“WE HAD NO IDEA what we were doing,” says Sam Pratt of the first show he and Valerio Capo staged in London 13 years ago — a surprising declaration from the co-owner of Gallery Fumi, one of today’s most respected design dealers in the world, with an exhibition space in Mayfair and a roster of famous British designers including Max Lamb and Faye Toogood.
A few years earlier, Capo and Pratt, who are partners in both work and life, had been on vacation in Milan and timidly entered Nilufar, the elegant gallery established in 1989 by the dealer Nina Yashar, from whom they purchased a vintage rug by an Argentine architect (which they could scarcely afford at the time) to bring home to their Marylebone flat. “That’s when we got the bug,” says the now 55-year-old Pratt; soon after, they approached Yashar with the idea of co-hosting a London exhibition of her wares, including midcentury Italian furniture and objects designed by the likes of Gio Ponti and Gino Sarfatti. Charmed by their enthusiasm, she agreed. So in 2006, Pratt and Capo, who were then employed as a banker and marketing consultant, respectively, invited all of their friends and the few collectors they knew to their apartment, where they had inadvertently doubled the retail prices of the roughly dozen items on display from Yashar’s collection — and, thus, didn’t sell a single thing. “We were so embarrassed that we bought a Ponti headboard and a Sarfatti Ladybird lamp,” says the now 47-year-old Capo.
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Undeterred, the duo came up with a five-year plan to switch careers and focus entirely on design: In 2008, they opened their first gallery inside a derelict storefront on Tabernacle Street in the Shoreditch neighborhood, which they named Fumi (short for Olarunfumi, a middle name of Pratt’s, meaning “God’s gift to me” in Yoruba). Recognizing an underserved market, the duo decided to highlight new work by emerging artists such as Paul Cocksedge and Philippe Malouin, then young, unknown London-based furniture designers. The moment was inauspicious; on the evening of their opening party, the front page of London’s Evening Standard newspaper read “Now in Recession.” But while Capo and Pratt didn’t have much experience or even good timing, they did have an unerring eye, which served them well as they scoured design schools — Royal College of Art in London, École Cantonale d’Art de Lausanne in Switzerland, the Design Academy in Eindhoven, the Netherlands — for rising talent. Fumi weathered the downturn by becoming a destination for those seeking daringly contemporary work, from the expressionistic, rough-hewn vases of the German ceramist Johannes Nagel to the cast bronze, gum-paper-clad storage units by the Anglo-Dutch design duo known as Glithero.
At first, the gallery was mostly a local phenomenon. But during 2009’s London Design Festival, it landed on the international map after the partners commissioned the polymathic Toogood — primarily an interior stylist at the time — to curate a dramatic installation inside the main room of the couple’s loft, a former high school gymnasium on Hoxton Square, where they’d moved in 2004. The exhibition, which kicked off with a dinner of maize-based dishes inspired by a pagan harvest festival, included sheaths of corn hung from the 16-foot ceiling by the British sculptor Rowan Mersh and an immersive field of bearded wheat, oats and barley stalks by the Israeli design duo Raw Edges near a cluster of papier-mâché box shelves in neutral hues by the young Spanish designer Nacho Carbonell. With the smell of a fresh meadow in the air, it became clear that Gallery Fumi was showing something different, an antidote to the hard edges of industrial design and the computer modeling and mechanized fabrication that had, at the time, begun creating distance between artists and their work. What they presented was conceptual but also grounded in traditional craft in ways that hadn’t been seen before.
IN THOSE EARLY years, Tabernacle Street was a hub of creativity: The contemporary artists Tracey Emin and Damien Hirst lived nearby; the gallery of the moment, Jay Jopling’s White Cube, was just on the other side of the park. But by 2012, the neighborhood had transformed into a night-life destination, which no longer felt right for Fumi, and so Pratt and Capo decided to permanently move the gallery into their Hoxton home. Fortunately, the approximately 1,200-square-foot space was divided by massive Douglas fir folding doors, which had separated the girls’ gym from the boys’ when it was built in 1864, meaning that the residential and commercial areas could, in theory, be neatly bifurcated. It worked — until it didn’t: The growing business overflowed into their living quarters; the couple tired of surrounding themselves with unsold furniture or, worse, waking up to find their assistants in their kitchen.
The upside was that the gallery was thriving. The market for collectible design — the term for vintage or limited-edition unique functional pieces, once the poor cousin to the art world — had come into its own. Both Fumi and the artists it discovered were established enough that the owners decided in 2018 to relocate to genteel Mayfair, the neighborhood where many of their clients already lived.
