Manner of Man Magazine

M/M Manner of Man Magazine Annual General Meeting

2012-01-01T04:00:00.000-05:00

MINUTES: of the 2012 Annual General Meeting held [01/01/12] were circulated prior to the meeting and taken as read; Confirmed as a true record ...

Manner of Man brand's three-pronged approach is as follows:

- Expansion
- Relocation
- Differentiation

There being no further business to come before the meeting, the meeting is adjourned.

Nicola Linza
Cristoffer Neljesjö

M/M Issue: December 2011

2011-12-01T04:09:00.000-05:00

Manner of Man Magazine

Issue: December 2011

Table of Contents

The Brand: Manner of Man: Merry Christmas

Gary Cooper as Hero by G. Bruce Boyer

Interview with John Saladino

In Heaven

Moments of Absolute Clarity #7 by Lalle Johnson

Interview with Lou Del Bianco

Goya, Brueghel, Gainsborough, Van de Velde & Maes Lead Old Master & British Painting at Christie's London in December

Leonardo da Vinci Painting Discovered: Painting Gains Attribution After Careful Scholarship and Conservation

Leonardo da Vinci Painter at The Court of Milan

M/M The Brand: Manner of Man: Merry Christmas

2011-12-01T04:08:00.000-05:00

M/M Gary Cooper as Hero

2011-12-01T04:07:00.000-05:00

Above image: from Gary Cooper: Enduring Style, by G. Bruce Boyer and Maria Cooper Janis. Published by PowerHouse Books Inc (New York City) 20 November 2011 provided to Manner of Man Magazine by PowerHouse Books Inc and may not be reproduced without written authorisation. All rights reserved.

Gary Cooper as Hero

G. Bruce Boyer

It maybe that many of today’s cinema audience, born since the Angry Young Actors ofthe 1950s – Brando, James Dean, Montgomery Clift, Paul Newman, and the rest –had taken the style of Humphrey Bogart and ran with it, are perhaps too cynicalto appreciate Gary Cooper’s charm and honest talent. Cooper didn’t reveal thetorrent of neurosis within a character, but rather the torment of moral choicesfor the good man enmeshed in a corrupt system. He was an actor capable ofshowing considerable natural dignity, a virtue in short supply today both onand off the screen.

And itwas not a false or child-like dignity either. Compare his approach to that ofJohn Wayne. Both actors were born only six years apart (Cooper 1901, Wayne1907) neither had any formal training as an actor, they were incrediblyhandsome and charismatic men, and both found early success in Westerns. Bothbecame iconic American heroes with their film roles.

ButWayne’s conception of a hero was much different than Cooper’s. When Cooper madeHigh Noon in 1952, Wayne, so the story goes, was appalled. He apparentlycouldn’t stand the idea of an American hero – celluloid or real – pleading forhelp, or even needing any for that matter. A few years later, in 1959, Waynemade Rio Bravo as an answer. Ironically, in the film, Wayne does have help --albeit an old man, a teenager, and a drunk – while Cooper’s Will Kane doesn’t,but Wayne’s point still resonates with many: as Sherriff, he was perfectlyready to take on all the killers in the world by himself, and free the worldfrom evil.

It’sjust impossible to imagine any Wayne character putting his head down on hisdesk and quietly sobbing, as Cooper’s Sherriff does from fear and exhaustionbefore facing the fight of his life. Wayne would have simply gone ahead, chasedthem down, and blown them away by himself. Even as an old man, Wayne’s RoosterCogburn didn’t want any help. Wayne’s characters simply overpowered evil. Ascritic Richard Schickel observed, Wayne was very much the 20th Century Man,fuming his frustration with the intractable world he never made and would neverlike. In short, he represented us as we now frequently are; Cooper representedus as he liked nostalgically to dream that we had been, wistfully dream that wemight become again.”

Bothmen and both films were politically conservative, but perhaps even more thanmaking films that represented them as they wanted to be seen, both menportrayed what they wanted us to be. Wayne’s persona had a rough strength, ano-nonsense, extroverted direct style. His was a world without doubt, and sowithout equivocation. He knew always what was right, and his audience alwaysknew that he would prevail against the outlaws of society. Action was what wasneeded from the moral individual to sort things out.

BothWayne’s and Cooper’s careers were based on a vision of heroism that pre-datesthe mid-20th century, but, in the end, we understand that Wayne’s stance is thegenuinely naïve one, a child’s perception of heroic adulthood elementallyunencumbered by complexity or subtlety or doubt. Cooper’s strength iseventually seen as coming from a deeper place. He depicts more introverted men,men who know the anguish of having to make difficult, often fatal decisions ina world where the forces of society may even be aligned against the individualin ways Wayne could probably not have imagined.

GARY COOPER: ENDURING STYLE
By G. Bruce Boyer and Maria Cooper Janis
Design by Ruth Ansel
Introduction by Ralph Lauren

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Interview with John Saladino

2011-12-01T04:06:00.000-05:00

Image of John Saladino supplied to Manner of Man Magazine/Welldressed by Saladino Interior Group for exclusive use and may not be reproduced without written authorisation.

This exclusive interview with renowned designer John Saladino was conducted by Nicola Linza and Cristoffer Neljesjö in Santa Barbara during October 2011.

Interview with John Saladino

As you have a Masters Degree in Fine Art from Yale University and practice as an architect how does that influence your work?

It influences my work in a number of ways on a number of related levels. I am still painting with a a Museum show of my work slated in the future. I am designing many public spaces and building many houses. My education is a well that I drink from every day and all lessons I learned so long ago continue to aid me.

Do you manage the volume of an architectural space as you would an empty canvas of similar proportions?

Yes, what I learned at Yale is what you put onto a canvas is as important as what you leave off. I see every elevation as a painting. I believe when you walk into a building you experience every aspect of it. I do not want only one or two high design spaces. No matter where, a closet, an elevator, or huge lobbies, all should be as equally beautiful as a Japanese box. I have used the same design approach with my furniture collection. All the furniture we manufacture has been refined and edited many times before it arrives on the showroom floor.

Your work tends even in its Minimal treatments to reflect sensitivity to Classicism. Is this true?

When examining great architecture, the term Classical means timeless! The first Egyptian architect was Imhotep. His staggering simplicity is a great example of ancient “Minimalism.” Palladio also designed simple buildings. Whether playing tennis or designing architecture, “what you leave out”; again, is as important as “what you put in”! The “spaces in between” must have a dialogue as significant as the foreground. I don’t believe in just foreground and background. I see spaces as homogenous! You cannot see a forest as only trees, but rather, the trees and the spaces in between them.

You may have one architect from history design your ideal space who is it? In addition, why would you select that particular individual?

It would be the great Palladio, the 16th Century Italian architect. He spread the power of Venice to the Veneto and the world. He was very smart. He built using vernacular materials. He used humble stucco and brick with classical Roman orders and proportions. His work has influenced every Post Office and every Capital and countless houses in America.

How does light affect your color choices?

In my first book, “Style by Saladino”, I stated clearly that “Light is the Prime Mover.” I believe no space is worthy of human occupation without natural light. The light of day alters completely from one place to another. The beige that you see in Rome is not the same beige you see in Los Angeles. Our surroundings reflect light back on to our color choices. If a room is painted red the light in that room will make a pinkish floor. One must also remember that people also play their role, people are color in a room.

If you take a final element out of a space, what does it normally turn out to be?

It always turns out to be some furnishing, usually an accessory.

How do you feel emotionally once a project is finished?

I am a very fortunate person, because people commission me to build my dreams. From the beginning, all of my work has been a passage toward serenity.

I seek an emotional design experience. Interior Design is more than decorating and architecture is more than “keeping rain off your head”!

The above interview with John Saladino 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission.

M/M In Heaven

2011-12-01T04:05:00.000-05:00

In Heaven all the interesting people are missing.

- Friedrich Nietzsche

M/M Moments of Absolute Clarity #7

2011-12-01T04:04:00.000-05:00

an exclusive series produced by Lalle Johnson

Image by Lalle Johnson exclusively for Manner of Man Magazine/Welldressed and cannot be reproduced without written authorisation. All rights reserved.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Interview with Lou Del Bianco

2011-12-01T04:03:00.000-05:00

This exclusive interview with Lou Del Bianco was conducted by Nicola Linza and Cristoffer Neljesjö in New York during May 2011

Interview with Lou Del Bianco

Your grandfather was the carver of Mount Rushmore, tell us about his background. Where is he from? Education and training?

My grandfather Luigi Del Bianco was born aboard a ship near La Havre, France on May 8, 1892. His parents, Vincenzo and Osvalda, were returning from the United States to Italy. When he was a small boy hanging around the wood carvingshop of his father in Meduno, Pordenone province, men of the village used to say, “How curious the little one is!” Vincenzo Del Bianco became convinced that his son was interested in carving and had more than ordinary ability. He took the 11 year old boy to Austria to study under a skilled stone carver. After two years in Vienna, Luigi then went on to study in Venice.

How did he come to the USA?

In 1909, cousins in Barre,Vermont wrote that skilled carvers were needed, 17 year old Luigi boarded the La Touraine out of Naples and headed for America. In 1913 World War I broke out and Luigi returned to Italy to fight for his country. After the war, He emigrated back to Barre, VT. In 1920 and after a year of work as a stonecutter, he settled in Port Chester, NY where he met his wife, Nicoletta Cardarelli.

How did Luigi come to be associated with Mount Rushmore designer Gutzon Borlgum?

It was his brother-in-law,Alfonso Scafa, who introduced Luigi to Mount Rushmore designer Gutzon Borglum.“Bianco”, as Borglum affectionately called him, began working at Borglum’s Stamford, CT studio and the association of the two men continued until Borglum’s death in 1941. Throughout the 1920’s Luigi assisted Borglum with the Governor Hancock Memorial in South Carolina, Stone Mountain in Georgia, and the Wars of America Memorial in Newark, N.J. Because of Luigi’s strong stature and classic Roman features, Borglum used him as a model on 20 of the figures on the Newark sculpture.

What was his role and contribution to Mount Rushmore?

In 1933, Borglum hired him to be chief stone carver on the Mount Rushmore National Memorial. His job was to carve the “refinement of expression” or detail in the faces. He was paid 1.50 an hour; a considerable sum for the Depression. Many of the men who worked on Mount Rushmore were trained by Luigi to be pointers and carvers.

In 1935 Luigi brought his wife and three sons, Silvio, Vincent and Caesar to live in Keystone.
The boys went to school, rode horses, became blood brothers to the Sioux and swam naked in the nearby streams. A daughter, Gloria, was born in 1946. She fondly remembers her father as "Charming, funny and very handsome."

In a 1966 Interview with the Herald Statesman in Yonkers, NY, he said about carving the eyes of Lincoln, “I could only see from this far what I was doing, but the eye of Lincoln had to look just right from many miles distant.” “I know every line and ridge, each small bump and all the details of that head so well.”

He also single-handedly saved the face of Jefferson; a task Gutzon Borglum would have entrusted to noone else. In Judith St. George’s book, The Mount Rushmore Story, she writes:

“Luigi Del Bianco,one of the best stone carvers Rushmore ever had, patched the crack in Jefferson’s lip with a foot deep piece of granite held in place by pins- the only patch on the whole sculpture, and one that is hard to detect even closeup.”

St George goes on to reinforce the value of him:

“At least he ( Borglum) now had the funds to hire skilled carvers, a lack he had been bemoaning for years. But to his surprise, with the exception of Luigi Del Bianco, few of the carvers worked out.”

Why wasn't Luigi given any credit or mentioned in most publications about his work?

My grandfather didn’t seek any credit because he was an artist with that old world work ethic: to be grateful for the work and the opportunity to use his talents in a unique way. Let’s face it, the media of the 1930’s was also very limited compared to today. There were not many opportunities to promote yourself. But he wasn’t worried about publicity and was honored to be paid 1.50 an hour to carve Lincoln’s eyes.

Now, in terms of factual evidence, we know that most authors who wrote about Rushmore were from the area and wrote mostly about the men who were natives of South Dakota. We also know that Luigi quit the mountain several times over lack of wages. “The Borglum Papers” out of the Library of Congress, tells, in Borglum’s own words, his frustration over the way Luigi was being treated:

“For the purpose of Washington's “red tape”, a portion of our better men are designated as carvers; there are no carvers on the mountain—there never have been but one and he refused to return because of the chronic sabotage directed at him by influences in RapidCity, and the Park Department.”

“He is worth any three men I could find in America, for this particular type of work, here and now, but Mount Rushmore is not managed that way and doesn't want that kind of service. He entirely out-classed everyone on the hill, and his knowledge was an embarrassment to their amateur efforts and lack of knowledge, lack of experience and lack of judgment. He is the only man besides myself who has been on the work who knows the problems and how to instantly solve them. His absence is a great loss to this work this year. . . .”

“. . . The loss of Bianco will probably prevent the finishing of the Washington and Jefferson heads this year. . . .”- THEBORGLUM PAPERS, LIBRARY OF CONGRESS

So, when you put together the fact that Luigi was an immigrant, a victim of sabotage and a not selfpromoter, it stands to reason his accomplishments would not be recorded.

In spite of everything that Luigi went through, these were the last words he uttered publicly about his experience as chief carver on Mount Rushmore:

“I would do it again, even knowing all the hardships involved. I would work at Mount Rushmore even without pay, if necessary. It was a great privilege granted me”. –HERALD STATESMAN, 1966

What is being done now to give your grandfather the credit he deserves?

There are many very exciting things happening right now. First, a website has been created to get the story of Luigi out in to the ether. As a result, thousands of people now know about him. Being his grandson I created a one man show and portrayed him at Mount Rushmore on July 3, 2011. The performance was held at Gutzon Borglum’s studio, where Luigi spent long hours with the great sculptor as they developed the plan to execute the carving. Many of the park rangers who experienced the performance now include Luigi’s story in their daily walking tours. After 70 years, the “story in the stone” will now be shared for years to come.

M/M Goya, Brueghel, Gainsborough, Van de Velde & Maes Lead Old Master & British Painting at Christie's London in December

2011-12-01T04:02:00.000-05:00

Image of Francisco de Goya y Lucientes (Fuendetodos 1746-1828Bordeaux;) Portrait of Don Juan López deRobredo, Embroiderer to King Carlos IV of Spain; Oil on canvas; 42⅝ x 32⅜ in. (108.3 x 82.3 cm.)

Old Master & British PaintingEvening Sale

King Street

6 December 2011

Sale 8007

Christie’s Old Master and British Paintings Evening Sale on 6 December 2011will present the market with 36 paintings, providing a visual feast of European art history spanning 500 years. Leading the sale is Portrait of Juan López de Robredo by Francisco José de Goya y Lucientes (1746-1828), the greatest Spanish painter of his time (estimate: £4 million to £6 million), illustrated above. Offered at auction for the first time in almost twenty years, this important portrait stands alone in Goya’s oeuvre as an example of an artist – the Embroiderer to King Carlos IV of Spain - depicted in the manner of a courtier. Further highlights include The Battle between Carnival and Lent by Pieter Brueghel II (1564/5-1637/8) (estimate: £3.5 million to £4.5 million); a full length Portrait of Philip Stanhope, 5th Earl of Chesterfield (1755-1815), by Thomas Gainsborough, R.A. (1727-1788) (estimate: £2.5 million to £3.5 million); Dutch men-o'-war and other shipping in a calm by Willem van de Velde II (1633-1707) (estimate: £1.5 million to £2.5 million); An old woman spinning in an interior by Nicolaes Maes (1632-1693), 1658 (estimate: £1 million to £1.5million) and An old man at a casement, 1646, by Govaert Flinck (1615-1660) (estimate £700,000 to £1,000,000). The sale as a whole comprises strong portraiture and a notable number of important Dutch pictures and is expected to realise between £18 million and £26 million.

This auction builds on the success of the corresponding sale at Christie’s London in July 2011 which realised £49,766,050 / $79,625,680 / €54,991,485, and set nine new record prices for artists, including Stubbs (£22,441,250 / $35,906,000) and Gainsborough (£6,537,250 / $10,459,600).

Richard Knight, International co-Head of Old Masters and 19th Century Art at Christie’s and Paul Raison, Head of Old Masters and 19th Century Art at Christie’s London: “We are pleased to meet the market‟s continuing appetite for important works of exceptional quality, condition and rarity with a stellar group of paintings in the evening sale this December. This year, our field has witnessed a noticeable broadening of appeal with collectors both globally and increasingly across a range of categories, bringing new energy. Combined with the strong results achieved in July, this presents an exciting context for these works, particularly Goya‟s masterful „Portrait of Juan López de Robredo‟, to come to auction.”

Highlights of the auction:

-Portrait of Juan López de Robredo is an important work by Francisco José de Goya y Lucientes (1746-1828), which has been widely exhibited and documented (estimate: £4 million to £6 million). Executed with Goya’s inimitable style and mastery of characterisation, it is a vivid and engaging depiction of a fellow artist. Born into a dynasty of ‘bordadores’, López de Robredo not only designed and created exquisite embroideries to embellish the costumes of the Court – including those of the extravagant Queen María-Luisa – but also embroidered hangings, upholstery and woven pictures, many of which remain in the Spanish royal palaces to this day. An artisan and yet also an ‘hidalgo’ of good family, Robredo was immensely proud of his social position and artistic ability. The pinnacle of his career came in 1798 when he was finally granted the right to wear a court uniform similar to, but even more lavish than, those worn by the painters, sculptors and diamond cutters of the Spanish Court. Robredo was so proud that he commissioned this portrait by Goya, illustrated page 1, which - as the leading portraitist of the day and a firm favourite of the Spanish Court - was an audacious move, signaling the sitter’s ambition.

The brilliance of this picture resides in the sympathetic manner in which Goya flatters his sitter whilst also indicating Robredo’s vanity, as he proudly shows off his dazzling new uniform. Robredo’s skill is clear in both the sheet of pattern designs which he holds and the embroidered reality which lavishly adorns his coat and waistcoat, detail illustrated right. Ensuring that the sitter is not overwhelmed by his own attire, Goya balances his masterful handling of the gold braid with a sensitive depiction of Robredo’s face, pulling the viewer’s attention back to his essential humanity. A magisterial celebration of professional success, Goya, who had previously fought for official recognition, may be viewed as both smiling at and empathizing with Robredo’s justifiable pride.

