Geoffrey Bradfield
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"I believe that if one's work has resonance, it will outlive us, and I hope this house has that resonance," Geoffrey Bradfield (near a console table from Christie's) says of his 1869 Manhattan town house, which he redesigned. He restored the Italianate façade, added in 1912.
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Rachel Hovnanian's 2005 Narcissus, White on White II is above the living room fireplace. "I'm not the shabby chic type," quips Bradfield. At left is Oiseau Bleu II by François-Xavier Lalanne; reflected at right is a Joel Perlman bronze. The table holds Sophia Vari's Centaure .
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"With its flat-screen television for watching movies, the library also serves as a media room," notes Bradfield. "I extended the existing room by 12 feet and introduced a step-up to a U-shaped seating area." Leather faux books conceal a cabinet near the fireplace.
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"I believe that if one's work has resonance, it will outlive us, and I hope this house has that resonance," Geoffrey Bradfield (near a console table from Christie's) says of his 1869 Manhattan town house, which he redesigned. He restored the Italianate façade, added in 1912.
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The library. "It's very unusual for me to use funky colors," Bradfield says. "I like clear colors. I could never live in a dark room." Joining a sculpture by Louise Nevelson is a work by Fletcher Benton, at right. The Yves Klein low table is from Sotheby's. Stark carpet.
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Furniture from Bradfield's Millennium Modern collection (see Architectural Digest , September 2004) fills the room. Artworks include Julian Schnabel's 1992 Carey and Puppy , 1998, by Jeff Koons. The carpet, from Stark, "is lyrical, like a painting on the floor. It unifies the space."
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"There's a symmetry between great design of all ages," says Bradfield. For his reception room, which "takes on different moods during the day," he combined a 19th-century armchair, from Christie's, with Lucite side chairs from his collection. The fire surround was custom-made.
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The reception room opens to a classical garden courtyard. "I like to entertain, and I lean to large parties." The bud vases are from Tiffany's.
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The entrance hall leads to the courtyard and contains a 1930s photomural of Bradfield's house and Sabin Howard's Hermes .
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The master bedroom. From left are Pink Dunes , 1963, by Milton Avery, Julie Hedrick's White Dawn and Vanitas (Dog) by Nicola Bolla. Stark carpet. Tiffany's silver vase. TOP: In the room, a 1971 acrylic by Kenneth Noland hangs near Niki de Saint Phalle's 1981 Magic Bird .
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"I've always wanted to have a toile guest room," Bradfield says. "Although I loved the concept, the subject seemed too traditional, until I found a pattern depicting New York." The headboard design was inspired by one he saw in a hotel in Dubai. Decorators Walk toile.
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In the room, a 1971 acrylic by Kenneth Noland hangs near Niki de Saint Phalle's 1981 Magic Bird .