This also meant that Capo and Pratt finally got to reclaim their home. What made it a functional gym (or gallery) also makes it an ideal living space: Tall, south-facing arched windows fill the open-plan white-brick space with light, while the original pine floors and Douglas fir doors add warmth. The only issue, Capo says, is that it’s nearly impossible to heat because of the eight uninsulated, historically protected, single-pane 11-foot-tall glass windows that line the southern wall.
When they began their enterprise, the duo decided that they would never show anything they wouldn’t want in their own home. That concept proves itself in the main 49-by-23-foot living space, where the rug from their first visit to Nilufar and the Sarfatti lamp from their debut London show flank a giant velvet sofa, which resembles a pile of fat purple snakes, by the Italian furniture manufacturer Edra. The kitchen counter that opens onto the main room is lined with polystyrene stools by Lamb, and a silver cloud by Federico Uribe, a Colombian artist they represent, hangs on the wall by a window; upon closer inspection, you notice it’s composed of thousands of interlocking safety pins. A narrow stairway off the living room leads up to a small bedroom, which is anchored by the bed, with its teal Ponti headboard, also purchased from Yashar all those years ago.
Then as now, the pair focuses on cultivating long-term relationships with their artists, many of whom have become close friends. “One of our guiding principles,” Pratt says, “is that we never work with anybody we don’t like.” They have also been particular about the clients they attract: Starting in 2009, they began decamping every summer to a sunny white space in the resort town of Porto Cervo, Italy — years before contemporary art and design galleries began opening seasonal pop-ups in the vacation spots of the very rich. Operating there is grueling work, Capo says (“seven days a week, open until 2 a.m.”), but it has allowed them to meet collectors they’d not otherwise encounter. Being a gallerist, they agree, is a job not just for a few years but for a lifetime. “It can take decades to develop the career of an unknown artist,” Pratt says. “That’s why you have to believe in the maker as well as the work.”B:
2016年3d212期开奖号【若】【论】【深】【秋】【的】【萧】【瑟】，【京】【都】【城】【怎】【么】【也】【比】【不】【过】【西】【北】，【沅】【北】【城】【外】【一】【眼】【望】【不】【到】【尽】【头】【的】【黄】【沙】，【秋】【风】【料】【峭】，【寒】【鸦】【长】【鸣】，【暮】【霭】【沉】【沉】。 【沅】【北】【城】【街】【头】【几】【个】【小】【孩】【在】【嬉】【闹】，【哼】【唱】【着】【小】【调】。 “……【风】【一】【楼】， 【雨】【一】【楼】， 【相】【思】【两】【眼】【几】【处】【忧】； 【风】【一】【楼】， 【雨】【一】【楼】， 【不】【见】【仙】【人】【伴】【公】【侯】。” 【这】【时】【走】【过】【两】【个】【少】【女】，【轻】【纱】【覆】【面】，【有】【一】
【都】【说】【世】【上】【没】【有】【永】【恒】【的】【朋】【友】，【只】【有】【永】【恒】【的】【利】【益】。 【前】【一】【秒】【安】【冠】【江】【与】【沈】【家】【还】【是】【战】【略】【同】【盟】【的】【关】【系】，【下】【一】【秒】【就】【可】【以】【为】【了】【安】【月】【华】【手】【中】【的】【股】【份】【和】【财】【产】【直】【接】【翻】【脸】。 【但】【沈】【家】【哪】【里】【是】【吃】【素】【的】，【能】【在】【群】【狼】【环】【饲】【中】【保】【住】【安】【月】【华】【这】【么】【多】【年】，【这】【次】【怎】【么】【肯】【乖】【乖】【地】【退】【让】？ 【李】【文】【亮】【跟】【在】【沈】【氏】【老】【大】【沈】【煜】【珀】【身】【边】【多】【年】，【什】【么】【样】【的】【大】【风】【大】【浪】【没】【见】【过】，【当】
【小】【郡】【主】【挑】【了】【马】【车】【的】【窗】【帘】【往】【外】【看】，【可】【惜】【现】【在】【是】【在】【官】【道】【上】，【马】【蹄】【扬】【起】【阵】【阵】【黄】【沙】，【见】【不】【到】【什】【么】【好】【风】【景】。【可】【她】【还】【是】【很】【开】【心】，【嘴】【角】【一】【直】【挂】【着】【抹】【不】【去】【的】【笑】。 【十】【二】【岁】【的】【娇】【龄】【少】【女】，【浑】【身】【上】【下】【透】【着】【青】【艾】【的】【气】【息】，【那】【一】【身】【麻】【布】【重】【孝】，【越】【发】【将】【她】【衬】【得】【娇】【俏】。【盈】【盈】【一】【笑】，【微】【露】【半】【齿】，【满】【面】【春】【风】【再】【难】【挡】。 【对】【面】【似】【乎】【有】【人】【看】【过】【来】，【折】【露】【警】【觉】【地】
【过】【了】【许】【久】。 【叶】【轩】【一】【家】【三】【口】【分】【开】，【早】【已】【等】【待】【在】【旁】【边】【的】【一】【名】【军】【官】【走】【上】【前】，【礼】【貌】【地】【进】【行】【交】【涉】。 【不】【礼】【貌】【不】【行】【呀】，【他】【可】【不】【敢】【直】【接】【把】【人】【带】【上】【飞】【机】，【拉】【到】【军】【区】【调】【查】。 【面】【前】【的】【这】【一】【对】【中】【年】【夫】【妇】【倒】【是】【没】【什】【么】【问】【题】，【可】【那】【年】【轻】【人】【就】【恐】【怖】【了】，【没】【看】【怪】【兽】【还】【躺】【在】【地】【上】【挺】【尸】【了】【吗】？ 【活】【生】【生】**【碎】【了】【脑】【壳】【子】【啊】。 【不】【过】【军】**【是】【没】【怎】2016年3d212期开奖号【一】【双】【眼】【睛】【早】【就】【已】【经】【在】【注】【视】【着】【反】【常】【的】【格】【格】【乐】【图】，【深】【夜】【里】【的】【猎】【手】【总】【会】【找】【到】【猎】【物】【最】【疲】【倦】【的】【时】【候】【动】【手】。 【格】【格】【乐】【图】【感】【觉】【到】【有】【人】【针】【刺】【般】【的】【目】【光】【眼】【神】【如】【电】【立】【刻】【追】【寻】【过】【去】【却】【只】【看】【到】【遮】【天】【蔽】【日】【的】【黑】【暗】。 【欧】【阳】【寻】【月】【已】【经】【知】【晓】【格】【格】【乐】【图】【的】【离】【开】，【也】【清】【楚】【自】【己】【身】【边】【的】【这】【个】【仆】【人】【有】【着】【不】【简】【单】【的】【身】【世】，【但】【这】【个】【世】【间】【又】【有】【几】【个】【人】【没】【有】【秘】【密】【呢】？
【又】【有】【点】【小】【软】…… 【什】【么】【东】【西】？ 【如】【果】【眼】【神】【可】【以】【杀】【人】，【云】【浅】【可】【能】【早】【就】【被】【席】【景】【琛】【生】【吞】【活】【剥】【了】！ 【安】【亦】【冷】【汗】【连】【连】，【这】【货】【不】【是】【被】【撞】【了】【吗】？【现】【在】【还】【在】……【光】【明】【正】【大】【的】【调】【戏】【他】【家】【少】【爷】？ 【太】【上】【头】【上】【动】【土】，【活】【的】【不】【耐】【烦】【了】【吗】？ 【云】【浅】【感】【受】【到】【头】【顶】【一】【股】【凉】【风】，【小】【嘴】【一】【嘟】【囔】【抬】【头】【就】【撞】【进】【了】【某】【个】【男】【人】【杀】【意】【的】【眸】【子】【里】，【她】【瞳】【孔】【微】【缩】，【意】
“【咚】【咚】【咚】！” 【德】【丽】【莎】【敲】【着】【房】【间】【的】【门】，【脸】【上】【还】【带】【着】【一】【丝】【犹】【豫】【不】【决】【的】【神】【色】。 【等】【到】【风】【尘】【打】【开】【了】【门】【以】【后】，【短】【暂】【的】【几】【秒】【钟】，【她】【似】【乎】【做】【出】【了】【决】【定】。 “【怎】【么】【了】【吗】？” 【风】【尘】【揉】【着】【德】【丽】【莎】【的】【脑】【袋】，【还】【带】【着】【一】【些】【睡】【意】【的】【脸】【就】【好】【像】【是】【刚】【刚】【才】【睡】【醒】【一】【样】。 “【我】【想】【帮】【上】【尘】【的】【忙】——” 【言】【下】【之】【意】，【便】【是】【德】【丽】【莎】【也】【想】【要】【和】【风】【尘】【他】