Palm Beach Social Diary, Kenneth Noland at Palm Beach + Buccan kicks off PB Food & Wine fest + Holidays at Palm Beach

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High rollers take their toll on Midtown Palm Beach's rapidly vanishing beach. Days, beautifully blue, sunny and cool, have also brought seven to ten-foot waves and rip currents.

Since opening a gallery in Midtown Palm Beach as a showcase for the works of her late husband, the renowned Color  Field artist Kenneth Noland, and his circle of 20th century painters and sculptors, Paige Rense Noland, editor emeritus of Architectural Digest, may have discovered the same resolve and pleasure that Mary SanfordAlice DeLamar and Lillian Bostwick Phipps found when they ran art galleries on the island. Back then, Palm Beach may have been home to more artists than realtors, jewelers and money managers, but Paige Noland believes,  “Ken’s splendid play of color and light and Palm Beach’s incomparable splendor are a perfect fit.”  Following my recent visit to the Midtown venue, certain to become a cultural destination, Noland invited me to one of those timeless lunches on the terrace at the Brazilian Court’s Café Boulud where we were joined by David Blasband, lawyer and Noland co-trustee, Victoria K. Woodhull, Noland Studio director, archivist and gallery director, and Will Ameringer, the Noland trust’s consultant-advisor.

Every season I seem to miss the PB Food & Wine Fest organized by Brickhouse PR’s David Sabin.  I stopped in at  Buccan for their sensational SRO sold-out event, billed as The First Bite,  failing to make a similar to-do across town at  PB Catch. Then, I dashed over to snap the Worth Avenue holiday tree, having earlier darted into The Colony to see how their tree complimented Carleton Varney’s latest tableau.

As a legendary magazine editor, Paige Rense Noland, pictured above, transformed the public’s perception of architects and interior designers from being regarded as secondary professionals into more influential mainstream cultural icons. At Palm Beach, her mission is to spotlight her late husband Kenneth Noland’s lesser known artworks and small-scale pieces and those by his generation of established artists, making available a limited number of them for sale in a setting as much a salon as a showroom.

Private View Art Gallery
212 Brazilian Avenue – Palm Beach / By appointment: 561-804-9629

Private View Art Gallery. 212 Brazilian Avenue, Palm Beach. Private View Gallery offers paper works and monoprints available for purchase that were created by Kenneth Noland between 1976 and 1994 as well as other small-scale pieces fabricated from various mediums by associated 20th-century artists. New York’s Pace Gallery represents Noland’s works on canvas.

“Last season, I was not planning on going into the gallery business. Instead, I wanted to open a place on Palm Beach to build an audience for Ken’s paper works outside of a formal museum exhibition or a commercial gallery setting where his paintings are most often the center of attention. But after the interest generated last spring from the first show of pieces that had not already been widely-seen or appreciated, I decided to expand our scope this season. Although the gallery is still primarily open only by appointment, we are launching a more expansive program of exhibits and events.” — Paige Rense Noland, December 2014

Paige and Ken Noland were married in 1994. She put together Kenneth Noland, a book of remembrances by family, friends, curators, and collectors, following his death in 2010.

“I loved antiquing in Maine, there’s something about it. So after Ken and I were married, although I knew he was connected to Vermont, I went ahead and bought a little cottage in Port Clyde, Maine, hoping he would love it as much I did … which he did. Then, when I found an old two-story Knights of Pythias Hall, in terrible shape, and told him I had just bought his new studio, I thought he was going to faint. Then we kept expanding the house there, adding a guest house … We had landed in Wyeth Country; Andy and Ken became great friends … At the time, I was still working in New York and in Maine there was this little commuter plane, flown by no less than a test pilot, as I described him, so I would spend three- day weekends in Maine and the rest of the week in New York.” — Paige Rense Noland.

“Each exhibition will feature a different grouping of Ken Noland’s paper works, monoprints, collages, and various sculptural pieces that shows their aesthetic dialogue and compositional interaction with artworks by associated artists. For example, in the case of Hans Hoffman’s work from a previous generation, work that inspired Noland.” Victoria K. Woodhull, director of the Maine-based Kenneth Noland Studio – Archives and the Palm Beach gallery.

“I met Ken in 1964 when I was a young lawyer and he was already a world-famous artist. We remained close friends for the next 46 years. I spent many weekends at his farm near Bennington which was owned by Robert Frost. Bennington was then a center for artists and writers, such as David Smith, Jules Olitski, Tony Caro, Howard Nemerov, Bernard Malamud, Bill Rubin, and Clement Greenberg. I met them all at Ken’s farm, and it was clear they all revered him, and not just because of his unique talent and his natural charm; Ken was always the smartest person in the room, but had absolutely no airs.” — David Blasband, co-trustee and lawyer for the trust’s collection available at Private View Gallery.
Victoria K. Woodhull, director of the Maine-based Kenneth Noland Studio and the Palm Beach gallery, and Will Ameringer, consultant-advisor to the trust and Private View Gallery.

