 

Paola Marini, director of the Gallerie dell’Accademia, Joost Klarenbeek, deputy ambassador of the Netherlands in Italy, Charles de Mooij, director of  Het Noordbrabants Museum and Paul Rupp, president of BRCP – Bosch Research and Conservation Project.

 

“Hieronymus Bosch is the most important and most original medieval artist our country has ever produced. It is long-cherished ambition to get the vast majority of his works back to his hometown in 2016. And a great opportunity for a new generation to get acquainted with this work, which is unique in every respect.”

Charles de Mooij

Director - Het Noordbrabants Museum

Restoration - Jheronimus Bosch. To mark the 500th year since his death, Het Noordbrabants Museum is presenting the exhibition, ‘Jheronimus Bosch - Visions of genius’, from 13th February to 8th May 2016. For one time only, the majority of his work will return to his city, Den Bosch, officially known as ’s-Hertogenbosch. The works come from the world’s major collections and many have been restored especially for this occasion through the BRCP-Bosch Research and Conservation Project. In the exposition there will be over 20 paintings, 19 designs and different triptychs and panels, for the first time brought together in a unique exhibition

Above. Charles de Mooij, Director of Het Noordbrabants Museum and Paul Rupp, president of BRCP – Bosch Research and Conservation Project.

http://boschexpo.hetnoordbrabantsmuseum.nl/en

Photo courtesy BCRP

Restoration - Jheronimus Bosch – BRCP. The restoration of the three polyptychs, started in 2013, funded by the BRCP- Bosch Research and Conservation Project and the Getty Foundation in Los Angeles, and was completely produced in Venice, in the laboratories of restorations at Misericordia. The most advanced techniques of diagnosis and intervention have been used. In particular, to document the complex and innovative diagnostic process in relation to the works.

Above. The side by side viewer allows for an interactive view of each of the painted surfaces. It Is thus possible to switch from high resolution vision into ultraviolet photography and infrared reflectography, or combine different visions or exploit the real-time image resizing using the mouse.

Robert G. Erdmann, who is responsible for viewer technology, image processing, digital infrastructure, interaction design and website design.

http://boschproject.org/

 

Jheronimus Bosch - Four Visions of the Hereafter

This series of four panels represents punishment and reward: the Fall of the Damned and Hell, in opposition to Earthly Paradise and Ascent into Heaven. The reverses  are painted to imitate marble, two panels in red and two in green.  Dendrochronology shows the youngest annual growth ring to be from 1473. Thus, the panels were not painted before 1482, and probably not before 1486. The panels’ original function and arrangement are unknown. There is no signature, and the generally accepted attribution to Bosch is based on stylistic analysis only. The ascent of blessed souls to the light through a tapering tunnel is one of the most acclaimed details in the Bosch oeuvre.

 

Jheronimus Bosch - Four Visions of the Hereafter – back

Luuk Hoogstede, panel painting conservator and head restorer Giulio Bono

 

Jheronimus Bosch - Four Visions of the Hereafter

Detail – Hell

Jheronimus Bosch - Four Visions of the Hereafter

Detail – Ascent into Heaven

  Photo by Matteo de Fina – Courtesy Gallerie dell’Accademia

The Venetian Restoration Team headed by Matteo Ceriana and co-ordinated by Maria Chiara Maida, director of the Laboratorio di Restauro Dipinti della Misericordia.

 

 

 The Accademia Bridge seen from The Gallerie dell’Accademia

 

 

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