- The Battle between Carnival and Lent by Pieter Brueghel II (1564/5-1637/8) exemplifies the unique blend of storytelling and riotous anecdotal detail that has endeared the work of the Brueghels to generations of art-lovers (estimate: £3.5 million to £4.5 million). The internationally acclaimed Brueghel expert, Klaus Ertz, has judged this beautifully preserved picture, which is the property of a gentleman, to be ‘of masterly quality.’ It is one of Pieter Brueghel the Younger's finest reinterpretations of his father's work, which is one of the most recognizable of all the images within the Brueghelian canon. Five versions of the composition by the artist's son are known, of which only three are considered to be autograph. The picture as a whole is a brilliant demonstration of the Breughels' unique ability to orchestrate acutely observed characterization and anecdote into original compositions of great imaginative power. The meaning of The Battle between Carnival and Lent, illustrated left, has been endlessly discussed and interpreted, but rather than imposing a didactic moral message, the picture is notable for its even-handed treatment of both Lent and Carnival. There is no obvious winner in this battle. The artist’s mocking ‘open-air lunatic asylum’ quality seen in works like this one has a resonance which has transcended time, most recently being examined in the work of the Chapman Brothers in their contemporary art show Die Dada Die, in Zurich.

- A remarkably well-preserved and exceptional full length Portrait of Philip Stanhope, 5th Earl of Chesterfield (1755-1815) by Thomas Gainsborough (1727-1788) is presented for sale for the first time in over half a century, having been bought by the late present owner in 1959 (estimate: £2.5 million to £3.5 million). This picture is offered in December following the success of Portrait of Miss Read, later Mrs William Villebois which set a world record price for the artist when it sold from the Cowdray Park collection for £6.5million / $10.4 million in July 2011.

Chesterfield had inherited the title in 1773 from a cousin, Philip Stanhope, 4th Earl of Chesterfield, the famous author of the Letters, but he waited until his marriage in 1777 before commissioning a pair of full-length portraits to mark the ennoblement of his branch of the family. Depicting Lord Chesterfield relaxing on a country walk, it was painted as a pendant to the more formal portrait of his wife, which was bought by the Getty Museum, in 1959. It was executed in the years after Gainsborough's move from Bath to London in 1774; the period when he established his reputation as one of the most sophisticated painters of his generation. This portrait demonstrates the artist’s dexterity and lightness of touch and his increasingly confident and experimental approach to painting.

Offered at auction for the first time in over 150 years, from a family trust, Dutch men-o'-war and other shipping in a calm by Willem van de Velde II (1633-1707) has long been recognised as one of the outstanding paintings in the artist’s oeuvre (estimate: £1.5 million to £2.5 million), illustrated left. It is in exceptionally good condition and has, since it was first documented in 1778 at the Servad sale in Amsterdam, long received unanimous acclaim for its technical excellence and the serene harmony of its composition.

-From the same collection, An old woman spinning in an interior, 1658, by Nicolaes Maes (1632-1693), 1658, is also offered for the first time in over 150 years (estimate: £1 million to £1.5million), illustrated left. This charming painting belongs to a group of about twenty-five genre scenes by Maes that feature a housewife or maid seated in a domestic interior and engaged in an everyday activity such as spinning. Maes's genre paintings invariably communicate a moralising message, which would have been readily understood by the contemporary viewer. A copy of the present work in watercolour, with variations and the inclusion of a boy receiving a bible lesson from the housewife, by the Dordrecht painter Abraham van Strij (1753-1826), is in the collection of the Stedelijk Museum, Amsterdam.

-An Old Man at a Casement, 1646, by Govaert Flinck (1615-1660) is a rediscovered treasure from the Hermitage (estimate: £700,000 - £1,000,000), illustrated below. Having once graced the walls of the Imperial Winter Palace in Saint Petersburg, this is one of Flinck’s most powerful paintings, remarkable both for its technical virtuosity and its psychological intensity. It reveals how by the mid-1640s Flinck had emerged as the chief rival to Rembrandt, in whose workshop he had trained between 1633 and 1635.

Flinck’s portraits of this period were particularly admired by his contemporaries, though few possess the brooding, mesmeric power of the present work, which focuses from close quarters on the contemplative man leaning on a casement. Acquired by Catherine the Great of Russia as part of one of the greatest collection-building campaigns in history - the product of which was to become the Imperial and subsequently the State Hermitage Museum - this picture is recorded in an inventory made after her death in 1797, and seems to have been separated from the Hermitage collections in the mid-nineteenth-century. This is the first time that it has been offered on the market since the early twentieth century.

M/M Leonardo da Vinci Painting Discovered: Painting Gains Attribution After Careful Scholarship and Conservation

2011-12-01T04:01:00.000-05:00

Leonardo da Vinci (1452-1519), Salvator Mundi, c. 1500

Oil on walnut panel, 25 13⁄₁₆ x 17 ⁷⁄₈ inches (65.6 x 45.4 cm)
© 2011 Salvator Mundi llc

Leonardo da Vinci Painting Discovered

A lost painting by Leonardo da Vinci has been identified in an American collection. The picture depicts Christ as the Savior of the world (in Latin, the Salvator Mundi): a half-length figure of Christ facing frontally, holding a crystal orb representing the world in his left hand as he raises his right in blessing. Measuring 25 13⁄₁₆ x 17 ⁷⁄₈ inches (65.6 x 45.4 cm) and painted on a walnut panel, the Salvator Mundi is one of some 15 surviving oil paintings by the Renaissance master. The last time a Leonardo painting was discovered was in 1909, when the Benois Madonna, now in the Hermitage in St. Petersburg, came to light.

Leonardo’s painting of the Salvator Mundi was long known to have existed. More than 20 painted copies by students and followers of the artist are known, as is a meticulous 1650 etching made after the original painting by the Bohemian artist Wenceslaus Hollar. In addition, two preparatory drawings by Leonardo in the Royal Library at Windsor depict the drapery and raised arm of Christ as seen in the painting. Although versions of the picture have occasionally been put forward as Leonardo’s original, none has gained any consensus among scholars until now, and many experts had presumed the original to have been destroyed.

Provenance

The present painting was first recorded in the art collection of King Charles I of England in 1649. It was sold after his death, and later returned to the Crown upon the accession of Charles II. The painting later passed to the collection of the Duke of Buckingham, whose son put it at auction in 1763 following the sale of Buckingham House (now Palace) to the King. All trace of it was then lost until 1900, when Sir Frederick Cook acquired it. However, by that time the painting had been damaged, disfigured by overpaint, and its authorship by Leonardo forgotten. A photograph taken before 1912 records its compromised appearance at that time. (This photograph has recently been circulated in the media, as has another photo [with Christ in a red tunic],
which was incorrectly identified as the recently rediscovered work.) Cook’s descendants sold the painting at auction in 1958 for £45, when it was catalogued as a copy after a work by Boltraffio, one of Leonardo’s most gifted students. For the remainder of the 20th century, the painting was part of an American collection until it was sold following the death of a family member. The Salvator Mundi is now privately owned and not for sale.

Conservation

In 2005, the painting was brought to Robert Simon, an art historian and private art dealer in New York for study and research. Although the painting had been partially cleaned at some point in the recent past, much of the repaint seen in the old photograph had remained. Nonetheless, it was evident that there were passages of extraordinary quality, including the blessing hand, which had survived virtually untouched, as well as the coiled ringlets of hair on the right, the interwoven knot pattern of the stole, and the crystal orb, which were visible but obscured by layers of dirt and varnish. The painting was clearly a work of considerable quality and interest, and although there was then no serious belief that it might be by Leonardo himself, it was decided to treat the work with the highest standards of professional care.

A comprehensive program to examine, treat, and study the Salvator Mundi was soon begun. Dianne Dwyer Modestini, Senior Research Fellow and Paintings Conservator for the Samuel H. Kress Program at the Conservation Center of the Institute of Fine Arts, New York University, supervised the overall conservation of the painting and undertook the cleaning and restoration of the paint surface. At the same time, Robert Simon began research into the painting’s provenance, its relationship to other versions of the composition, and its connection with Leonardo’s painted and drawn works, especially the preparatory drawings at Windsor. After nearly seven years of focused scholarship, conservation, technical analyses, and consultations among scholars, this extensive process has recovered a long-obscured, yet extraordinary work of art of undeniable importance and beauty.

The principal reason that the painting remained unrecognized for so long was the crude overpaint that until recently obscured much of its surface. The wood panel upon which Leonardo painted had at one point split and bowed. Previous restoration attempts had involved large areas of stucco fill; thinning, flattening, and gluing of the panel to another backing; and attempts to disguise the repairs with broad areas of crude repaint. The recent conservation treatment has remedied and repaired these underlying problems, but the results of hundreds of years of mistreatment are still evident. The principal panel split can still be noted curving around and to the left Christ’s head; the rich dark background has survived in irregular passages, and local areas of paint loss and abrasion are scattered throughout the painting, as is typical of many works from the period. The recent restoration of the painting has attempted to minimize the visual impact of these damages with a minimal amount of restoration to those areas where losses occurred.
authorship

As the possibility of Leonardo’s authorship became evident, it was decided to show the painting to scholars in the field so that an informed consensus about its attribution might be obtained. The initial phase of conservation of the painting had been completed in the fall of 2007. At that time, the painting was viewed by Mina Gregori (University of Florence) and Nicholas Penny (Director, National Gallery, London; then Curator of Sculpture, National Gallery of Art, Washington). In 2008, the painting was studied at The Metropolitan Museum of Art by museum curators Carmen Bambach, Andrea Bayer, Keith Christiansen, and Everett Fahy, and by Michael Gallagher, head of the Department of Paintings Conservation. In late May 2008, the painting was taken to the National Gallery in London, where it could be directly compared with Leonardo’s Virgin of the Rocks of approximately the same date. Several specialist Leonardo scholars were also invited to study the two paintings together. These included Carmen Bambach, David Alan Brown (Curator of Italian Painting, National Gallery of Art, Washington), Maria Teresa Fiorio (Raccolta Vinciana, Milan), Martin Kemp (University of Oxford), Pietro C. Marani (Professor of Art History at the Politecnico di Milano), and the gallery’s Curator of Italian paintings Luke Syson. More recently, following the completion of conservation treatment in 2010, the painting has again been studied in New York by several of the above, as well as by David Ekserdjian (University of Leicester).

The study and examination of the painting by these scholars resulted in an unequivocal consensus that the Salvator Mundi was painted by Leonardo da Vinci, and that it is the single original painting from which the many copies and versions depend. Individual opinions vary slightly in the matter of dating. Most place the painting at the end of Leonardo’s Milanese period in the late 1490s, contemporary with the completion of the Last Supper. Others believe it to be slightly later, painted in Florence (where Leonardo moved in 1500), contemporary with the Mona Lisa.

The reasons these scholars are convinced the painting is by Leonardo are several. Among the most significant are the painting’s adherence in style to Leonardo’s known paintings; the extraordinary quality of its execution; the relationship of the painting to the two autograph drawings at Windsor; its correspondence to the composition of the “Salvator Mundi” documented in Wenceslaus Hollar’s 1650 etching; and its manifest superiority to the more than 20 painted known versions of the composition.

Further crucial evidence for Leonardo’s authorship was provided by the discovery of pentimenti - preliminary compositional ideas, subsequently changed by the artist in the finished painting, but not reflected in the etching or other copies. The most prominent of these - a first position for the thumb in the blessing hand, more vertical than that in the finished picture - was uncovered and photographed during the conservation process. Other pentimenti have been observed through infrared imaging. Technical examinations and analyses have demonstrated the consistency of the pigments, media, and technique discovered in the Salvator Mundi with those known to have been used by Leonardo.

Further information

Salvator Mundi will be exhibited for the first time in “Leonardo da Vinci: Painter at the Court of Milan,” to be held at the National Gallery, London, from November 9, 2011 until February 5, 2012.

Yale University Press, London, will publish a scholarly monograph on the painting, titled The Lost Christ of Leonardo da Vinci, later this year.

Robert B. Simon is an independent art historian, private dealer and consultant in New York. He is a specialist in Italian Renaissance painting, who received his Ph.D. in art history from Columbia University. For more information including a list of his scholarly publications, please visit www.RobertSimon.com/pdfs/robert_cv.pdf

M/M Leonardo da Vinci: Painter at the Court of Milan

2011-12-01T04:00:00.000-05:00

Image above provided by Yale University Press and may not be reproduced without prior authorisation.

Aground-breaking examination of the period that fundamentally changed Leonardo’soutlook and his legacy

By Luke Syson with contributions by LarryKeith,

Arturo Galansino, Antonio Mazzotta, Minna Moore Ede,

Scott Nethersole, and Per Rumberg

Featuring the recently authenticated Salvator Mundi

LEONARDO DA VINCI: Painter at the Court of Milan focuses on a crucial period in the 1480s and 1490s when, asa salaried court artist to Duke Ludovico Sforza in the city-state of Milan, Leonardo produced some of the most celebrated—and influential—work of hiscareer. The Last Supper, his two versions of The Virgin of the Rocks,and the beautiful portrait of Ludovico's mistress, Cecilia Gallerani (TheLady with an Ermine), were paintings that set a new standard for his Milanese contemporaries. Leonardo's style was magnified, through collaboration and imitation, to become the visual language of the regime, and by the time hereturned to Florence in 1500, his status had been utterly transformed.

Thisground-breaking book and the landmark exhibition it accompanies offer the rareopportunity to examine a significant number of Leonardo’s works —including the recently “rediscovered” painting SalvatorMundi—which help shed light on the artist’s ideals of beauty, his understanding of how mind influences body, his theories of character and expression.

ABOUT THE CONTRIBUTORS:

Luke Syson is Curator of Italianpaintings before 1500 and Head of Research at the National Gallery, London.

Larry Keith, Arturo Galansino, Antonio Mazzotta, Minna Moore Ede,Scott Nethersole,

and Per Rumberg are all present or formermembers of staff at the National Gallery, London.

ISBN:978-1-85709-491-6 $65.00 Cloth

320 pages

255 color + 11 b/willustrations

Accompanies the exhibition currently on view at

The National Gallery,London

November 9, 2011 to

February 5, 2012

Published by

National Gallery Company/

Distributedby

YaleUniversity Press

ALSO OF INTEREST

FROM THE NATIONALGALLERY, LONDON AND YALE UNIVERSITY PRESS

National GalleryTechnical Bulletin

Volume 32: Leonardo da Vinci: Pupil, Painter, and Master

Ashok Roy, Series Editor

With contributions by Rachel Billinge, Jill Dunkerton, Larry Keith,Antonio Mazzotta,

Rachel Morrison, David Peggie, Ashok Roy, Peter Schade, and Marika Spring

Published toaccompany the highly anticipated exhibition Leonardo da Vinci: Painter atthe Court of Milan at the National Gallery, London, this extended volume ofthe Technical Bulletin documents new research undertaken on the life andwork of Leonardo. It includes an analysis of his time in Verrocchio's workshop,where he adopted the new technique of oil painting; an article on the recentconservation and redisplay of the London version of The Virgin of the Rocks;and examples of Leonardo's painting practice and influence while he was courtpainter to the Duke of Milan, Ludovico Sforza.

CONTRIBUTORS:

Ashok Roy, Rachel Morrison, David Peggie, and Marika Spring are all staff members ofthe National Gallery Scientific Department; Rachel Billinge, Jill Dunkerton, and Larry Keith are all staff members of the National GalleryConservation Department; Peter Schadeis staff member of the National Gallery Framing Department; Antonio Mazzotta was formerlycuratorial assistant at the National Gallery.

National Gallery Technical Bulletin,Volume 32: Leonardo da Vinci: Pupil, Painter, and Master

Editor: Ashok Roy ▪ ISBN: 978-1-85709-530-2 ▪ $70.00 Paper ▪ 112pages ▪ 169 color illustrations

M/M Issue: November 2011

2011-11-01T04:09:00.000-04:00

Manner of Man Magazine

Issue: November 2011

Table of Contents

Memoir: My Halcyon Days: Brideshead Revisited and The Style Council

The Brand: Manner of Man

Interview with Dr. Kjell A. Nordström

ROBERT MORLEY reading Kipling's IF

Sophistication

Age And Time Do Not Wait For People

Interview with Espen Øino

Exhibition Celebrating Late Renaissance Master Perino delVaga at Metropolitan Museum

M/M My Halcyon Days: Brideshead Revisited and The Style Council

2011-11-01T04:08:00.000-04:00

Image of Nicola Linza (left) with a friend in the yard of a private estate on North Bedford Drive, Beverly Hills, CA. Photo is from a private family collection. All rights reserved.

a personal memoir by Nicola Linza

There are some men of my age and background who may wellremember, and understand what I mean when I say, that the early to mid-1980s wasa special time to be a young man coming of age. I am not writing about thestereotypical mass 80s. I am writing here about the very best of the time, thatis now rarely talked about as few experienced it, as I did. There weremany great things happening at once then in fine art, music, and design,but a few specific aspects of those things, during a small window of time,stand out to me because they forever changed my world.

If you read the rest of this personal memoir, play the videos to each portion. I hope you get a sense of why I say that these particular days were the halcyon days of my youth.

The special things that encapsulated my world during this summer included a single pal, one particular British novel, Brideshead Revisited, ( the grand television adaptation,) and the early music hyper-talented Paul Weller of The Jam, who in the early1980s (along with Mick Talbot) created the legendary band, The StyleCouncil. Those few things influenced so much for us, it is hard to put intowords.

Yes, we came out of the era of teenage Hard Rock, Disco and Punk to early Techno and New Wave, but in music by 1984, besides the usual suspects of preferred music and Classical music standards, TSC is the band whose first two albums Introducing The Style Council (1983) and Café Bleu (US title: My Ever Changing Moods) (1984) stand to this day as icons of that period for me. This music precisely set the tone for that time when all that was great of old (and new) literature, film and music were coming together in highly unique ways unseen then, and since.

I always reflect upon that summer of 1984 when Britishmusic, (the second great wave of UK music,) those great new English sounds filledthe airwaves. It was a time when great authentic personal style, great Italian, French andEnglish-influenced styles affected everything we were doing. My small social circle, heavily seduced of mind, body and spirit by theoriginal 1981 British television serial of Brideshead Revisited producedby Granada Television for broadcast by the ITV network, became obsessed with personal style.

Our 1980s was one of taste, high quality and exclusivity. We were addicted to Brideshead Revisited for itscharacters and style reflected the style and sensibilities of our own ancestors. It ruled our lives fromthe day it was released. We read the book, and threw parties to celebratethe novel yet moreover it must be understood that we were just two young men at the time, really still Southern California boys, just on the verge ofbecoming men. We studied that film, bought the same clothes, travelled, hunted down vintage Italian leather and English Tweeds, Europeancars, read the Classics; drank the same liquor, ate the same foods, in short,being gilt-edged as we were re-living the Edwardian-era in our owntime.

