Located in New York City’s Greenwich Village, this recently revamped apartment harmoniously marries a treasure trove of elegant mid-century furniture with a vibrant collection of contemporary art – a stylistic match made in heaven with the blessings of a pared-down design language of warm tones and natural materials. The understated yet richly textured interiors reflect the owner, an art-collecting professional young woman who moved to New York at the height of the pandemic, and interior designer Sandra Weingort’s shared love for the understated aesthetics of mid-century design.
Originally, various grey tones made the two-bedroom apartment feel uninspiring and cold – the bad lighting didn’t do it any favours either – so Weingort replaced all the light fixtures with vintage pieces and repainted all the spaces in warm, creamy tones. Along with the period plasterwork, dark hardwood floors and generous windows, the revamped rooms are a paradigm of elegance and understatement which perfectly complement the curated collection of mid-century furniture that the interior designer assembled in order to complement the owner’s extraordinary art collection without however overpowering it.
Curated by art advisor Alex Glauber from AWG Art Advisory, the artworks on display share an affinity for bold colours and graphic abstraction despite hailing from artists of different generations, from the abstract, colourful paintings of Ellsworth Kelly and Josef Albers to the Pop Art playfulness of John Wesley and Ed Ruscha, to younger artists like British painter Cecily Brown and American artist Mark Grotjahn whose Butterfly series, three of which can be found in the apartment, explore multi-point perspectives through geometric compositions.
Weingort has an artist’s eye for form, texture and materiality, orchestrating unexpected combinations of mid-century pieces by French, Brazilian and Scandinavian designers, harmoniously interweaved with contemporary designs, including her own custom designs. Despite the diversity of cultural backgrounds and periods, the collection comes together through a predilection for humble materials, natural finishes and the imperfection of hand-craftsmanship.
In the open-plan living and dining room, a sofa with an exquisite side cut-out between the arms and backrest designed by Martin Eisler & Carlo Hauner for iconic Brazilian furniture company Forma is complemented by Swiss architect Pierre Jeanneret’s Kangaroo lounge chairs, a sideboard by Danish designer Ib Kofod-Larsen, and a three-arm wall lamp by French designer Serge Mouille, all from the 1950s, as well as a contemporary coffee table by Belgian interior designer Axel Vervoordt, a side table handcrafted from a solid piece of oak by young Belgian designer Kaspar Hamacher, and a second side table custom designed by Weingort. Weingort also designed the custom dining table which she paired with dining chairs by mid-century Brazilian designer Joaquim Tenreiro and a vintage pendant light by Danish architect and Sydney opera designer Jørn Utzon.
In the study, Weingort has conjured a quartet of mid-century French designers by bringing together a glass desk by René-Jean Caillette, which features a “floating” lacquered wood drawer unit, a desk chair by Étienne Fermigier, Pierre Paulin’s Mushroom lounge chair and footstool, an ash and Formica cabinet also by Caillette, and a floor lamp by Joseph-André Motte. All in all, the apartment’s mindfully composed rooms are a paradigm of understated sophistication evoking, in Weingort’s words, “feelings of calm, peace and ease”.