“As a result of friendships and studio swaps, common among that generation of artists to exchange ideas and artworks, Ken Noland’s collection included works by Tony Caro, Jules Olitski, and David Smith, among them. Victoria and I will be curating the exhibits for the Palm Beach gallery from that collection.” — Will Ameringer

“At the Kenneth Noland Foundation archive in Maine, there is a wave of young art historians who have taken a considerable interest researching Noland’s work.” — Victoria K. Woodhull

Kenneth Noland.
Ken Noland, Helen Frankenthaler, and Clement Greenberg. Stamford, CT. August 1979.

Between 1946-1948, Kenneth Noland attended Black Mountain College, North Carolina, where he studied art with Josef Albers, music with John Cage, and was introduced to the work of Piet Mondrian, Paul Klee, and the color theories of the Bauhaus. During the fall 1948, he studied sculpture with Ossip Zadkine in Paris. It was Summer 1950 when Noland again went to Black Mountain where he met David Smith and Helen Frankenthaler and took classes from Clement Greenberg and Theodore Stamos. In January 1957, Tibor de Nagy Gallery presented Kenneth Noland’s first solo exhibition in New York. Noland showed centered motifs: circles, lozenge shapes, and cruciform patterns. — Source: Catalog, Pace Gallery. 2014.

Letter, Kenneth Noland to Anthony Caro. April 1961. Photograph, Kenneth Noland and Anthony Caro.
Private View Art Gallery, Palm Beach. Paper works by Kenneth Noland, 1976-1994.
David Blasband and Paige Rense Noland.
Letter, Sir Anthony Caro. April 2010. Private View Gallery, Palm Beach.
“There is a considerable momentum in the art market for Ken Noland’s work. Rather than perceiving Noland’s work in an historical perspective, I see its value gaining influence among a new generation of artists,” said Will Ameringer.
Kenneth Noland Studio. Port Clyde, Maine. “Ken’s metal sculpture works that are housed in Maine were inspired by David Smith, Tony Caro, and others who shared the same aesthetic. Smith always told Ken to have more materials that he really needed, something Ken took to heart, considering the extent of the Maine studio and the meticulous organization of it.” — Paige Rense Noland
Paige Rense Noland, center, flanked by David Blasband, left, and Will Ameringer, right.
“I think of painting without subject matter as music without words.” — Kenneth Noland

Lunch at Café Boulud, Brazilian Court Hotel
301 Australian Avenue – Palm Beach

The terrace at Café Boulud overlooking the courtyard fountain.
Although the original fountain bowl and patio have been replaced, the sculptural centerpiece could very well be an original from Mizner Industries or a copy of a Mizner motif.

Būccan kicks off Palm Beach Food & Wine Festival

Būccan Restaurant. 350 South County Road, Palm Beach. “The First Bite” at the 2014 Palm Beach Food & Wine Festival.
L to R: Jonathon Sawyer, a Clevelander and James Beard Foundation nominee, Clay Conley, Būccan’s chef de cuisine, and Ken Oringer, “one of Boston’s most notable chefs.”
Anita Lo, chef-owner at NYC’s Annisa.
Būccan’s South County Road ambiance.
Piper Quinn, one of Būccan’s upfront owners.
Guests check-in.
Būccan’s lounge.
From the dining area looking toward the lounge where guests gathered.
Jeff Mauro, a Food Network personality, hosts a show called “Sandwich King” and was a winner of Food Network Star, a reality television show.
Anita Lo prepares one of the evening’s “first bite,” an avocado salad.
After Lo creates the prototype, assistants replicate her recipe.
Guests gather in the main dining room at Būccan.
Walking south on County Road, a look back north to Palm Beach’s Town Hall, left, originally designed by Harvey & Clarke when Gus Maass was the firm’s managing architect.
As I walked down Chilean, this nightscape caught my eye.

Episcopal Church at Bethesda-by-the-Sea celebrates 125th Anniversary

The Episcopal Church of Bethesda-by-the-Sea. Just as Palm Beach’s pioneers congregated at the Episcopal church’s first lakeside chapel 125 years ago, descendants of the island’s oldest families now gather in the church’s magnificent Hiss & Weeks-designed cathedral on South County Road.
The Episcopal Church of Bethesda-by-the-Sea, 1889-2014.
To the left of the church’s cornerstone that marks the arrival of Ponce De Leon (1513) and the year the church was built (1925), a snowbird appears to be a new congregant.
The Christmas tableau that was once installed in front of the church now presides over the Cluett Memorial Garden fountain.
The Episcopal Church of Bethesda-by-the-Sea. A view from the altar toward the entrance.

Holidays at The Colony Hotel
155 Hammon Avenue – Palm Beach

The colorful holiday tree complements designer Carleton Varney’s resort look in the hotel’s lobby.
The Colony Hotel’s new red door.
Worth Avenue Holiday Tree. In keeping with so many things Palm Beach, there has already been a letter of complaint published in The Shiny Sheet that the 40-foot tree is “not traditional” and “looked like a department store display.”
Palm Beach at play.
Midtown Palm Beach.

Photographs by Augustus Mayhew.

Augustus Mayhew is the author of Lost in Wonderland – Reflections on Palm Beach.

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