Nevertheless, we sought stylistic uniqueness and then the magical summer of 1984 hit us. There was for the first time a complete high-quality mesh of very old style with some very new music, and it was precisely what we sought out. It was truly wonderful and we were drunk on it. What I now find sad in an almost beautiful way, much like the Waugh classic itself, is that we came of age in an elegant and privileged way at the time when things were changing. We did not even realise how special it was or would be to us until far later in life and a part of it all still lingers in my mind, in a very haunting manner, each time I reconsider it.

Moreover, the band that takes me straight back to those halcyon days of my life is The Style Council. The song Long Hot Summer was the tune of the moment in my circle, during that summer of 1984, and more than any other, it still brings me to that other place in time.

It has taken some time for me to put this down into words, and looking back, thinking of that time, watching these videos again, our style was Classic laid back English-style, with a nod to Italy. That was our ideal style of the moment, and the orchestration of the song Long Hot Summer, in its nearly Renaissance-like dream quality, alongside the visuals of the video (where Mick Talbot in his double breasted navy blazer is dancing on the grass with Paul Weller,) today still precisely encapsulates the general mood of my male friends and me during that incredible time.

I write this with conflicting emotions as over 25 years have passed. I own the DVD version of Brideshead Revisited and watch it often, with great melancholy. I am partial to all things Classical now, yet while I play my LP collection of Classical recordings I still find myself putting The Style Council tunes on my Bang & Olufsen turntable. I am thankful for having this period in my life, and the way of life we were privileged to live. I would not be who I am today without it.

That life period created a standard for a way of life. We often took roles in our own Brideshead drama back then that to this day sustain my fondest memories.

2011 is a very sad time for young men coming of age. The past two decades of technology addicted, PC damaged, social media based aspirational dreamers is entirely devoid of the unique level of extreme quality that we experienced back then. Today the interest expressed by young men who are now coming of age, interested in finding their own masculine style is all too often tainted by fraud.

The pecuniary interests of a few have cheapened the best of brands, lowered overall quality and eaten into the public's sensibility misleading the masses with the idea that junk is good and they too are special and equal, when nothing could be farther than the truth. The same people have even ruined the culture and concept of honest Prep in the past 25 years. A few young men today seek true high quality, but I hate to inform them they have a steep uphill climb. I cannot figure out what has taken place but overall many young men I see today even from once good families, sadly lack good taste, ironically lack good breeding, and surely lack proper etiquette. It is a pathetic and tragic state of affairs.

Therefore, there is scant true personal style today among young men, and what often passes as personal style is often just mass street inspired, cheap and horrible taste. I see a lot of copying and many followers but I do not see the extreme individual passion for quality and exclusivity that brings with it that magic intoxication we knew, that has forever remained with me. Weller predicted what was to come when he wrote:

"Evil turns to statues and masses form a line
But I know which way I'd run to, if the choice was mine
The past is knowledge, the present our mistake
And the future we always leave too late"

Well, there you have it, in my view Weller's lyrics weren't wrong. It is 2011. The great pal of my youth and I parted ways under tragic circumstances in late 1984 and the world in terms of style, and culture since to me has been on a continual downward spiral.

When I reflect upon that important time I refer to as my youthful "Brideshead" days it deeply saddens me to think that time is now gone forever. When I reflect on that summer, that isolated knoll of friendship, and how I now sense the scent of our sincere platonic male bonding, the sweet turf that remains with me is not unlike what was written by Waugh so long ago

"On a sheep-cropped knoll under a clump of elms we ate the strawberries and drank the wine – as Sebastian promised, they were delicious together – and we lit fat, Turkish cigarettes and lay on our backs, Sebastian’s eyes on the`leaves above him, mine on his profile, while the blue-grey smoke rose, untroubled by any wind, to the blue-green shadows of foliage, and the sweet scent of the tobacco merged with the sweet summer scents around us and the fumes of the sweet, golden wine seemed to lift us a finger’s breadth above the turf and hold us suspended." - Evelyn Waugh, Brideshead Revisited

I have not seen my old friend since but I have never forgotten him or that important period of our lives, we shared. I hope that in some way afterwards he too had thoughts of that time, and me. I will never forget the summer of 1984. I often cry inside for those halcyon days long passed, but in a way, I like to believe that for me they never really ended.

M/M The Brand: Manner of Man

2011-11-01T04:07:00.000-04:00

Image of City Hall of Rennes (built during the XVIII° century) by Loïc Amauger-Lascombe provided to Manner of Man Magazine for exclusive use and may not be reproduced without written authorisation. All rights reserved.

M/M Interview with Dr. Kjell A. Nordström

2011-11-01T04:06:00.001-04:00

This exclusive interview with Dr. Kjell A. Nordström was conducted by Nicola Linza and Cristoffer Neljesjö in Stockholm during August 2011

Interview with Dr. Kjell A. Nordström

You say that revolutionary reality is that 1.3 kilograms of brain please elaborate on that fact.

Yes, now it is the brain that stand center stage in western based business firms (in particular). Today we know that low cost competitors from among other China can and will challange us in every industry. It is no longer a guess.....it is a reality. This in effect leave us with one way forward: INNOVATION ! Human creativity is what will make the difference. However, most of our institutions are not designed for Innovation or Creation. Any business firm has to do two things : Creation and Exploitation. The problem today is that most of our firms are extremely good, even excellent, in the area of exploitation. That is to sell more of the same and slowely improve and adjust the product or service ovewr time. Creation is usually a carefully fenced off activity (usually called R & D) that involves a relatively speaking small group of creation specalist.

The ultimate goal for firms in this part of the world is to build a creation machine with the ability to also efficiently exploit this flow of insights and break-troughs. Is there such a firm ? Among bigger firms......maybe Apple.

How does competitive advantage come from being different?

A successful firm....actually in any industry....is a "TEMPORARY MONOPOLY". Unique. Perceived to be unique. One of a kind. The moment you are no longer unique or one of a kind you are in the process of loosing your position......average or below average returns is the name of the game.

If technology, institutions and values are being subverted and overturned what is the future looking like as a consequence?

Technology, Institutions and Values has always been in a state of flux. Sometimes slow. Sometimes fast (industrial revolution). Sometimes just one of them (Christianity) sometimes all of them. The latter case is what we have today. Consequence.....maximum uncertainty.....or what scientists sometimes call GENUINE UNCERTAINTY. A state or a stage where it is impossible do do any predictions. Hence, no plans can be made. In effect.....the way forward in most cases is do do do...EXPERIMENTATION!!! The future looks like much more experimentation....

How does the concept of freedom play into the deregulation you see for ourselves and our children?

The deregulation......of everything basically implies a freedom to Know, go, do and be for more and more people in more and more countries and regions. Just look at North Africa these days. it is among other things an empowerment that enable us to tear down any hierarchy we believe lack legitimacy. But it also implies responsibility for you own life and life project. More and more freedom.......but at the same time more and more responsibility.

Malcolm Forbes once said "Failure is success if we learn from it". What do you think about this?

Malcolm Forbes is not right......he is exactly right!!!! There is at the end of the day only one way to learn new things ....Trial and ....yes sometimes error.....and move on. There is no such thing as doing things right the first time. Well, maybe in our dreams.

What do you need to survive in the current world of business?

Well, you either need a low cost position and/or a continous flow of Innovations. Practically speaking this means that we need a higher tolerance for failure (otherwise no flow of innovations......remember Mr Forbes) and a new organizational form beyond the traditional hierarchy that do not castrate talents.

The above interview with Dr. Kjell A. Nordström 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

ROBERT MORLEY reading Kipling's IF

2011-11-01T04:05:00.000-04:00

M/M Sophistication

2011-11-01T04:04:00.002-04:00

Sophistication is a rare bird flying over endless fields of trash produced by the filthy masses in hope of finding the one place to settle down.

M/M Age And Time Do Not Wait For People

2011-11-01T04:03:00.000-04:00

Images provided to Manner of Man Magazine and Welldressed by Eduard Dressler for exclusive use and may not be reproduced without written authorisation.

M/M Interview with Espen Øino

2011-11-01T04:02:00.002-04:00

Image of Espen Øino supplied to Manner of Man Magazine/Welldressed by Espen Øino for exclusive use and may not be reproduced without written authorisation.

This exclusive interview with Espen Øino was conducted by Nicola Linza and Cristoffer Neljesjö in Monaco during August 2011.

Interview with Espen Øino

Why did you decide to devote your career to designing mega-yachts?

Professionally I never wanted to do anything but designing boats and ships. Where I grew up (in Norway) yachts and in particular mega yachts were not commonplace. However, pleasure boats and all types of other watercrafts including commercial vessels and fast ferries were very much part of my childhood so I guess ending up training as a naval architect was fairly logical but designing mega yachts somewhat accidental.

Where do you find inspiration?

Inspiration is not something you look for, at least not me. You stumble across inspiration, often accidentally. It can be in the form of interesting landscapes, rocks, trees or it can be an insect or a photograph of an insect as well as a car, a helicopter, a building, an old ship or a vintage yacht; pretty much anything with interesting functions, shapes or details.

Is there a particular aspect of designing a super yacht that requires greater attention than a vessel of smaller proportion?

One of the challenges when designing large yachts is to make them feel intimate despite their size. This is somewhat of a paradox but large yachts require big scale "behind the scenes" logistics to operate and function normally and incorporating this in the design in a discrete and non-obvious manner is always a challenge.

How much does a prospective owner’s design aesthetic play into a final design?

Some owners have a keen interest in the aesthetic aspects of the design, others less so. Our role is to guide the clients in the right direction whether they are intimately involved or not.

Do you have a particular favourite project?

This may come across as a cliché but it is generally speaking the last project(s) you are working on. This is not only a politically correct answer but also very much reflects the truth. It can probably be explained by the fact that creative minds thrive in the midst of the creative process i.e. the current projects and tend not to look back at the past. Having said that, of all the yachts we have designed and that have been built, two or three are particularly significant to me for various reasons; namely the 71 meter Luerssen built Skat, the 127 meter Luerssen built Octopus and the 73 meter Hanseatic built Silver.

Do any romantic feelings evolve during the process of a project and is it hard to leave it once completed?

The process of designing and building a mega yacht from scratch can last up to 5 - 6 years from inception to delivery. Frequently the relationship with the clients and the crew continue afterwards so you get to know and appreciate a lot of different people in the process so naturally bonds are formed and somehow this sometimes transcends into a kind of a bond with the yacht itself. One should never lose sight of the fact that all projects start with a few simple lines on a piece of paper which, through the process, are transformed into a massive moving object that, unlike buildings, is not static; it literally comes alive when the engines are started for the first time and the yacht can move by itself. It is magic! Every time! It is therefore sometimes hard to see the yacht leaving the yard, I guess a similar experience to seeing your child leaving home for the first time.

What would your own dream yacht include?

Lots of tenders in all forms and shapes as I love to mess around in small boats i.e. driving or sailing them myself. And, being an avid skier and helicopter enthusiast, I would want to have a big ski locker on-board and carry a helicopter to take me to the slopes. There are surprisingly many beautiful mountains to ski on within helicopter range from the sea in so many places around the world starting with Monaco where I am based. Think about it; a fantastic combination, no?

The above interview with Espen Øino 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission.

M/M Exhibition Celebrating Late Renaissance Master Perino del Vaga at Metropolitan Museum

2011-11-01T04:00:00.000-04:00

Image: Perino del Vaga (Pietro Buonaccorsi), Florence 1501 –1547 Rome; Jupiter and Juno: Study for the ‘Furti di Giove’ Tapestries; Ca. 1532-35; Pen and dark brown ink with brown and gray wash, heightened with white; 17 x 15 ¾ in.; The Metropolitan Museum of Art, Purchase, Acquisitions Fund and Annette and Oscar de la Renta Gift, 2011.36

Perino del Vaga (Pietro Buonaccorsi, 1501-1547), a pupil of Raphael, was a leading innovator of the late Renaissance style known as Mannerism, and one of the most influential Italian artists of the 16th century. The Metropolitan Museum of Art recently acquired a painting and a drawing by the master, and they will both be featured in Perino del Vaga in New York Collections, on view from September 27, 2011, through February 5, 2012. The new acquisitions will be seen alongside some 18 drawings by the artist from the Metropolitan Museum, the Morgan Library & Museum, and private collections, as well as a second painting from a New York private collection.

Perino del Vaga in New York Collections will represent every phase of the Florentine-born artist’s career, from his first decade in Rome, when he emerged as the preeminent fresco painter in the city in the wake of Raphael’s death in 1520; to his years in Genoa as court artist to Andrea Doria; to his final decade in Rome, when he worked primarily in the service of Pope Paul III Farnese, designing frescoes, stucco, silver and other precious objects, and embroideries.

The centerpiece of the exhibition will be the Holy Family with the Young Saint John the Baptist, a recently discovered masterpiece that dates from Perino’s early years in Rome (ca. 1525) and is an exceedingly rare example of his activity as a panel painter. Fewer than 10 independent paintings by Perino survive, so the recent appearance of this previously unknown work is nothing short of extraordinary. The painting has been newly restored, revealing the original colors and giving insight into the artist’s painting technique. It will be featured with the Metropolitan Museum’s other recent acquisition by the artist, which is an outstanding, highly finished drawing of Jupiter and Juno reclining on a marriage bed. A study for an important lost tapestry commissioned in the early 1530s by Admiral Andrea Doria, commander of the papal and later the Imperial fleet and ruler of Genoa, this brilliant sheet is one of the artist’s most celebrated drawings and a consummate demonstration of his renowned gifts as a draftsman.

Blending influences from Michelangelo, Raphael, and classical antiquity, Perino’s art, with its emphasis on grace, artifice, and effortless complexity, epitomizes Mannerism. Florentine by birth, Perino trained with Raphael in Rome and went on to become the preeminent fresco painter in that city. Following the Sack of Rome in 1527, he relocated to Genoa, where he worked for nearly a decade as court artist to Admiral-Prince Andrea Doria. His decorations in the Palazzo Doria introduced to Genoa the modern maniera all’antica, as the sophisticated, classicizing style of Raphael and his followers was known.

By 1537 Perino was back in Rome, which was undergoing a period of cultural renewal, and within a few years he had become court artist to Pope Paul III,assuming the role that Raphael had filled decades earlier for Pope Leo X. Like Raphael, Perino oversaw a large and industrious workshop, devising monumental compositions for the Vatican and elsewhere, while entrusting to his collaborators much of the execution of his frescoes and stucco reliefs, as well as the rock crystals, embroideries, medals, and myriad other precious objects he designed. Perino died in 1547 and was entombed in the Pantheon near Raphael.

Perino del Vaga in New York Collections is organized by guest curator Linda Wolk-Simon, the Charles W. Engelhard Curator and Department Head, Department of Drawings and Prints at The Morgan Library & Museum, and Andrea Bayer, Curator in the Metropolitan Museum’s Department of European Paintings.

A variety of education programs will accompany the exhibition, including gallery talks and a Sunday at the Met lecture program. Unless otherwise noted, all programs are free with Museum admission. Program details and more information about the exhibition can be found at www.metmuseum.org.

M/M Issue: October 2011

2011-10-01T04:09:00.002-04:00

Manner of Man Magazine

Issue: October 2011

Table of Contents

Guest Editorial: The West and The Loss of Primacy

The Brand: Manner of Man

Interview with Tom Murray

MEET DESIGN Grand Opening Rome

Angelo Nardelli Menswear by Uli Weber

Automobili Lamborghini at Schloss Bensberg Classics 2011

Interview with Karl-Friedrich Scheufele

Dubito, ergo cogito, ergo sum

Michel Roux at La Gavroche

M/M Guest Editorial: The West and the Loss of Primacy

2011-10-01T04:08:00.000-04:00

Guest Editorial by Nathan Lauer

I am not an economist, nor am I a statistician or apolitical analyst. In a world wherebeing called an expert of some narrowly focused field of study holds thehighest intellectual value, I am an anachronism. I am an unrepentant generalist.

As ageneralist, on rare occasions I feel the need to spout off my perspective in somepublic forum. The last time was in the‘90s, at a liberal arts conference where I presented my much belatedundergraduate thesis, which was titled something along the lines of, “TheInternal Political Dynamics of the Qing Dynasty During The Opium Wars.”. As boring as this sounds, I made a greateffort to make it more interesting by using the core analysis of that specificperiod to connect China’s early history to the present. I will not go through the whole thing here,but to sum it briefly, I compared the unification of China under Qing Shi HuangDi (3rd century B.C., simultaneously one of the most reviled yet respectedfigures in Chinese history) to the political reunification of Mao. In the conclusion, I told my peers andprofessors that the overall politics of China had not truly changed. That it was still an empire, and it that itwould behave as such. Specifically, I warned them that China would be lookingto perpetuate its 3000-year pattern of dominance. The difference would be that in the currentglobal climate, they would do it economically.

Today,this sort of concept is old hat, in spite of the fact that the details of itcontinue to be ignored by popular media. At the time, when it should have been taken seriously, it fell upon deafears. The charts, video displays, andintellectual flim-flam depicting how the fall of the Third Reich was largelydue to female factory workers in Eastern Europe was deemed to be of far greaterimport.

So, onceagain, I feel the need to spout off my statistically un-analyzed observations,without the benefit of charts, graphs, or video. If I bore you, feel free to stopreading. Go and watch an even more unsubstantiatedbut certainly more visually stimulating piece by Michael Moore, or anotherglorious oratory by one of our illustrious elected representatives.

For thepast 50-100 years (depending on which country you are from), the West has hadthe wonderful combination of democracy and economic wealth. The freedom to speak our minds, and to spendour money. Truly, this is wonderfulstate of being, which every society should aspire to.

Unfortunately, without the need to sacrifice to attain these things, wehave become spoiled. First, we wanted tobe able to earn more: more money, more equality, and more rights. Then, we expected to earn more money, moreequality, and more rights. Now, wesimply demand more, ignoring the fact that these are finite resources.

As themiddle class grew to historic levels, many of those in the “have” categorybegan to feel guilty that others did not have. Therefore, we gave. We gavemoney, we gave jobs, and we gave rights. We gave to this benighted group and that. Initially this altruism was beneficial, andin good cause. However, it is humannature to take what is always given for granted. We learned to expect to be given, and then todemand to be given “equality” in spite of not earning it. In addition, as more groups arose to displaytheir neediness, more of us felt needy. As a result, our culture has devolved into entitled groups and aninfectious, pervasive sense of entitlement.

This could have been nipped in the bud, if the altruisticwere truly so. Like dealing with aspoiled child, if we had cut off the gifting and required earning instead,things eventually would have righted themselves. Unfortunately, spoiling a culture, likespoiling a child, has little to do with true altruism.

Instead,the spoiling parents have been motivated by guilt. As they perceive themselves as having themost to feel guilty for, guilt dominates the elite. They pander and they preach, trying to washaway the sins of a world where most people are not amongst the elite. As the pulpits of society are dominated by them,their congregation is almost universal. Young minds have been and are being taught that they too should feelguilty, that they too are entitled. The reality of existence has taken secondseat behind some pseudo-utopian faith in what should be the reality ofexistence.

What started as an intellectual and political movement hasbecome instead a belief system. Discourse has become impossible because contrary opinions are not justcontrary, they contradict the faith.

The resultis a state of un-treated Cultural Autism. We focus on minutia and grand theory; we listen to the masters ofminutia and the orators of grand theory. When faced with a reality that does not match our belief system, werepetitively quote that minutia and grand theory, bobbing our collective headsin the corner. The more that realityintrudes, the more we bob our heads, eventually beating them against a wall(look at Greece).

This is, atits heart, corruption. Our society hasfallen prey to the corruption of success. Historically, this is the way of all great societies in one form oranother. Eventually, the sense ofentitlement pervades, and while it manifests in different forms (our guilt isfairly unique), they are all in essence the same. We learn to be comfortable, we learn toexpect to be comfortable, we learn to demand comfort, and then we refuse to seethat our comfort is threatened. To citea few obvious examples, the French Monarchy, both the Roman Republic and theRoman Empire, and every Chinese dynasty from the 3rd century B.C. onward fellprey to this. Being ‘egalitarian’ is noprotection from it, and in fact makes us more susceptible to it. So, the real question is, will we surviveit? Will we maintain enough of oursenses to paddle out of the whirlpool in time?

I thinkso. Oh, we will lose our primacy, I havelittle doubt of that. In many ways, wehave already given it away. But we willsurvive and most likely be successful again. After all, our little boat has a hidden 500 hp outboard motor onit. The powers waiting in the wings tosupplant us need us.

M/M The Brand: Manner of Man

2011-10-01T04:07:00.000-04:00

M/M Interview with Tom Murray

2011-10-01T04:06:00.001-04:00

Image of Tom Murray supplied to Manner of Man Magazine/Welldressed by Tom Murray for exclusive use and may not be reproduced without written authorisation.

This exclusive interview with renowned British photographer Tom Murray was conducted by Nicola Linza and Cristoffer Neljesjö in London during June 2011.

Interview with Tom Murray

How would you describe you career as a photographer?

A lucky young man in the right place at the right time of history and photography.

You shot an iconic portrait of the late great Yves Saint Laurent, if you could select one photographer to take your portrait who would it be? And why?

It would have been my dear friend Eve Arnold one of Americas great photographers.

How did you approach your early work with The Beatles?

It was such a shock to know this was the group that I was photographing, I am very fortunate to have made some great images of the Fab Four; I have used their mages for charity and have raised in excess of $2, million for great and good causes.

You had the privilege to work with the English Royal family on a number of occasions, what stands out the most now about that time?

How nice and kind they were to me, a young photographer being with the Royal Family, especially my relationship with HRH Princess Margaret.

Describe what it was like being in the centre of the Swinging Sixties London.

London was great fun in the 60's you could walk down the Kings Road and see the Rolling Stones, the Beatles on the other side of the road with Vidal Sassoon and his great haircuts, Leonard of London, John Freida was Leonard’s assistant, Twiggy, Jean Shrimpton, all the great rock and roll groups, London really was swinging in the 60’s.

Is there anyone you haven’t worked with who you would like very much to photographer now?

Yes I would love to photograph those folks who are now in their older years whose names we know so well, entertainers, politicians, artists, actors, film directors, painters, etc. as well as top fashion designers. We knew them when they were young and struggling, now let’s see them now they are like me getting on a bit.

You must have enormous archives of rare unseen photographic negatives. If so, so you have any specific plans for them?

I am currently scanning 50 years of my work to release as a book and a photographic retrospective; it may take some time as I am not great with modern technology.

The above interview with Tom Murray 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission.

M/M MEET DESIGN GRAND OPENING - ROME

2011-10-01T04:05:00.000-04:00

Image: Raimondo Zaniboni and Flora Ribera. All rights reserved.

In Rome on the evening of September 15, MEET DESIGN organized an official multimedia opening conceived and implemented by Bravacasa.

The RCS – Rizzoli Corriere della Sera – Group joins the celebrations for the 150th anniversary of Italy’s Unity with MEET DESIGN, a great initiative dedicated to Italian design, by now an icon of creativity and innovation in the world.

MEET DESIGN is an unprecedented “multi-channel platform”, whose primary purpose is to disseminate Italian design by means of broad initiatives aimed at end consumers. This gives life to a container of ideas and activities capable to convey all the conceptual, creative, and productive values of design to introduce the main players of the Italian housing culture to a wide audience.

Angelo Nardelli Menswear by Uli Weber

2011-10-01T04:04:00.000-04:00

M/M Automobili Lamborghini at Schloss Bensberg Classics 2011

2011-10-01T04:03:00.000-04:00

Image copyright © Automobili Lamborghini Holding S.p.A. All rights reserved.

The Italian super sports car maker will be participating in the
celebrated classic car event with a number of famous models

Automobili Lamborghini at Schloss Bensberg Classics 2011

Bensberg/Sant’Agata Bolognese, September 15, 2011: Automobili
Lamborghini will be participating in the Schloss Bensberg Classics in
2011 as well. In only a few years, this event showcasing the most
important makes of classic cars has become a major happening in the
auto world. The show will take place on September 16-18, 2011 against
the exclusive backdrop of Bensberg castle. This year, Lamborghini will
be presenting the 350 GT: the forerunner of its iconic series of cars
that have met unparalleled success. The international public will also
have the opportunity to view the new Aventador LP 700-4 super
sports car.

On Saturday September 17, more than 90 classic vehicles will race
through the Bergische Land hills as they compete in the Rallye
Historique. And Automobili Lamborghini will be participating with its
historic 350 GT. The car is named after its 3500 cc displacement.
Introduced at the Geneva Motor Show in 1964, it boasted an engine
which developed 320 HP even at that early stage. A total of 120 were
produced from 1964 to 1966. The Lamborghini 350 GT with serial
number one will participate in the rally. The drivers will be the
journalist Magret Hucko and Lamborghini former test driver Valentino
Balboni. Mr. Balboni was hired by Ferruccio Lamborghini himself and
served as a test driver for more than 40 years.

Customers and private collectors can also bring their treasured
vehicles to Bensberg. During the Concours d’Elégance - the gran finale
of the Schloss Bensberg Classics, to be held on September 18 - a jury
of important authorities will appraise 40 of the rarest and most
beautiful cars in the world. One of the stars of this event will certainly
be the Lamborghini Miura Roadster, a fascinating prototype from
1968. Also participating in the Concours d’Elégance at Bensberg will
be the Lamborghini Espada. The first sports car in automotive history
to seat four, the Espada was introduced at the Turin Auto Show in
1968. It can reach a top speed of 245 Km/h. At the Concours
d’Elegance, you can also admire the 400 GT Monza, another very
famous model from Lamborghini. This prototype was presented at the
Barcelona Motor Show in 1966 and was then sold to a Spanish buyer
after the show. No trace of the car was to be found for 35 years. In
2005, this Lamborghini was sold to its current owner at an auction.
The Lamborghini 350 GT comes from the Lamborghini museum in
Sant’Agata Bolognese, where restored iconic vehicles produced by
Lamborghini are on display. Guided tours through the Italian car
maker’s super hi-tech factory are available. For further information,

log on to www.lamborghini.com.

M/M Interview with Karl-Friedrich Scheufele

2011-10-01T04:02:00.000-04:00

Image of Karl-Friedrich Scheufele supplied to Manner of Man Magazine/Welldressed by Karl Friedrich Scheufele for exclusive use and may not be reproduced without written authorisation. All rights reserved.

This exclusive interview with Karl-Friedrich Scheufele was conducted by Nicola Linza and Cristoffer Neljesjö in Geneve, Switzerland.

Interview with Karl-Friedrich Scheufele

What does Chopard mean to you?

Chopard stands for: creativity, innovation, craftsmanship, family company, tradition, long term approach, independence and social commitment.

How would you describe your management style?

Chopard is a family owned and run company. Apart from an overall, shared responsibility as board members, Scheufele family members each have specific areas, which they manage directly, based on their expertise, on a day to day basis. In my case, this is for example Chopard Manufacture in Fleurier, our movement factory in the Jura. My management style can be described as team oriented, trying to bring out everyone’s talent.

If you could give one word of advice regarding marketing a luxury brand today what would it be?

Stay true to your claim, in other words: keep your promises, pay attention to quality in every sense of the word and respect your tradition. Always consider the long-term value of your brand when taking marketing decision.

You select one piece from the history of Chopard as a prized personal item. What is it? And why?

This would certainly be the first Chopard L.U.C watch, launched in 1997, animated by the first in-house movement or calibre, the L.U.C 1.96. This L.U.C 1860 model initiated a major development, the renaissance of Chopard Manufacture, a major step towards further independence of our group. Since then we have introduced 9 base calibres with a total of 50 different variations all the way to the most complicated L.U.C made so far – the L.U.C All in One!

What is a good description of the Chopard man?

The Chopard “man” is not a follower; he is more of a discerning, genuine connoisseur with his own opinion who truly appreciates quality, design and craftsmanship in its own right.

The above interview with Karl-Friedrich Scheufele 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Dubito, ergo cogito, ergo sum

2011-10-01T04:01:00.001-04:00

Michel Roux at Le Gavroche

2011-10-01T04:00:00.000-04:00

M/M Issue: September 2011

2011-09-01T04:09:00.009-04:00

Manner of Man Magazine

Issue: September 2011

Table of Contents

Editorial: Aspirational Fantasties vs Truth

The Brand: Manner of Man

Interview with Karim Zeriahen

Highgrove

Danger Zone

Henry Herbert Tailors

Interview with Eric Watson

Photographer: Donato Oronzo Cacciapaglia

Moments of Absolute Clarity #6
an exclusive series produced by Lalle Johnson

M/M Editorial: Aspirational Fantasies vs Truth

2011-09-01T04:08:00.094-04:00

Editorial Commentary by Manner of Man Magazine co-owners Nicola Linza and Cristoffer Neljesjö

We have many judgment calls to make today due to the rise of digital media and the gross shift in brand and product advertising that has followed. All of us are at risk of being pigeonholed and must be careful of potentially falling “victim” to the ethical and moral challenges faced by society today. The risk is greater to us, as we work to produce a top quality men’s magazine in this digital age of the everyman, led as he is to believe that we are all equally capable of being a writer, journalist, advisor, or fashion style critic. One of the worst we feel is what we view as the rapid decline in top quality product placement and high-end presentation at a time that the same brands responsible have dovetailed misguided low-end mass marketing which focuses largely on social efforts. Too many marketing efforts in our view are geared to the lives of not the clientele that built their brands in the first place, but instead to a dreaming youth culture and to aspirational adults who are not (and likely will never be) ready, willing and able buyers.

Defying the legacy and clientele of many brands, this new strategy does nothing in our view but feed the social addictions, fantasies and entirely unrealistic aspirations of some people, and often does so to a degree far more than their actual finances or ability to buy their products will ever allow. The idea that this sells luxury is ludicrous to us yet the extent to which we see some will go to address such questionable new marketing techniques today is highly disturbing, because the methods we see developing go against the grain of established ethical and professional advertising techniques and principles.

Is it right for one to require, without full transparency, free high-end product merchandise (including custom-made items,) or be given the same by a brand, in return for a desired review? In the same sense, is it ethical of a brand to entice an aspirational man with a very pricey suit or expensive pair of shoes that he could never otherwise afford, just for the sake of a digital plug? We do not understand the reasoning behind why any high-end brand would do such a thing because a luxury brand's real clientele (those that actually buy the items, not just dream about them) are not going to pay attention to what we call a blog shitter in the first place.

We believe that this boils down to a matter of standards. In addition, what does this say about any firm or brand that plays along without the requirement of full disclosure? Worse to us is the potential this also opens for any firm or luxury brand to directly and silently fund or front a blog site, thereby producing what appears to be a credible and legitimate review that in fact the firm or brand put together or orchestrated themselves. We do not like one bit of it. We just see pecuniary factors in such situations weighing heavily upon the ethical and moral grounds of what should be, and is often believed to be, unbiased journalistic judgment.

We follow David Ogilvy who once said "...the product must deliver the benefit you promise." Unbiased judgment and independent review is precisely what our readers look for in a published piece. Ethical and moral journalism, what does that really mean today? Does it mean what it did 25 or 125 years ago? It does to us, but we are not so sure it does to others. Reality creeps in eventually, and an overall consideration of the meaning of those words is constantly taken into account by us to ensure that our magazine remains respected and is turned to by our readers (who are in the top 1% of society) for factual and interesting content and objective opinion. We feel there is never an excuse to fall victim to the challenges faced and imposed by both mass society and the economic environment. Yes, we take the position that taking the concept of an ethical “good,” must be applied in the same manner to journalism as it is to rivers, mountains and forests.

The issue of questionable marketing is one we believe ripe and attractive to many misguided perpetrators today who in a controlled, determined effort and desperate attempt may use such methods to try to sell to an ignorant, dreaming and depressed public. It appears today that few realize as we do all too well that this manipulation can take place via a number of avenues, from funded front sites, snap shot sites to outright clothes whores who get merchandise for free and push their opinions (as well as their own crafted questions to themselves or anonymous comments to their own posts) to a mass public that is ironically stupid enough to fall for it all yet the irony of it is that these are the same people not ready, willing or able to purchase any of the items being pushed their way! This does not speak to those ready, willing and able to buy, but does address unattainable aspirational fantasies. It is to us a huge losing proposition all around.

We are not buying into this largely disturbing and evolving trend. Our judgment and our opinions cannot be bought. We currently turn down unsolicited offers of free pricey items in return for high profile reviews and placement monthly. We believe in our own editorial judgment and we solely decide what we want to highlight. We only interview people we personally select because we believe in them not because they bought us. We have built, own and control one of the finest male centric archives of interviews with significant men in their fields from around the world, because no one has ever been asked or required to compensate us financially for a piece. We have personally selected each man critically and solely based on his position and standing in his respective industry. It is their contributions to their fields, and their personal and managerial style that matters to us and in return we know is interesting to our readers. It is not, however, surprising to us today that people are often shocked to find out that we do this without outside assistance and have never requested nor received payment for a single interview. We have built our archives out of hard work, out of our own expense of time and effort.

We understand, accept and agree that unbiased educated review often requires having direct personal knowledge of a service or an item in-hand. This surely applies to published material where it is professionally accepted that a given volume must be read to properly review it, hence the term review copy, so under certain circumstance the item must be supplied to be reviewed at all. However, we feel there are ethical and professional limits that should never be crossed (let alone abused.)

The main overriding issue we have is with those offering, taking (or demanding) money for interviews, accepting free unsolicited very pricey items in return for the guarantee of a rave review, or demanding free custom-made items in return for an editorial or review without disclosure. We ask is this honestly ethical, and pure journalism, if done without full and clear disclosure to the readers. In our view, it is not. Any time luxury merchandise is received free or money changes hands for a request we feel it holds the power to change one’s opinion. We now question the basic assumptions and motivations behind all product reviews and interviews today due to these factors. Critical and careful thinking of what resources mean may allow us to consider if we are taking the longevity and future health of our integrity for granted, and if so, what does that mean to future generations. The issues are controlled by economics and personal greed dictates the end game.

M/M The Brand: Manner of Man

2011-09-01T04:07:00.002-04:00

M/M Interview with Karim Zeriahen

2011-09-01T04:06:00.003-04:00

This exclusive interview with Karim Zeriahen was conducted by Nicola Linza and Cristoffer Neljesjö in Paris during May 2011

Interview with Karim Zeriahen

What inspired you to be a filmmaker?

I used to be an ice skater for many years in the french team and I guess having my eyes open when I was skating were my first introduction to moving images.

It felt like a perpetual travelling. I guess when a few years later I was given a camera to shoot a dance piece by Philippe Decouflé, it felt quite natural for me to focus on movement and body language.

But my inspiration as a documentary film maker, i guess, came from a movie by Ken Loach: " Raining stones ". It was the first time I could sense humanity and emotions that strong in a character.

I was then drawn to filming people and specially people with a certain age that could tell stories and share experiences.

You can interview one person of the past who would it be? And why?

There are so many including Albert Einstein, Oscar Wilde, Sigmund Freund but my dream would be to interview Ralph Waldo Emerson.

One of his texts on nature is an endless source of inspiration to me. It opened my eyes on the depths and the beauty of human nature. Something I really think about when I am shooting my video portraits.

How do you approach each new project?

Each project is so different that the form , the research and the making is driven by the subject itself.

Usually, I read and watch all I can about the subject, then I escape from where I live to a neutral place and write the project. I need to be alone in a place that I don't know. I need to feel like a stranger so I can face the unknown. Hotel rooms are very convenient, you can make research online, lie down on the bed, take a walk, go to a museum and come back and do some more writing. The film will be tainted by the atmosphere of the place you are in.

How do you describe your style?

Hard question but I would say my interests are human encounters and body language combined with a real pleasure in editing room trying to create some sort of choreography with bits of rushes and music.

If you weren’t a filmmaker what would you be doing?

I would probably be a therapist...

The above interview with Karim Zeriahen 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Highgrove

2011-09-01T04:05:00.000-04:00

M/M Danger Zone

2011-09-01T04:04:00.001-04:00

Photo by M/M Studio. All rights reserved.

“Don't be afraid to make a mistake, your readers might like it.”
-William Randolph Hearst

"Unfortunately he didn't live long enough to realise he was wrong."

- Manner of Man Magazine

M/M Henry Herbert Tailors

2011-09-01T04:03:00.001-04:00

Henry Herbert Tailors - Savile Row by Scooter

http://www.henryherbert.com/

M/M Interview with Eric Watson

2011-09-01T04:02:00.001-04:00

Image of Eric Watson provided to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

This exclusive interview with Eric Watson was conducted by Nicola Linza and Cristoffer Neljesjö in Tampa, Florida during May 2011

Classical Talks – Interviews with members of The Institute of Classical Architecture & Art America

Interview with Eric Watson

What inspired you to become an architect? And have a focus on traditional Classic design?

I was seven when my family built a traditional house and I became interested in architecture and especially houses. From the numerous site visits during construction, I gained an awareness of design, detail, and the general process. Our house was one of the first in a neighborhood of traditional houses in a variety of styles. My favorite after school activity was to tromp through the nearby houses under construction. I endlessly studied their details, floor plans, how bricks were laid, proportions of dormers, roof pitches, and window and shutter configurations. Learning from these houses, I developed an awareness of their distinct style characteristics. I recall spending countless hours drawing and recreating my personal versions of what fascinated me.

Years later, while studying at Yale, a design studio changed the way I thought about architecture and buildings in general. Instead of seeing buildings as objects in the landscape - as architects almost always do, I learned that in many cases, a good traditional building is a well designed neighbor that contributes collectively with other buildings to enhance the streetscape and urban experience.

How would you describe your personal style?

Living in South Florida where summer lasts six months, whatever I wear, it’s got to be comfortable. Florida is just too hot to fuss over endless outfits and complicated clothing options. I keep my clothes simple. Natural fabrics in solid colors and small prints are flexible to dress up or down with – nothing too trendy. If clothing is well made with quality materials in a classic style, I’ll usually like it. Nice shoes and belts are always important.

If you could do any building in any city what type would it be? And where would it be?

Since I’ve only designed houses so far, I think I’d like to design a town hall, or a public library. The building would be on a specifically designated civic site in a small southern town designed by one of the great town planners – perhaps Nolen, Olmstead, or Duany. Like all good pre-war traditional architecture, the building would be built with durable, authentic materials appropriate to its style and location. The building and its interior would be splendidly detailed.

You have to single out one particular house and an icon of inspiration which would it be? And why?

Reynolda House - designed by the underappreciated American architect Charles Barton Keen. What strikes me about this early twentieth century country house is how inventive the design is. Although the house is large and spacious, the unconventional floor plan feels surprisingly informal and comfortable. The bold massing is a clever response to the architectural program and the site conditions. The material and detail expression is exceptional for its restraint and efficiency. The house is a refreshing interpretation of the Colonial Revival and Arts and Crafts styles.

With my own work, I’m not interested in creating the perfect representation of a particular historical style. My design approach has always been how any style can be interpreted by the synthesis of the regional context, the architectural program, and the building form.

If you weren’t an architect what do you think you would be doing today?

If I weren’t an architect, this interview would be about my life as an actor on the big screen!

The above interview with Eric Watson 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Photographer Donato Oronzo Cacciapaglia

2011-09-01T04:01:00.001-04:00

M/M M/M Moments of Absolute Clarity #6

2011-09-01T04:00:00.001-04:00

an exclusive series produced by Lalle Johnson

M/M Issue: August 2011

2011-08-01T04:09:00.002-04:00

Manner of Man Magazine

Issue: August 2011

Table of Contents

Taki's Universe

The Brand: Manner of Man

Interview with Salvatore Grimaldi

The Duke at 90 Part One

The Duke at 90 Part Two

Interview with Campion Platt

Paris

My Son Temple Complex

Interview with Henri Togna

M/M Taki's Universe

2011-08-01T04:08:00.000-04:00

by Taki Theodoracopulos

This article frst appeared in th Spring 2011 issue of the Quarterly Review and is reproduced in Manner of Man Magazine with the written consent of Quarterly Review.

Around thirty years ago I wrote an essay for the American Spectator titled “American Women Are Lousy Lovers”. It had nothing to do with the sex act, or the ability of American women to perform well in the sack – rather the lack of sensuality in feminists like Andrea Dworkin, Betty Friedan and other uglies of their ilk. The shrillness of their rhetoric being matched only by their lack of femininity was the theme. In no time a TV producer for the Phil Donahue Show was on the line (Donahue was the Oprah of his time, based in Chicago) inviting me to the show. It was summer, I was on my boat in Greece, and the last thing I wanted to do was to fly to humid Chicago and face a bunch of ugly American women screaming for my scalp. (Why is it that one never sees beautiful women protesting or screaming insults?) But the producer insisted, agreed to all my terms, plus a hefty under-the-table bribe, and off I was Chicago-bound.

“American women make ugly lovers,” yelled Phil into his mike as I sat alone on a tripod in a vast stage, “and this man wrote it” screamed Phil while the totally female audience rose to their feet and booed. I will not bore you with the details except that by the end the same audience stood up and cheered me, having booed Donahue non-stop once I had had my say.

In brief, what I said was that we Europeans are real men. We put our wives on a pedestal. Some of us cheat on them non-stop, but we also provide for them, protect them and never leave them for a younger model. “By the way, Phil” I asked him early on, “didn’t you leave the mother of your four children for a young bimbo recently, one Marlo Thomas?” “You bastard, how dare you?” hissed Donahue during a commercial. (We were on live for one hour and thirty minutes.) ” “Fuck you, Phil,” said poor little me. Needless to say, the audience’s median age was over fifty and their sympathies were with a gallant European such as myself, ready to cheat but never, ever, leave his wife.

Donahue refused to shake hands at the end and I flew back to Greece first class, compliments of his show. Oh yes, I almost forgot – on the way out, with the female producer apologizing profusely because Donahue had blown his cool, a tiny old lady came up and said, “I’m with you all the way…” The producer asked me if I knew who the lady was. I hadn’t a clue. “It’s Lana Turner,” said
my friend. Poor old Lana – she had worked all her life and had seen her hardearned cash disappear after taking advice from various gigolo-lovers. She was in real need for a provider-husband, and said so.

Which brings me to the subject at hand. What is a real man, anyway? Or, whatever happened to real men? Well, according to the great Greek philosopher Taki, they don’t make men like they used to. When my daughter was born thirty-five years ago I was in Palm Beach playing tennis. I flew to New York and got to the hospital just in time to see the baby cleaned up and presentable. The nurse thought I was a pig for not having been present at the birth. I told her I was not American. She looked really peeved. But the mother of my children was very happy I missed the rather awkward scene. I dread to think what I would go through today if the same thing happened.

The world has changed. Our cultural and moral decay are due to the breakdown of marriage, the decline of the church and the influence of feminism. Men today are afraid to say what they think, to stand up for their beliefs, to fight for their rights. One of the worst inventions of the 20th century is political correctness. PC is a persistent form of untruthfulness; it means adjusting what you say to what you think you ought to be saying, not what you actually know is true. It has forced a generation of males to keep their masculinity under wraps, and has made millions of men too timid to admit their real views about the world. Macho is no longer cool – according to PC, that is.

Even the concept of a hero is not politically correct. Equality and uniformity is to be treasured above the outstanding. The great heroes of yesterday are now derided as male chauvinist pigs. In his famous debate with Germaine Greer a generation ago, Norman Mailer won hands down, but was almost booed off the podium by male and female students. Mailer was painted a predator by La Greer – something he certainly was not, as he married six times and spent all his fortune paying ex-wives to be comfortable for life. The ghastly Bill Clinton was the first PC president, a manufactured phony who managed through his slickness to be loved by the fair sex. Some hero he, a physical coward who
dodged the draft but bombed a Christian country (Serbia) from 15,000 feet in order to establish a Muslim belt in the Balkans. I’d hate to see Clinton and men like him on the Titanic, when real men cheerfully gave up their places for women and children, and upper class men jovially waved goodbye as the lifeboats were being lowered leaving them behind. Clinton and his ilk would have either dressed as women or pushed the weaker sex aside to save their skins.

Heroes today do not come from the top down, as they used to. Heroes are the firemen who went in and died on 9/11, the men (and very few women) who fight in Afghanistan and Iraq – wars started by George W. Bush, a man who also dodged real fighting in Vietnam by joining the National Guard. Heroes today, or real men, are private heroes, not those overpaid, foul-mouthed sometime rapists like those playing in the Premier League, or the dope fiends of American football.

In my rather long life I have tried to be a real man by always being polite in the extreme towards women, and not taking any crap from obnoxious men no matter their size. I have stayed married to my wife for 35 years and they have been extremely happy years, at least for me – although I exercise my right to stray whenever I feel like it. I’m a male chauvinist and proud of it, but I have always put women on a pedestal, protected them and provided them the best I could, and the feminists can go to hell as far as I’m concerned – although there are those who think feminism is hell to begin with.

M/M The Brand: Manner of Man

2011-08-01T04:07:00.000-04:00

Image: Créations visuelles CLHO™ © by Charles-Louis Orsini. Image provided for exclusive use and may not be reproduced with out written authorisation.

M/M Interview with Salvatore Grimaldi

2011-08-01T04:06:00.002-04:00

Photo of Salvatore Grimaldi provided by Bianchi was taken by David Sica and provided to Manner of Man Magazine/Welldressed for exclusive use and cannot be reproduced without written authorisation. Copyright Stella Pictures. All rights reserved.

Interview with Mr. Salvatore Grimaldi, owner and CEO of the Grimaldi Industries was conducted by Nicola Linza and Cristoffer Neljesjö in Stockholm June 2011.

Interview with Mr. Salvatore Grimaldi

What inspired you to choose the entrepreneurial path of life?

Challenges are my inspiration. I like to challenge new things to see if can succeed.

Were you ever discouraged? Especially by others when you were starting out on your own?

I was never discouraged, I knew what I wanted and I worked hard. When I started in the 70´s people said that entrepreneurs were untrustworthy and tax evaders. Today, the view has changed and entrepreneurs are now seen as important builders of society

What single piece of advice would you give an entrepreneur today? In today’s economic state, and technological climate?

You have to be good at what you're doing, and feel it's something you can do. This gives you self-esteem and balance to start your own business.

In your view, why does a brand lose their clientele?

Clientele is lost when the brand standard is neglected. A brand is invaluable and has to be managed properly its entire life.

If you could change one thing about the business climate today what would it be?

A lot of people complain about Sweden but I think it's a great country. There is no bureaucracy and we have equality between the sexes. But I think Sweden should focus even more on entrepreneurship because the entrepreneurs are the engines in societies.

How would you describe the man Salvatore Grimaldi and except for business what do you enjoy in life?

I'm interested in people and I care about my co-workers. Perhaps I'm too kind sometimes but I'd rather be that than something else. I spend my spare time with my family, they mean the most to me. Life goes up and down but family always stays behind you.

The above interview with Mr. Salvatore Grimaldi 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M The Duke at 90 - Part One

2011-08-01T04:05:00.001-04:00

M/M The Duke at 90 - Part Two

2011-08-01T04:04:00.002-04:00

M/M Interview with Campion Platt

2011-08-01T04:03:00.002-04:00

This exclusive interview with architect and designer Campion Platt was conducted by Nicola Linza and Cristoffer Neljesjö in New York during May 2011

Interview with Campion Platt

What inspired you to become an architect with a total concept vision?

I have always been inspired by the great holistic architects and builders. From the first master builders in Egypt, these trained architects had to have a broad knowledge and experience in order to execute total designs. In the 19th and 20th centuries, William Morris, Frank Lloyd Wright, Carlo Mollino, Gio Ponti, Carlo Scarpa all come to mind as great sources of inspiration.

Please tell us a bit more about the “green village” at The Greenbrier Sporting Club, located on the historic grounds of The Greenbrier resort in White Sulphur Springs, West Virginia.

Nestled in the mountains of Sulphur Springs VA, is the historic Greenbrier hotel built in 1858 as an historic destination getaway. I was asked to design a green village development comprised of all green architecture and interiors reflecting the Appalachian vernacular and incorporating low carbon footprint design. We achieved this by finding all the materials for the project within a 500 mile radius of the hotel. I also designed a eco collection of fabrics for the project for HBF Textiles; http://campionplatt.com/product/view/hbf/

What is your personal definition of the word luxury?

Luxury is most about having time to enjoy what you cherish, whether it be a New York City penthouse, a Caribbean beach bungalow, time with your loved ones or just yourself. Luxury design and products all aspire to provide one with an ethereal sense of euphoria and abandon, in a word – happiness!

Describe your style?

I am definitely a modernist with a luxury bent, but consider my clients inspirations as aspirations foremost and as drivers for the grand design idea. As a result, all my projects vary greatly. I would also say I am classic, cozy, and comfortable with an eco/organic twist.

You are provided one white room with one large window and you can place one piece of furniture in it. What would it be? And why?

I assume you mean the room, not the window. I would have to say my "sleeping hero" daybed. You can dream on it, eat, play, talk, work on it and best of all, you can fold it up and put it away- the ultimate luxury of creating empty space without it.

M/M Paris

2011-08-01T04:02:00.001-04:00

M/M My Son Temple Complex

2011-08-01T04:01:00.001-04:00

Image of My Son Temple Complex, circa 9th century (possibly earlier) Unesco World Heritage site, Cham culture (Vietnam) provided by Nathan Lauer to Manner of Man Magazine for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

M/M Interview with Henry Togna

2011-08-01T04:00:00.002-04:00

This exclusive interview with Henry Togna of Tempo, London was conducted by Nicola Linza and Cristoffer Neljesjö in London during May 2011

Interview with Henry Togna

Please describe Tempo for our readers who have yet had the chance to visit.

Tempo is my first restaurant and was literally a spur of the moment acquisition from a friend. It is at 54 Curzon Street in Mayfair in the West End of London. I have always been passionate about food especially Italian food since my father’s family was from Florence and I was brought up within that culture. So when the opportunity to be a restaurateur arose, I knew exactly what I wanted the cuisine to be. I chose an interior designer who would give the restaurant and bar a light and airy feel with a 1950s retro Italian mood. There is a bar on the second floor designed in a rococo revival style for the Duchess of Sutherland in 1850 which must be one of the most beautiful in London. Surprisingly, the head chef, Yoshi Yamada, is Japanese, but he lived and worked in kitchens in Italy for five years. He is a highly talented, creative chef whose aspirations matched mine. We designed a menu that was essentially artisanal, using ingredients sourced from Italy direct wherever possible; always the finest available; treat them with respect; change the menu regularly chiming with the seasons; and let the flavours of the best available produce shine through. There is no attempt to fuse Italian and Japanese cooking but the precision of the latter is telling in the execution of the former.

How would you describe your personal style?

My personal style is restrained but always with a discreet touch of flamboyance. I believe that elegance is all - in appearance, in the manner in which I deal with people, in speech and action. In dress, there is nothing more comfortable to wear than hand-made clothes, and the sense of wellbeing engendered by a Huntsman suit from Savile Row with a simple Emma Willis pale blue shirt, and always an Hermes tie, with Lobb shoes, is wonderful. They say, correctly, that you can always tell a gentleman from his shoes! But there’s always a time too for ‘Seven for All Mankind’ jeans, Tod’s loafers and any Faconnable shirt.

What is the most significant factor to you in selecting a restaurant?

In selecting a restaurant, it’s always the quality of the food that is critical to me, and whilst that may seem obvious there are many restaurants in London which are full of people there for the ‘buzz’ rather than the food. Consistency and service play a major part for me also. There is an extraordinary array of restaurants in London serving amazing cuisine from all over the world. Many would say that the best food in the world can now be found in London so one is spoilt for choice - always assuming that you actually can make that reservation!

You are hosting a private formal dinner for our magazine 50 people. What are you suggesting for the menu?

The menu I would choose is the one that we just served in Tempo to 56 members of the Accademia Italiana della Cucina. It was very well received! It is below.

Bocconcini croccanti di maiale, carta di musica

con ricotta e puréa di asparagi, merluzzo in tempura

Carpaccio di spigola selvaggia

con fettine di finocchio e melagrana

Tortelli di pisellini primavera con ricotta e pecorino

al gusto di salvia e menta

Filetto di trota di mare con salsa verde,

servito su un letto di patate e finocchio marino

Torta al limone servita con lamponi e panna acida

Where do you find inspiration?

I find inspiration every day, everywhere. For my restaurant I am inspired by the brilliance of Ruthie Rogers, an expatriate American married to Lord Rogers, the architect, and the genius of her River Cafe. I read voraciously and am inspired by the writing of others; by the photography of others; by the seasons, and just by life itself.

M/M Issue: July 2011

2011-07-01T04:10:00.003-04:00

Manner of Man Magazine

Issue: July 2011

Table of Contents

Hakluyt's Voyage

The Brand

Interview with Luca Bassani

Splendour of Portugal

Francis Terry - The Leake Street Classicist

The Imperial City, Hue, Vietnam 19th Century

A Glimpse of the Divine: Michelangelo

Interview with Barclay Fryery

The Summer Palace of the Emperor Tu Duc

M/M Hakluyt’s Voyages

2011-07-01T04:09:00.001-04:00

Hakluyt’s Voyages – the understated epic of an island nation
Derek Turner

Richard Hakluyt’s Voyages (1) was once standard reading for British schoolboys, but has now sadly fallen into desuetude. Sadly, because it provides an intimate and entrancing record of the Elizabethan age of exploration, an age which helped to shape England’s self-image – Froude called it “the prose epic of the English nation” – and which still exerts a considerable effect amongst historians and romantics. The Cambridge Guide to English Literature calls the book “a priceless compendium of information on travel and discovery”, while a noted maritime historian has said

“Hakluyt was the first great English writer on the sea, and by some standards the greatest there has been.”(2)

Richard Hakluyt, who was born in either 1551 or 1552 and died in 1616, came from a Herefordshire family which traced its origins to the 13th century. The unusual surname was probably Welsh in origin and was probably pronounced “Hacklitt”. He is sometimes called “The Younger” to distinguish him from his eponymous older cousin, a lawyer who became his guardian after Hakluyt’s father died – and who got his ward hooked on geography. The Younger later recalled a formative visit to his cousin’s rooms at the Middle Temple:

“I found lying upon his board certain books of cosmography, with a universal map. He, seeing me somewhat curious in view thereof, began to instruct my ignorance…He pointed with his wand to all the known seas, gulfs, bays, straits, capes, rivers, empires, kingdom, dukedoms and territories of each part…From the map he brought me to the Bible and, turning to the 107th Psalm, directed me to the 23rd and 24th verses, where I read that they which go down to the sea in ships and occupy by the great waters, they see the works of the Lord and His wonders in the deep.”(3)

The Younger was educated at Westminster School and Oxford. He took holy orders, becoming prebendary of Bristol and archdeacon of Westminster. But his main interest was always geography. He gave lectures to demonstrate “both the old imperfectly composed and the new lately reformed mappes, globes, spheares, and other instruments of this art” (4) , and read voraciously all the travel literature in Greek, Latin, Italian, Spanish, Portuguese, French and English. He started to collect, edit and translate mariners’ accounts of their voyages, and corresponded with intellectuals like John Dee, polymath and friend to both Hakluyts, who also took a close interest in hydrography and geography. He spent the period 1583-1588 in Paris as chaplain to the British ambassador (ironically, his only trip abroad), and it is said that he was provoked into writing by meeting there French and Portuguese explorers who gibed at England’s “sluggish security” – her failure to capitalize upon her navigators’ discoveries. While at Paris, he published his A Discourse of Western Planting (1587) at the request of Walter Raleigh, and this became the chief rationale for English settlement of the Americas. Hakluyt was made prebendary of Westminster in 1603, accumulated many livings (including Jamestown) and when he died was buried in Westminster Abbey – although his grave (rather appropriately) has been lost.

The first edition of Voyages appeared in 1589 and was an instant success (5) . It was followed by the vastly expanded second edition between 1598 and 1600. Hakluyt was fortunate in his timing; as John Hampden wrote in 1970,

“Richard Hakluyt was born not only into an expanding England, but into an expanding world and an expanding universe.” (6)

The deadly rivalry with the Spanish had culminated the preceding year, when the proverbial

“Protestant winds” had broken the Armada on the British coast and left the world’s seaways increasingly open to daring freebooters like Raleigh, Drake and Hawkins. There was a fortuitous nexus between patriotism (7) , profiteering, philosophical and scientific enquiry, reformed religion and sheer lust for adventure which allowed the English to take the lead in extra-European exploration and expansion. This temperament was well expressed by Sir Humphrey Gilbert, Raleigh’s half-brother who drowned in 1583 on a return voyage from the Americas, whose motto was “We are as near to heaven by sea as by land.”

Travel writing notoriously lends itself to exaggeration and error, and some has been manufactured from whole cloth (8) . Hakluyt sought to be factual and systematic. But although the accounts in Voyages vary greatly in length, eloquence and style, even the tersest convey the energy of the era and the wonder of wanderlust. Simply listing some of the contents constitutes a kind of poetry of proper nouns –

“The New Found Land…The first voyage to Guinea and Benin…The Battle of San Juan…A powder-maker’s adventures… Oxenham’s raid on Panama…the captivity of John Foxe…A voyage to India…A trip to Jerusalem…An embassy to the Great Turk…The discovery of Virginia…Drake’s raid on Cadiz…The last fight of the Revenge.”

The accounts combine romance, resonant phraseology, reminders of dangers, astute observation and earthiness. Thus the 1553 expedition of Richard Chancellor to Russia, one of many attempts by the English (and Dutch) to find a hypothetical “North-East Passage” to the spice sources of the east:

“Master Chancellor held on his course towards that unknown part of the world, and sailed so far that he came at last to the place where he found no night at all, but a continual light and brightness of the sun shining clearly upon the huge and mighty sea.”

Then there are the reminders of exactly what it was like to sail off northern Russia:

“Our mariners which we left in the ship in the meantime to keep it, in their going up only from their cabins to the hatches had their breath oftentimes so suddenly taken away that they eftsoons fell down as men very near dead, so great is the sharpness of that cold climate.”

There are memorable encounters with locals, in this case not especially productive:

“Two Tartarians, which were then of the king’s stable, were sent for…they were demanded touching their country and the manners of their nation. But they were able to answer nothing to the purpose, being indeed more acquainted (as one there merrily and openly said) to toss pots than to learn the states and dispositions of people.”

The account also describes 16th century Moscow and other Russian cities, the Emperor of Muscovy and his court, the local economy, military tactics, crime and punishment, the Orthodox Church, shamanic survivals, and how ordinary people live, even down to their headgear.

The colourful tale of Job Hortop, a country boy from Lincolnshire who went to London at the age of 12 to serve an apprenticeship and was there press-ganged into going to sea in 1567, is justly celebrated (9) . The commander of his expedition was Sir John Hawkins, making his third voyage to the West Indies. There were six ships in the expedition, two state-owned and four belonging to Hawkins (10) , one commanded by Francis Drake.

The voyage started inauspiciously, with seven days and nights of storms, during which several men were lost. More excitement came when they captured a Portuguese caravel off Cape Verde, then they landed and “took certain negroes” (11) at the cost of eight of their own men, shot by poisoned arrows. One of their longboats had a collision with a walrus, an unlikely-sounding event in those latitudes, and two more men were lost. They became involved in a tribal war, allying themselves with three local kings and helping them to capture a town. Here they took another 500 slaves for sale in the Americas (those unfortunates were however luckier than the 7,000 captives drowned by the victorious monarchs). Then they fought a successful battle with seven Portuguese caravels, after which they set sail for the West Indies. Here there were natural perils -

“We found a monstrous venomous worm with two heads; his body was as big as a man’s arm and a yard long…Here be many tigers, monstrous and furious beasts, which by subtlety devour and destroy many men…we killed a monstrous lagarto or crocodile…he was 23 feet by the rule, headed like a hog, in body like a serpent, full of scales as broad as a saucer; his tail long and full of knots as big as a falcon shot; he hath four legs, his feel have long nails like unto a dragon.”

There were also the Spanish, with whom they alternately exchanged cannonballs and compliments. They eventually had a full-scale battle, described in Boys’ Own-like detail:

“Our General courageously cheered up his soldiers and called to Samuel, his page, for a cup of beer, who brought it to him in a silver cup, and he drinking to all men willed the gunners to stand lustily by their ordnance like men. He had no sooner set the cup out of his hand but a demi-culverin shot struck away the cup and a cooper’s plane that stood by the mainmast, and ran out of the other side of the ship; which nothing dismayed our general, for he ceased not to encourage us, saying: ‘Fear nothing, for God, who hath preserved me from this shot, will also deliver us from these traitors and villains.’”

There was hunger – “We were driven to eat hides, cats, rats, parrots, monkeys and dogs” – and at last Job and 95 others were set ashore because there was not enough food to go round (Hawkins was justly criticized when he got back to England because he had left the men, but made room for lucrative slaves). Here they were attacked and robbed of their clothes by Indians – “we made wreaths of green grass which we wound about our bodies, to keep us from the sun and the gnats of that country” – who also killed several of their company. Then they were captured by the Spaniards and brought to Mexico City, where they met with threats of execution and pressure to convert from the Inquisition, and refused to do slaves’ work. They were imprisoned for two years before being sent to Spain, in a ship containing ginger and “the anatomy of a giant”. Treated chivalrously by the Spanish captain, they saved the fleet from running aground and saw – a merman! –

“…a monster in the sea who showed himself three times unto us from the middle upwards, in which parts he was proportioned like a man, of the complexion of a mulatto or a tawny Indian.”

In Spain, they were imprisoned in Seville. They broke prison after a year but were retaken, and spent another year in prison. Two were burnt at the stake, then some were sentenced to serve aboard the galleys, where they were

“chained four and four together…our lodging was on the bare boards and banks of the galleys, our heads and beards were shaved every month; hunger, thirst, cold and stripes we lacked none.”

Hortop spent 12 years in this purgatory, then another seven years in penal servitude. He escaped at last in a small boat and arrived back in England in 1590, 23 years after he had left.
Voyages is so rich that it is impossible to do justice to the whole corpus, and one is left remembering fragments. Some are revolting:

“They fall into sundry diseases, their gums wax great and swell and they are fain to cut them away; their legs swell, and all the body becometh sore and so benumbed that they cannot stir hand nor foot, and so they die for weakness.”

Some are harrowing, like Drake’s 1578 execution of the “mutineer” Thomas Doughty. The details are even now disputed by historians, but Doughty apparently confessed to endangering the voyage, then

“[S]eeing no remedy but patience for himself, desired before his death to receive the communion, which he did at the hands of Master Fletcher, our minister, and our General himself accompanied him in that holy action. Which being done, and the place of execution made ready, he having embraced our General, and taken his leave of all the company, with prayers for the Queen’s Majesty and our realm, in quiet sort laid his head to the block, where he ended his life.”

Some are indicative of the schizophrenic attitude of Europeans to ‘savages’, whom they simultaneously idealized and caricatured. For example, Arthur Barlowe, who travelled in Virginia in 1584, recorded

“[W]e found the people most gentle, loving, and faithful, void of all guile and treason, and such as live after the manner of the golden age.”

But just a few pages further on

“Their wars are very cruel and bloody…and of their civil dissensions which have happened of late years amongst them, the people are marvellously wasted.”

There are amusing tales, too. The Spanish Armada ships were not permitted “to carry any women or harlots in the fleet, for which cause the women hired certain ships wherein they sailed after the navy”. One can only imagine the fraught atmosphere aboard these vessels, with their complement of wives and prostitutes. Even better, some of these craft were driven aground on the French coast, and such castaways must have nonplussed the locals.

But the overall impression is inspiration for Englishmen –

“It cannot be denied, but as in all former ages, they have been men full of activity, stirrers abroad , and searchers of the remote parts of the world.” (12)

The English acquit themselves honourably against all comers, whether crewmembers –

“[T]he boatswain fared amongst the Turks like a wood lion” – or officers like Sir Richard Grenville, whose cannon raked the Spanish ship San Philip – which “shifted herself with all diligence from her sides, utterly misliking her first entertainment.”

Perhaps it is this serene confidence in Anglo-Saxon superiority that has made Hakluyt unfashionable – allied to the wider prejudices in educational circles against exciting history and allegedly ‘difficult’ texts. There seems to be a fastidious unwillingness to take the past on its own merits, with all its acknowledged injustices and grittiness. Too many look at the past as being not just another country, but another civilization. And yet as Hakluyt wrote to Walter Raleigh in 1587, “geography is the eye of history” (13) , and today’s diminished Europeans arguably need to be aroused out of their “sluggish security”. Those so-distant Englishmen who carved up the world with such confidence have lineal and cultural descendants whose shadowed present grew from this piquant past, and whose lives and prospects would be enhanced by celebrating the fact.

DEREK TURNER is the editor of the Quarterly Review and an advisory board member of Manner of Man Magazine.

NOTES
1. First published as The principall Navigations, Voiages, Traffiques and Discoueries of the English nation made by Sea or over Land, in the most remote and farthest distant Quarters of the earth at any time within the compasse of these 1500 years
2. Michael Stapleton, The Cambridge Guide to English Literature, CUP: 1983. J. A. Williamson, “England and the Sea”, essay in The Character of England (ed. Ernest Baker). OUP: 1947
3. Epistle Dedicatory to the first edition of Voyages, 1589
4. Most famously, 1587 saw the publication of Gerhard Mercator’s revolutionary maps of the world, which projected the meridians as equidistant parallel lines and latitudes as parallel straight lines at right angles to the meridians.
5. There have been many editions of or selections from Voyages. The authoritative edition is that published in 12 volumes by the Hakluyt Society between 1903 and 1905, estimated to total around 1,250,000 words (see www.hakluyt.com for details of the Hakluyt Society, founded in 1846). For the purposes of this article, I have relied mostly on The Tudor Venturers (selections, ed. John Hampden), Folio Society, 1970.
6. Introduction to The Tudor Venturers
7. Notwithstanding Queen Elizabeth’s lack of real interest in maritime affairs – “The maritime glory of her reign flourished under her general success but owed little to her good will or comprehension” (Williamson, op. cit.)
8. The classic example is The Travels of Sir John Mandeville, a 1499 book purporting to have been written by an English aristocrat, but almost certainly put together by Jean d’Outremeuse of Liége from old French accounts and fairy-tales. Amongst many other marvels, “Mandeville” records the Fountain of Youth and ant-hills of gold-dust.
9. Hortop’s memoirs were published in 1591 as The Travailes of an Englishman. Containing his sundrie calamities indured by the space of twentie and odd yeres
10. “The non-professional element has always been prominent and accepted in English sea affairs” (Williamson, op. cit.)
11. In 1568, Hawkins was ennobled and his new coat of arms featured a bound African slave as heraldic “achievement” to signify how the family came to prominence. His descendants no longer use the device
12. Epistle Dedicatory to the first edition of Voyages, 1589
13. In his dedication in A Discourse of Western Planting

M/M The Brand: Manner of Man

2011-07-01T04:08:00.013-04:00

M/M Interview with Luca Bassani

2011-07-01T04:07:00.004-04:00

This exclusive interview with Luca Bassani of Wally was conducted by Nicola Linza and Cristoffer Neljesjö in Monaco during June 2011

Interview with Luca Bassani

Why did you start Wally?

Because I could not find any boat on the market which could intrigue my passion and satisfy my experience. so I decided to design and build myself such a type of boat: fast and easy.

In designing a new yacht what are the primary factors you take into consideration for a new client?

I need to know his marine experience and his wishes in terms of cruises, family, friends, style of life onboard. But on top of everything I need to know if he likes to innovate, to be the first or if he likes to be reassured.

What was the inspiration behind the Wally-Hermes Yacht?

I thought that two brands so iconic and two products so much on top of the market could create together a new standard in any size of yachting. The WHY was the first expression of this synergical cooperation; a mega yacht which breaks all the traditional rules to offer more and simply more: we indeed created a new art of living on the sea.

For those who have yet to have the pleasure to experience your video presentation of the Wally-Hermes Yacht can you describe some of the unique characteristics and significant design elements?

The stability of this well proven hull; the exploitability of a shape that is much much wider than traditional yachts (traditional yachts are like trains ! long and narrow ); the feeling to live on your own island rather than on a yacht; the coherence of the whole project inside and outside; the sustainability of the whole system.

It seems that many luxury brands today have lost sight of their true clientele and are relying on social media and apps to generate direct sales. You are one who has a clear and honest understanding of your clientele who are ready, willing and able buyers. How do you view social media and apps?

We are small enough to keep the feeling of what our clients want and how our product has to be to satisfy them. our products are based on clear ideas: performance, quality, style. And we want to sell our products not our booth at the boat-shows nor our promotional events and apps. For us the market is still driven by the client and by the product, stop.

As you have successfully cornered the large luxury yacht market clearly your buyer lives the lifestyle therefore how does brand awareness play into your marketing?

Brand awareness is extremely important in any industry but you can achieve it only if you have a good product and a good service. And always be very coherent with everything you do, with no compromises. Difficult to build and very easy to destroy!

The above interview with Luca Bassani 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Splendour of Portugal

2011-07-01T04:06:00.000-04:00

M/M Francis Terry - The Leake Street Classicist

2011-07-01T04:05:00.003-04:00

M/M The Imperial City, Hue, Vietnam (19th century)

2011-07-01T04:04:00.000-04:00

Images from within the Imperial City, Hue, Vietnam (19th century) provided to Manner of Man Magazine by Nathan Lauer for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

M/M A GLIMPSE OF THE DIVINE: MICHELANGELO DRAWING TO BE OFFERED AT CHRISTIE’S IN JULY 2011

2011-07-01T04:02:00.000-04:00

A GLIMPSE OF THE DIVINE: MICHELANGELO DRAWING TO BE OFFERED AT CHRISTIE’S IN JULY 2011 RARELY SEEN STUDY FOR ONE OF THE ARTIST’S SEMINAL COMMISSIONS EXPECTED TO REALISE £3 MILLION TO £5 MILLION

Old Masters and British Paintings Evening Sale Auction: Tuesday 5 July 2011 at 7pm

Christie’s will offer an exceptional and rarely seen drawing by Michelangelo Buonarroti (1475-1564) at the Old Masters and British Paintings Evening Sale on Tuesday 5 July 2011 in London. Drawn at a pivotal point of the artist’s career, this preparatory study is one of only 24 sheets related to his seminal, prestigious and lost commission of The Battle of Cascina – and the last to remain in private hands. The commission saw Michelangelo pitched directly alongside his elder rival Leonardo da Vinci who was commissioned to paint The Battle of Cascina on the opposite wall of the newly-built Sala del Gran Consiglio in Florence’s Palazzo della Signoria. The drawing has been seen in public only once before at the exhibition of the artist’s drawings at the Albertina, Vienna, in 2010, and is expected to realise £3 million to £5 million. It is being offered at auction for the first time having been in the same collection for over 30 years.

Benjamin Peronnet, Director and International Head of Old Master and 19th Century Drawings, Christie’s: “This drawing relates to one of the highpoints of the Renaissance – the commissions for the Sala del Gran Consiglio in Florence. The young Michelangelo was pitched directly against his elder rival, Leonardo da Vinci, as both were commissioned to execute large-scale depictions of battle scenes. Sadly neither exists, and there are few relics relating to these epic masterpieces. This drawing offers an exceptionally rare, direct link to one of the greatest Western masterpieces that never was, and offers us a glimpse into the mind of a genius at the peak of his powers as he freely put his thoughts to paper. We’re very excited to be offering the work at auction for the first time, and to be able to show a rarely seen drawing by Michelangelo to the public in Hong Kong, New York and London.”

Michelangelo is one of the very few artists whose reputation has never faltered and who excites the same admiration today as he did among his contemporaries, who called him ‘divine’. This vigorous, dynamic double-sided sheet, which is a preparatory study for The Battle of Cascina, probably dates from late 1504, shortly after Michelangelo had begun to work on the commission. At this stage his ideas for the composition were still fluid and this sheet is evidently an exploratory work in progress, perhaps seen most clearly in the pentimento on the recto which betrays an earlier idea for the inclination of the head. The verso gives an impression of forceful energy, combining three figures at different stages of finish, which seem almost to blend into one another, the lightly-sketched form on the left countering the densely-hatched hip and thigh on the right-hand side of the sheet. The male nude was always the subject which most inspired Michelangelo, who saw in the unclothed form the perfection of the Platonic soul. His decision to focus The Battle of Cascina on a group of bathing soldiers, unexpectedly called to arms, allowed him to explore the full potential of the twisting, energised male body; and both sides of the present sheet show a characteristic interest in the tension of the back and thigh muscles, and the delineation of the spine.

The Battle of Cascina was to represent a Florentine victory of 1364 over neighbouring Pisa, against which the Florentines were again considering military action in 1504. Commissioned for the newly-built Sala del Gran Consiglio in Florence’s Palazzo della Signoria, the fresco was to inspire and educate the 3,000 members of the city’s republican government who gathered in the hall. The commission was a coup for Piero Soderini, the elected head of state. Florentine civic virtue was to be commemorated through two frescoes, each representing a historical victory. The two frescoes were to be executed by the two most notable Florentine artists of the day: Michelangelo and Leonardo, directly set against one another in a thrilling ‘battle of Battles’. Unfortunately, Soderini’s dream was never accomplished: Michelangelo was recalled to Rome by Julius II in 1505 and completed no more than the central section of his cartoon. Leonardo began to paint his fresco, but it began to deteriorate almost instantly and was abandoned partway through. Michelangelo’s cartoon, which had such a powerful influence on the next generation of Florentine artists, was broken up and dispersed among admirers within only a few years of its execution. It is now known only through copies. The present drawing is therefore one of only 24 sheets from Michelangelo’s hand which record his vision for The Battle of Cascina and it is the only study for the fresco in private hands, as well as being the most recent addition to the group.

M/M Interview with Barclay Fryery

2011-07-01T04:01:00.001-04:00

This exclusive interview with Barclay Fryery was conducted by Nicola Linza and Cristoffer Neljesjö in Greenwich, Connecticut during May 2011

Interview with Barclay Fryery

Why did you become a designer?

I became a designer because I love working with beautiful things -- making something from nothing...

How would you describe your personal style?

My personal style is simple, clean and not too precious.

You can design one interior anywhere in the world without budget constraints. What is it?

If I could design any place in the world without budget constraints - it would be an old palace I discovered a few years ago in Fez, Morocco -- divine!

If you could have your portrait done by an artist of any time who does it? Where does the completed picture hang?

I would adore my portrait done by Michaelangelo as a giant sketch!

It is 1970 we are meeting up at a party that Luchino Visconti is having in Rome. What are you wearing? In addition, whom do you want to meet?

In the 70's at Visconti's party I would dress up like Casanova from the Fellini film and want to hang with Gina Lollabrigida!

The above interview with Barclay Fryery 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M The Summer Palace and Tomb of the Emperor Tu Duc

2011-07-01T04:00:00.001-04:00

Image of the summer palace and tomb of the Emperor Tu Duc, Hue Vietnam, 19th century provided by Nathan Lauer for exclusive use and cannot be reproduced without written authorisation. All rights reserved.

M/M Issue: June 2011

2011-06-01T04:10:00.009-04:00

Manner of Man Magazine

Issue: June 2011

Table of Contents

Manner of Man Magazine: Men’s Style Magazine

Interview with David de Rothschild

Heritage - Jermyn Street

Moments of Absolute Clarity #5

an exclusive series produced by Lalle Johnson

Interview with Jack Lenor Larsen

Discovered: Unrecorded 17th Century

Masterpiece by Adriaen de Vries - London, 7 July 2011

"To be prepared is half the victory." ~ Miguel de Cervantes Saavedra

Interview with Johan Eliasch

An Obsession

M/M Manner of Man Magazine: A Men's Style Magazine

2011-06-01T04:08:00.000-04:00

"Whatever you can do or dream you can, begin it. Boldness has genius, power, and magic in it."

- Johann Wolfgang von Goethe

M/M Interview with David de Rothschild

2011-06-01T04:07:00.005-04:00

Image of David de Rothschild taken nearing Fiji by the Plastiki Crew supplied to Manner of Man Magazine/Welldressed by David de Rothschild for exclusive use and may not be reproduced without written authorisation. All rights reserved.

This exclusive interview with environmentalist David de Rothschild was conducted by Nicola Linza and Cristoffer Neljesjö somewhere near Fiji.

Interview with David de Rothschild

You have utilised your talents and resources as an environmentalist, ecologist, adventurer and activist. How would you best like to be known?

I’d be very happy to be known as an environmentalist or adventurer. Working for the environment is certainly not a nine ‘til five job but that’s part of the enjoyment. I wouldn’t do anything else.

There is a line you have used, that we like very much, you have been quoted as saying, “Curiosity is a great driver of change.” Please elaborate on that stance.

To be curious is to discover, some of the greatest discoveries known to mankind have started with a question and it is that question that turns into an adventure.

For me, the essence of adventure lays in the ability to harness the power of dreams and stories in order to inspire, educate and engage individuals, communities and industry to become agents of change.

Describe The Adventure Ecology portal.

Adventure Ecology, the organization behind the Plastiki expedition was launched in 2005 to educate, entertain and raise awareness of environmental and social issues whilst driving real world solutions. In the five years that have followed we have been working hard to give nature a voice; from traversing icecaps to trekking through rainforests to successfully crossing the Pacific Ocean in a catamaran made buoyant by 12,500 plastic bottles. We’re motivated by one simple pursuit: to inspire and engage widespread, global attention and action to combat the critical issues faced by planet Earth.

As the world around us evolves, so must Adventure Ecology, urgency for environmental action is greater than ever before. To respond to these global challenges requires new methods– ones that harnesses the power of adventure, journalism, business, art and community. For this reason, we’ve spent 2010 incubating a new organization called MYOO that will replace Adventure Ecology as the group driving our future expeditions and adventures. Here at MYOO we believe in collaboration, innovation, storytelling and adventure to drive social and environmental change. The name MYOO is taken from the word community spelt phonetically (kuh-MYOO-ni-tee) and this is what we are; a unique community of problem solvers, future thinkers, creatives, writers, producers, innovators and designers with the common goal to inspire dreams, fuel conversation, share innovations and activate change. Log onto myoo.com to see what we’re up to and how you can get involved.

We strongly believe with today’s technology there is no need to waste our natural resources to produce a relevant publication on paper. How do you feel about the unnecessary use of natural resources?

There are so many clever alternatives to using natural resources unnecessarily, like you mention with printing on paper- it’s exciting to have online magazines where we can explore the wonders of technology to bring content to life and share with the world.

What is your next adventure?

We’ve got lots of adventures on the horizon; stay tuned to myoo.com to find out more.

The above interview with David de Rothschild 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Heritage - Jermyn Street

2011-06-01T04:06:00.002-04:00

M/M Moments of Absolute Clarity #5

2011-06-01T04:05:00.004-04:00

an exclusive series produced by Lalle Johnson

M/M Interview with Jack Lenor Larsen

2011-06-01T04:04:00.003-04:00

This exclusive interview with Jack Lenor Larsen was conducted by Nicola Linza and Cristoffer Neljesjö in East Hampton, New York during May 2011

Interview with Jack Lenor Larsen

To what do you attribute your life-long dedication to fabric and textile history and design?

My best friend in school was an over achiever, who inspired me because of the many things he did very well. As I couldn’t do these things, I had to do something else, creating a considerable drive, which hastened my career. (Being an “Early bloomer” has merit but all merit) As geography and history were always my favorite subjects, international textile history tied into my weaving. Good!

You are a legendary genius and scholar of great integrity in the field. How do you describe yourself?

I am not a genius but do persevere. I learned not to attempt perfection. Because I was principal of my company I didn’t have to design “last year bestseller.”

I am craftsmaker and a gardener. I’ve written 12 books, am a lecturer and a chairman. It’s been a very rich life but the best of my time is now. I’m grateful for it, more humble and compassionate, friendly – finally!

You have been quoted as saying, “Of all the hues, reds have the most potency. If there is one electric blue, a dozen reds are so charged. Use them to punctuate white, burn into bronzes, or dynamite black.” How does such color energy play into your design decisions?

Color is dessert – available in all fields yet un-fathomable. I learn all the time. I don’t draw well. I never really did, as drawing is not my talent, becoming a weaver was key. Color was available to me from four years of age and I used it. It has always been about expanding and discovery. Most important is the value or relative darkness of color, but most people don’t realize that. For this same reason the French painter, Bonnard used color mostly in the middle value ranges precisely and beautifully.

How in your personal view does the world’s rich fabric and textile history enhance our human experience?

Textiles are close to our skin. We are born into them and die in them. Without being aware of them, people relate to textiles. They are also classless. People may not know art, but they respond to textiles positively or negatively. They have structure in how the materials are put together, but even anthropologists look at their patterns and symbols, not how a textile is constructed.

What are your long-term goals for LongHouse Reserve?

I would like to get beyond just our visitors to have LongHouse serve as Case Study of lifestyle. I want LongHouse to be a place for discovery to express life, but to a much wider audience. It is important to think beyond convention. The worst thing is people being overly concerned with doing things the “right way” as opposed to their own way. I believe in learning, I lead because of failing as follower. I enjoy making something out of nothing, because it’s much more interesting that way.

The above interview with Jack Lenor Larsen 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M DISCOVERED: UNRECORDED 17TH CENTURY MASTERPIECE BRONZE MYTHOLOGICAL FIGURE SUPPORTING THE GLOBE BY ADRIAEN DE VRIES AT CHRISTIE'S IN JULY

2011-06-01T04:03:00.000-04:00

DISCOVERED: UNRECORDED 17TH CENTURY MASTERPIECE BRONZE MYTHOLOGICAL FIGURE SUPPORTING THE GLOBE BY ADRIAEN DE VRIES EXPECTED TO BECOME THE MOST VALUABLE EARLY EUROPEAN SCULPTURE SOLD AT AUCTION WHEN IT IS OFFERED AT CHRISTIE’S IN JULY

Christie’s announce the recent discovery of a previously unrecorded 17th masterpiece by the Dutch master of Mannerist sculpture Adriaen de Vries (1550-1626): a bronze Mythological Figure Supporting the Globe, which is estimated to realise between £5 million and £8 million when it is sold in The Exceptional Sale of Decorative Arts on 7 July 2011. Dating to 1626, this is possibly the last fully autograph work executed by the artist, presenting the pinnacle of his sophisticated skill. Discovered in 2010 on a routine Christie’s valuation, this bronze - which measures 43 inches (109cm) high - stood unrecognised for at least 300 years atop a fountain in the centre of an anonymous European castle’s courtyard, a location depicted in an engraving dating from circa 1700.

Donald Johnston, Christie’s International Head of Sculpture: “The appearance of this unrecorded masterpiece by Adriaen de Vries - one of the most important and avant-garde sculptors of the late Mannerist period - is a hugely significant discovery which provides an unprecedented opportunity for lovers of both old master and modern sculpture. A unique work of exceptional beauty and superb provenance, „Mythological Figure Supporting the Globe‟ has the potential to become the most valuable piece of early European sculpture ever to be sold at auction. It is truly extraordinary that such a monumental work is not recorded in any literature on the artist – a situation which was only possible due to its remote location in an aristocratic collection for so many centuries.”

The current world auction record for European sculpture was set in 2003 when Christie’s sold a parcel-gilt and silvered bronze roundel depicting Mars, Venus, Cupid, and Vulcan, Mantuan, circa 1480-1500, for £6.9 million. Prior to that, the most valuable early European sculpture was The Dancing Fawn, the most recent work by de Vries to be auctioned, which was sold to the Getty for £6.8 million in 1989. Thought to date to circa 1615, it is smaller than the bronze offered today and was neither signed nor dated.

Having trained as a goldsmith before working with Giambologna in Florence, Pompeo Leoni in Milan, and finally for Rudolf II in Prague, de Vries is one of the most fascinating sculptors of his era. Originally working in the meticulous style of Medici Florence, his style evolved, particularly after he was released from the strictures of the imperial court in Prague and he began working on a series of monumental sculptures for private clients.

De Vries developed a highly distinctive and impressionistic style in his later years, as did other artists such as Michelangelo, Titian and Rembrandt. His later style reflects his growing interest in the blurring of outlines and the play of light on the surface of his bronzes and it gives these works an immediacy that is lacking in many of the highly finished works he produced for the imperial court. It is this combination of a strong overall sense of form combined with the expressive modeling of surface details that makes these late works appear so modern. In his abstraction of the human form de Vries can be said to parallel the work of his contemporary, El Greco, who also discarded many of the conventional artistic canons of the Renaissance and Mannerist periods.
Inspiring modernist masters, the influence of de Vries on 20th century sculpture:

The arresting and dynamic stance of this male figure illustrates the remarkably modern surface handling of de Vries’ late works which mark him as an earlier precursor of avant-garde sculptors of the late 19th and early 20th centuries, from Rodin to Brancusi, Giacometti and Modigliani. The vigorous modeling of this sculpture moves away from the refined crisp clean lines of the artist’s early work, powerfully capturing the vitality of the subject’s movement, in an impressionistic and raw manner. Unlike most other bronzes which are cast in multiples, de Vries is one of the only sculptors working in bronze who almost exclusively used the direct lost wax process, which means that his works are almost always unique.

It is only in recent years that the direct inspiration of de Vries on Auguste Rodin (1840-1917), which had often been observed, was clearly confirmed when a relief of Les Forgerons, cast by Rodin, was discovered actually to be a copy of de Vries’s Vulcan‟s Forge of 1611, and not an original composition by the French sculptor. This is a clear illustration that de Vries was literally centuries before his time. The present bronze Mythological Figure Supporting the Globe represents the apogee of this movement towards a new expressionism and shows exactly why de Vries was so admired by sculptors of the late 19th and 20th centuries.

M/M "To be prepared is half the victory." ~ Miguel de Cervantes Saavedra

2011-06-01T04:02:00.010-04:00

M/M Interview with Johan Eliasch

2011-06-01T04:01:00.007-04:00

This exclusive interview with Johan Eliasch, Chairman of HEAD was conducted by Nicola Linza and Cristoffer Neljesjö in London during May 2011

Tell us a bit about your career, where did it start and why did you choose the sporting goods business?

My background is in turnarounds and restructurings, and as i am a keen sportsman myself, HEAD was an ideal turnaround candidate.

What do you feel distinguishes one top athletic brand from another?

Usually their dedication and focus on their sport. Just like an athlete. You need to be consistently better at performance, innovation and marketing.

Is there any difference doing business today in compare to 15 years ago?

Yes, the sporting goods industry became much more competitive, and the industry has somewhat been consolidated with fewer brands.

If you could have foreseen the past 25 years what would you have done differently?

Would not know where to begin…

Do you have any advice for young aspiring business men?

Learn and work hard. Hard work pays off.

Please describe the Cool Earth project.

Cool Earth is dedicated to preservation of rainforests, and as such supports local NGO’s projects in this area.

The above interview with Johan Eliasch 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher

AN OBSESSION

2011-06-01T04:00:00.005-04:00

M/M New Issue: May 2011

2011-05-06T15:46:00.005-04:00

Manner of Man Magazine

Issue: May 2011

Table of Contents

Inaugural Manner of Man Magazine Advisory Board selection

Christie's South Kensington: The Duarte Pino Coelho Collection

from the distinguished decorator’s houses in Madrid and Trujillo, Spain

Don't Wear Mirror Lined Divers' Helmets

Editorial: Do Not Experiment for Strangers

Moments of Absolute Clarity #4 an exclusive series produced by Lalle Johnson

Last Tsar of Russia - Tsar Nicholas II

The Henry Herbert Way

Interview with entrepreneur Johan Staël von Holstein

Barbour photo story: Loneliness

M/M Inaugural Manner of Man Magazine Advisory Board

2011-05-06T15:45:00.012-04:00

Nicola Linza and Cristoffer Neljesjö, co-owners of Manner of Man Magazine are honoured to welcome a highly distinguished group of gentlemen to the inaugural Manner of Man Magazine Advisory Board.

Lalle Johnson
Derek Turner
Patrick Baty
Ángel Miguel Pedro Martín Ayestarán Rodríguez
Gregory Lauder-Frost, FSA Scot.
Anthony Haden-Guest
Joe Ruggiero
John Blades

CHRISTIE'S SOUTH KENSINGTON: THE COLLECTION OF DUARTE PINTO COELHO

2011-05-06T15:44:00.000-04:00

THE DUARTE PINTO COELHO COLLECTION - From the distinguished decorator’s houses in Madrid and Trujillo, Spain

Auction, Christie's South Kensington, 85 Old Brompton Road
Wednesday, 20 & Thursday, 21 July 2011 at 10.00am

A photograph of Duarte Pinto Coelho being presented to H.M. Queen Elizabeth II by H.M. King Juan Carlos I of Spain and H.M. Queen Sophia of Spain, October 1988 (part of group lot, estimate: £1,000-1,500)

An extraordinary collection of more than 800 lots from the Madrid home and the Trujillo country house of legendary interior decorator Duarte Pinto Coelho will be offered for sale at Christie's South Kensington on 20-21 July 2011. The late Mr. Pinto Coelho was born in Portugal, moving to Paris as a young man, where he became friends with the likes of Coco Chanel, Elsa Schiaparelli and Salvador Dalí, among others. When he moved to Spain in the 1950s, he chose Madrid as his new home and there he started an antiques business that soon led to him becoming the first and most renowned decorator in the country. A refined, eclectic connoisseur, collecting was his passion and both his residences were adorned with a wealth of furniture, works of art, porcelain, pictures, silver, carpets and textiles. The collection as a whole is estimated to realise in the region of £1.5 million.

Pilar Gonzalez de Gregorio, Duquesa de Fernandina, Chairman of Christie's Spain: “Following the great successes achieved by the auctions of the collection of Manolo March and that of a Spanish Marqués (both offered in 2009 at our London salerooms), we are honoured to have been entrusted with the consignment of the sophisticated collection of Duarte Pinto Coelho. Born in Portugal, and trained in Paris, Mr. Pinto Coelho settled in Spain during the post-war years, but spent his life travelling all over the globe to look after his spectacular projects and to meet with his numerous friends. Considered to be one of the most influential Spanish decorators of the second half of the 20th century, Duarte’s unmistakable style and taste has been appreciated by some of the most important families both in Spain and abroad. His collections fully reflect his sprit and I am convinced that they will appeal to a very wide audience of international buyers.”

Duarte Pinto Coelho loved to declare that “a house should, at the end, look as if the designer had never set foot in it”: a demonstration of his wit, philosophy and style. Regarded as one of the best interior decorators in Spain, his intelligence, wonderful manners and taste enabled him to become a central figure in Spanish high society. The notorious parties he held at his magnificently decorated apartment in the enormous Palacio Pinohermosa in Madrid illustrated above are still memorable. From Truman Capote to Maria Callas, or Amália Rodrigues to Henry Kissinger, any international celebrity who happened to visit the Spanish capital would have been his guest and friend.

The collection of Duarte Pinto Coelho is incredibly varied and includes an amazing range of works of art and objects, from antique Spanish and Italian textiles to blue and white Chinese porcelain and old master paintings to post war Spanish art as well as a number of early European sculptures and English and European furniture.

The auction will also offer furniture and objects from the country house in Trujillo illustrated below, a town only two hours from Madrid. Once a nuns’ convent, Mr. Pinto Coelho bought the house and redecorated it to make it his buen retiro. There he enjoyed hosting his friends and organizing more informal receptions. Among the highlights of the Trujillo collection stands a pair of Spanish 17th Century ormolu, tortoiseshell and ebonised table cabinets, estimated at £20,000-30,000. The auction will appeal to International private buyers, collectors and decorators alike.

M/M Don't Wear Mirror-Lined Divers' Helmets

2011-05-06T15:43:00.003-04:00

M/M Do Not Experiment for Strangers

2011-05-06T15:42:00.011-04:00

Editorial Commentary by Manner of Man Magazine co-owners Nicola Linza and Cristoffer Neljesjö

We want to historically document our position regarding Social media and apps in relationship to the branding and actual sales of luxury brands.

We have known all along that ready, willing and able luxury brand buyers are not slaves to Social media or apps. Over and over we have said this and most recently this issue came up during a live Twitter session.

How satisfying it is that significant outside research is now backing up our stance.

M/M Moments of Absolute Clarity #4

2011-05-06T15:41:00.001-04:00

an exclusive series produced by Lalle Johnson

Last Tsar of Russia - Tsar Nicholas II

2011-05-04T10:38:00.002-04:00

M/M The Henry Herbert Way

2011-05-04T07:28:00.000-04:00

M/M Interview with Johan Staël von Holstein

2011-05-02T04:00:00.004-04:00

Image of Johan Staël von Holstein provided for exclusive use. All rights reserved.

This exclusive interview with Johan Staël von Holstein was conducted by Nicola Linza and Cristoffer Neljesjö in Singapore April 2011

You once worked for the late businessman Jan Stenbeck, how did he influence your career?

He taught me, if not all, most everything I know about people, business and politics.

You are very outspoken about the importance of entreprenuership, why is it so important to you?

It is the salvation of ALL existing problems and ALL problems of the future. The future of our children and the future of mankind lies in its hands.

Do you consider yourself a successful entrepreneur?

No, not yet. I have high expectations upon myself. Am I a good entrepreneur? Absolutely! But as of now, not successful. I use two definitions of entrepreneurs, “Taking personal responsibility for their own financial situation,” that I do, but unsuccessfully. The second one, “Start things, get things done, work hard and do things –without payment and somebody telling them what to do,” I sure as hell do that and VERY successfully.

The internet is filled with anonymous people who are spewing out their hate, how do you deal with them?

Fuck them, The world is full of idiots, brainwashed, jealous, irresponsible and lazy people – people that time from time kill a lot of their opposite type of people; the hardworking, knowledgeable, experienced risk takers, the responsible. Like in all communist countries, sometimes the envious even win elections in democratic counties like Social Democrats from time to time in Sweden.

What do you think of Facebook, Linkedin and Twitter? Do they have any relevance? Or are they a waste of time?

I think that they are monsters, horrible creatures that lure us into their nets like the singing mermaids in Homer's Odyssey. They have extreme relevance today, but hopefully there will be a revolution and new players entering the markets with true relevance for the users, the content owners which will empower us all to increase our efficiency, our profitability as individuals, as we will be able to monetize our skills, knowledge, experience and hard work.

What is the most dangerous aspect of Social networking and why?

We are digitally enslaved, deprived of our sense of privacy, our Intellectual Properties, deprived of leveraging our talents, knowledge, information and experience, creating a horrible and utterly inefficient environment as the Soviet Union. It will potentially lead to the end of our civilization very much resembling the movie Metropolis or the book 1984.

Where do you see the Internet and business heading?

The real paradigm shift is coming now as we as individuals go from being owned, run and controlled by brands, corporations and technology to taking over and being in control where technology will empower us to run and control brands to our benefit in the physical world.

The above interview with Johan Staël von Holstein 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Loneliness

2011-05-01T04:00:00.001-04:00

The worst loneliness is not to be comfortable with yourself.
-Mark Twain

Brideshead Revisited (1981) - theme

2011-04-30T15:05:00.000-04:00

M/M Interview with Alberto Milani

2011-04-28T04:00:00.006-04:00

This exclusive interview with Alberto Milani, CEO of Buccellati Americas was conducted by Nicola Linza and Cristoffer Neljesjö in New York during April 2011

Interview with Alberto Milani CEO Buccellati

How would you describe your personal style?

I'm a father and a husband who tends to replace my absence with unlimited love.

I'm a runner who switched from full distance to half marathons.

I'm a loyal friend to a very selected group of people some of which share my love for Greenwich, CT.

I'm a wine enthusiast and a good driver of sport cars.

I both ski and swim with somewhat of an elegance.

Buccellati is a legendary firm with renowned quality. How do decide on new pieces?

Unlike many firms that rely on hired designers, the House of Buccellati preserves the tradition of the Italian "bottega" or studio, where Gianmaria and his son Andrea conceive and create their own designs. They both usually tend to unconscious images, sensations, colors and scents.

Volumetric effects, details of thousands of elements from their daily lives come to their minds when they are designing. Womens' impalpable appeal plays a great role on the unconscious and often dominates it.

In some other cases a stone could be the source of inspiration. Its shape, cut and color are subtle components that provoke an emotion and drives a pencil to freely glide on the paper.

Exclusivity is a natural for a brand such as Buccellati. How do you maintain your collectors and new buyers while retaining the exclusivity?

Our core values have been reconfirmed in recent years by some prestigious events. After the Buccellati exhibition held at the Smithsonian Museum in Washington, in September 2008 the Kremlin Museums in Moscow housed a retrospective exhibition devoted to the creative work of Mario and Gianmaria. 150 exhibits from museums and private collections have been admired by more than 115,000 visitors during the four consecutive months of this event.

In February 2010 we have been honored with the first prize of the Confindustria Awards for Excellence as the company that best represents the "Made in Italy in the world" Direct quote from organization: " In the course of the years Buccellati has spread its creations worldwide, always combining wonderful craftsmanship and excellence which are typical of the Italian tradition."

Both collectors and new buyers share and appreciate all of the above.

What is your favorite accessory?

In the last winter, one of the most challenging ones, a cashmere scarf from my wife Alessandra was my inseparable companion.

All year long, Buccellati silver cuff links are my signature on white tailor made Italian shirts and a dark blue tie.

On a more technical point of view, portable memory devices and smart phones are becoming more than accessories, mandatory extensions of
our body.

How do you describe your management style?

Scientific, persistent and passionate.

Asking questions takes me to background research in order to construct my thesis. Testing and analyzing the results are the delicate steps where humility and persistence are key factors. Passion then drives me to draw the right conclusion and gives me the motivation to try again when what I had believed was only partially true.

I always encourage my team to never give up, but always with a solid reporting system before trying again. The enthusiasm of leading an Italian brand is a source of pride and passion that intertwines with my past and shares the same values. I'm genuinely interested in the well-being of my team more than the task at hand. When the team spirit is high we all play better if the right direction is clear.

If you could have your portrait done by any painter living or deceased who would it be? And where would it hang?

I would prefer a portrait taken by Cecil Stoughton who was President John F. Kennedy's White House photographer. His pictures created the aura that later came to be called Camelot. I remember as a child the picture with Caroline and John John around the president's desk as he sang and clapped in delight.
In that picture there are most of my values as a man.

If I could have it done it would not be on a wall, but rather among my most private memories.

You can hand select one item from Buccellati, either new or from the history of the firm, what would it be? And why?

Mario Buccellati during the 1920's reproduced eight Roman silver masterworks, known as The Boscoreale Treasure, that were found during the excavations at Pompeii. He studied the details and proportions and used the same technique as those used by the Roman silversmiths. They go beyond the concept of reproduction and become evidence of the close links between past and present.

The above interview with Alberto Milani 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Edwardian Era

2011-04-27T04:00:00.003-04:00

Special thanks to Jacek Rafal Tatko

M/M Moments of Absolute Clarity #3

2011-04-26T04:00:00.004-04:00

an exclusive series produced by Lalle Johnson

M/M Interview with Sam Beall

2011-04-25T04:00:00.004-04:00

Image of Sam Beall provided by Blackberry Farm for exclusive use. All rights reserved.

This exclusive interview with Sam Beall was conducted by Nicola Linza and Cristoffer Neljesjö at Blackberry Farm, Walland, TN April 2011

Interview with Sam Beall

Did your parents originally have a vision for the property in the 1970s when they purchased it or are you solely responsible for what is known today as Blackberry Farm?

It was originally our home and has evolved into the business that it is today. Their influence has and will always be a part of Blackberry. For much of what is seen today; yes, I would be to blame.

How does having the vegetable gardens in your backyard influence your menu decisions?

It is everything! Local if not our own farm. If local is has to be seasonal. This simple model is almost the only way to know your product, how it was grown and ideally the farmer who grew it.

Past or present who is your favorite chef? And why?

The no name mom/pop chef of little European restaurants; where they cook to serve great food versus cooking to be a recognized chef.

You are hosting a private formal dinner for our magazine 50 people. What are you suggesting for the menu?

o Caviar, chips and crème fresh, large portioned , self-serve app

o Our Web Watson grits, farm egg yolk and killed with Black TN Truffles

o Venison Neck, roasted sun chokes, collard greens

o Black walnut chocolate chip cookie

Where do you find inspiration?

Everywhere!

The above interview with Sam Beall 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Plastiki

2011-04-25T03:00:00.001-04:00

Alain Delon * Cooler than Ice

2011-04-24T07:34:00.000-04:00

M/M Jean-Claude Biver CEO of Hublot presents Voilà le petit mot du jour

2011-04-20T07:28:00.001-04:00

Written by Jean-Claude Biver for Manner of Man Magazine and Welldressed

Voilà le petit mot du jour:

"Just went through a tour of our manufacture with some visitors

Realized one more time how important it is to have its own manufacture

Not just because it provides you with production capacity, or production autonomy

The major asset of a manufacture is that it gives you independence in your creativity

You can develop your own ideas and have them realized and later on produced in quantities

While when you don't have these production capacities, you have to buy from third part

And then you buy their creativity and not yours

Our manufacture through gives innovation, creativity, substance and authenticity to the brand

Finally one can say that a manufacture gives value to the product and that's what our customers need and want from us

Value for today and tomorrow"

Jean-Claude Biver

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M Moments of Absolute Clarity #2

2011-04-19T04:00:00.000-04:00

an exclusive series produced by Lalle Johnson

Image: taken by Lalle Johnson exclusively for Manner of Man Magazine/Welldressed and cannot be reproduced without written authorisation. All rights reserved.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

M/M WINSTON CHURCHILL CANVAS PAINTED DURING A CRITICAL WINDOW IN HISTORY TO BE OFFERED FOR THE FIRST TIME AT AUCTION BY CHRISTIE’S IN MAY

2011-04-19T01:00:00.001-04:00

Image provided by Christie's London. Reproduced with permission of Curtis Brown Ltd, London on behalf of the Sir Winston Churchill Archive Trust and may not be reproduced wtihout written authorisation. All rights reserved.

Offered for the first time at auction, Christie‟s announce the sale of Villa on the Nivelle, 1945, by Sir Winston Churchill, O.M., R.A. (1874-1965) in London on 26 May 2011 (estimate: £200,000-300,000). Churchill executed this work during a critical window in history: between the British general election on the 5 July - resulting from the coalition government‟s resignation following the triumphant defeat of Nazi Germany in May 1945 - and the announcement of the result on 26 July, which heralded Labour‟s unexpected victory. Blissfully unaware of the pending outcome, the heroic wartime Prime Minister and his wife Clementine took a short holiday in the Basque region of France, at the Château de Bordaberry. Inspired by the beauty of his surroundings and persuaded by his companions in France, this painting marks only the second time that Churchill had picked up a paintbrush since the start of World War II. The existence of the remarkable photograph, illustrated above, documenting Churchill working on this canvas is extremely rare and highly evocative.

At this time, in stark contrast with the enveloping warmth and tranquility captured in this idyllic image, Japan‟s 59th Army - which was formed on 15 June under the Japanese 15th Area Army – was in the midst of a desperate final defence effort against potential landings of Allied forces in the San‟yo region of western Honshū during „Operation Downfall‟. They were officially demobilised after Japan surrendered on 15 August, 1945.

Philip Harley Director, Head of 20th Century British & Irish Art, Christie’s London: “This important work by Sir Winston Churchill provides the global market with the extraordinary combination of a great British picture in excellent original condition and a highly desirable palette, by a highly sought after artist who was one of the most famous historical figures of 20th century British politics, dating to a critical window in history when the immediate political future of post-war Britain was in the balance. The existence of the photograph documenting the Prime Minister, as artist, at work on the painting is exceedingly rare. Taken through the grasses, its composition suggests that the viewer is privy to a very private moment of this great man, whose passion for painting is well recorded.” Rachel Hidderley, Christie’s International Specialist and Director, 20th Century British Art: “The market for Churchill is consistently strong and extremely international due to the enduring appeal of his style, decorative choice of subjects and his political significance. Due to the greater historical context of this very figurative work, its multifaceted appeal will undoubtedly reach beyond the broad band of existing collectors.”

Having been painted during a brief „pause‟ in British politics, caused by the number of votes which had to be gathered from British citizens serving in the forces overseas, the eventual Labour victory was finally declared on 26 July whilst Churchill was at the Potsdam conference with Truman and Stalin. Due to the heroic status of Churchill as one of the greatest statesmen of the 20th century and Britain‟s great wartime Prime Minister, this result came as a shock to the whole world.

The guests of Brigadier-General Brutinel, other members of the party alongside the Churchills at Château de Bordaberry included Mr. Bryce Nairn, British Consul in Bordeaux and his wife Margaret, who had been a professional painter before their marriage. It was Margaret who encouraged Churchill to paint again, for only the second time since the war had begun. They went on to paint together at St Jean-de-Luz, at Hendaye and on the river Nivelle where the current work was executed. Churchill‟s daughter Mary Soames notes in her book, Winston Churchill His Life as a Painter, that her father was very focused on this painting and sat for so long that he was struck by a bout of indigestion. He did not paint imagined or composite scenes, instead always depicting real locations which resulted in very evocative works which not only captured an actual place at a specific moment, but continue to hold relevance in the present day, conjuring memories of one‟s own relaxing holidays and travels, filled with the warm glowing light of summer sun.

Sir Winston Churchill started to paint at the relatively late age of 40, it was personal pastime which was to play an increasingly important role in his life; providing him with inner serenity in times of unrest and driving away periods of depression which he referred to as „Black Dog.‟ In the celebratory January 1946 issue of Life Magazine, in which the present lot is featured, he stated that “There is no subject on which I feel more humble or yet at the same time more natural”, “it is a delightful amusement to myself.” “When I get to heaven I intend to spend a considerable portion of my first million years in painting and so get to the bottom of the subject.”

In M. Soames book Winston Churchill His Life as a Painter, London, 1990, Winston Churchill is recorded as painting only one picture in almost five years during the war in Europe. Following the ten day conference of Roosevelt and Churchill and their closest military and political advisers at Casablanca in Morocco in January 1943, Churchill persuaded Roosevelt to accompany him on a short visit to Marrakech where he painted A view of Marrakech, with the tower of Katoubia mosque. He later gave this to Roosevelt as a memento.

M/M Interview with Matthew White

2011-04-18T04:00:00.002-04:00

This exclusive interview with designer Matthew White, Chairman of Save Venice was conducted by Nicola Linza and Cristoffer Neljesjö of Manner of Man Magazine in New York April 2011.

Interview with Matthew White, Chairman, Save Venice.

How did you come into your role as chairman of Save Venice?

I’ve been on the board of Save Venice for more than a decade. It all started with me first falling in love with Venice long ago, and later, in the late 1990’s I attended a Save Venice gala in Venice. It was an incredible experience. When I returned I decided I would throw a big masked ball which we hosted at our house in San Marino, California. The party was an amazing success, people flew in from all over the world - Elton John, John Loring, designers, artists, jetsetters, they all came. This event raised lots of money and launched the California Chapter of Save Venice. After that I was invited to be on the board and have been active ever since. I didn’t expect to become Chairman of Save Venice, but it’s a position that I am honored to hold. I hope I do a good job.

Can you explain the mission of Save Venice?

Save Venice is an American non-profit, we’ve been around for forty years. Our mission is to protect the artistic heritage of Venice by raising funds to restore art and monuments in that astonishing city. Not many people know that Venice has the highest concentration of historic buildings in the world. Many of those buildings still hold great works of art that remain in situ after many centuries. Besides restoration, we are involved in educational efforts through our lecture series and publications. Our board includes illustrious scholars and art historians so I am very fortunate to be surrounded by great minds on the topic of Venice, her history and her art.

What is your primary goal as chairman?

My main goal is to increase awareness of the world treasure that Venice clearly is, and to encourage my fellow citizens of the world to help us insure that these treasures are protected for future generations.

Is there a project that stands out currently?

We have many projects going on at any given time, but currently there are two that are real stand-outs. One is the Church of San Sebastiano. The interior of this church is filled with paintings and frescoes by the Renaissance master Paolo Veronese. It is a treasure trove of great art and we hope to restore all the artworks inside as well as the building itself. Our other big project is the Sala dell’Albergo which is the most important historic room within the Accademia Galleries. It holds an enormous Titian and has the most beautiful 15th century carved wooden ceiling in all of Venice. We will also be bringing back two paintings that were created for this space centuries ago, they’ve been in storage for more than a hundred years! I love both of these projects because they are perfect examples of what we do: they involve the restoration of art, architecture and historic interiors, three things I am very passionate about.

How does your role as a designer integrate with your work with Save Venice?

Save Venice is a natural fit for me as a designer because of the sheer beauty of that city. I simply can’t get enough of it. But my love affair goes beyond mere visuals, it’s much deeper than that. I can’t really explain why an American guy with not a drop of Italian blood would have this deep connection to a Venice. It’s a mystery, but that is part of the magic. Venice is a mysterious city. I recently wrote a book called Italy of my Dreams about how Italy and Venice has influenced my personal style. This is not just a mild interest for me, it’s a deep passion.

The above interview with Matthew White 2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher. -

M/M Moments of Absolute Clarity #1

2011-04-14T09:48:00.004-04:00

an exclusive series produced by Lalle Johnson

Image: Self-portrait, Portobello Hotel, Notting Hill, London taken by Lalle Johnson exclusively for Manner of Man Magazine/Welldressed and cannot be reproduced without written authorisation. All rights reserved.

2011 © Manner of Man Magazine/Welldressed. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.