Meredith Ward Fine Art

Helen Clay Frick, always an art enthusiast, founded the Frick Art Reference Gallery in 1920 as a public reserve and in loving memory of her father, Henry Clay Frick. Originally housed in the basement bowling alley of the Frick Collection, the library moved to its current location in 1935, transformed from its previously residential identity by Russell Pope. To date, the library offers access to comprehensive collections of photographs with complementing texts as well as other resources to better understand Western Art, adhering to the intentions of both Helen and Henry.

“It has the vibe of being lived in, ” Nicole Hudson, the Associate Director of Mnuchin Gallery said as she guided me around the townhouse that houses the gallery. The building dates back to the early 1900s and has been landmarked, thereby retaining its grand yet domestic design. It is not hard to imagine a time when the space was occupied by a well-to-do family who might have decorated their walls and floors with the kind of art that the gallery has on display. As Nicole pointed out, the unique location makes it easier for clients to picture the work in their own homes and see how the pieces could add to their lives. “Art has to enrich the day to day, ” she said with a smile. Nicole expanded on the origins of the gallery, explaining how the founder, Robert Mnuchin, became an art dealer after leaving the world of finance in the mid 1990s. He had been an art collector during his career in economics, and so he smoothly transitioned to owning a gallery. He began by forming partnerships with James Corcoran and Dominique Levy. The resulting galleries, C& M Arts and L& M Arts, both resided in the Upper East Side townhouse in turn. Robert then went solo and changed the name to Mnuchin Gallery in 2013. He deals primarily in the secondary market and uses multiple floors of his magnificent building. Nicole went on to show me the exhibition that was on display, called “Carl Andre in his Time. ” Originally, the gallery wanted to solely feature Carl Andre, a minimalist artist from the 1960s-1970s, but decided to open up the exhibit to his contemporaries as well. I was intrigued by how many sculptures were installed on the ground in geometric square patterns. Nicole noted that in the late 1960s, the pieces were created to be walked on (“It was part of the experience”), but because of their historical significance, Mnuchin preferred that visitors refrain from walking on the sculptures. One corner of the gallery that caught my eye featured two pieces of art juxtaposed - one was a series of stacked shelves by Donald Judd where each shelf had to be nine inches away from its neighbor. On the floor next to it was “32-Part Reciprocal Invention” by Carl Andre, made of found steel rebar, in which the distance between each bar in one row was designated by the length of the bar in the row above it. Both were interesting examples of how the world of math and measurements influences art. Another intriguing piece taking up a full wall was “Wall Drawing #69, ” designed by Sol LeWitt in 1971, which was previously on display in the Guggenheim. I would have missed it if Nicole had not pointed it out, since the swirling colored pencil designs that covered the flat white space were so delicate and light. Nicole explained that if the piece is purchased, the new owner gets a certificate of authenticity and then draftspeople come to their house to recreate it on their wall. Sol DeWitt provided loose, organic instructions, so each iteration of the piece is slightly different. It takes two people about ten days to replicate the design. After it is completed, Mnuchin’s own version will be painted over. Nicole then smiled and said how she loves seeing the faces of visitors who realize that there is a piece of art hidden on Mnuchin’s walls.

The first ground hall we visited at L'Antiquaire & The Connoisseur, a gallery that celebrates art from the eighteenth century and earlier, is the only section that features art from the twenty-first century. Helen Fioratti, the owner of the gallery, has put her daughter, Arianna Loreto's work on display. The modern, familial pieces leading to the elevator provided a perfect complement to the gilded and dazzling older antiques that we were about to visit. I was taken by Arianna's whimsical drafts and sketches that decorated the elevator, appreciating that visitors are surrounded by art at every turn. Upon stepping out onto the second floor landing, I noticed a collection of chandeliers with candle fixtures instead of bulbs. Helen promptly informed me that each one is from the eighteenth century. With a slight smile, she went on to say, "I was told by a chandelier gallery that there are very few eighteenth century chandeliers on the market. I have ten, which I think is more than anybody else. " As we wandered around the gallery, Helen pointed out treasures and told us about her life. Along with owning the shop, she is an interior designer who has worked with members of the Kennedy family and the Royal Family of Kuwait. She grew up in the art world, since her mother was Countess Ruth Constantino, the first female fine art dealer in the United States. Her mother started collecting art at a young age. The countess's uncle would pay her money to go to bed on time, which she would then spend on antiques when she went to Europe with her family. When Ruth grew up, she worked for a German art dealer as an unpaid intern, because her father claimed that well-bred girls did not have jobs. She eventually persuaded her father to let her open a gallery, but soon married an Italian diplomat whom she met at the New York World's Fair in 1939. As Helen paraphrased her father, "Wives of Italian diplomats didn't work. " Ruth opened a new gallery, but did not use her name, instead calling it "The Connoisseur Inc. " This is the gallery that Helen would merge with her own in 1982. I asked Helen about her earliest memory having to do with art and antiques, and she responded with a story from when she was five years old: she picked the paint off of the antique Venetian commode in her bedroom and colored it back in with crayons. Helen added that when she first got married and opened her gallery, she already had a furniture collection put aside and needed no more to furnish their apartment. Helen has the magic ability of breathing life into each of her pieces through suggestive storytelling. She showed me a cabinet that had belonged to the King of Portugal. There are twenty-eight secret compartments and a mirror on the top, which Helen said, "is where the king would model his crowns. " I could immediately picture the regal purposes of the piece of furniture. Similarly, Helen said that a clock that caught my eye had been made by an Englishman for the se de Medici's in Florence. The clockmaker then decided to stay in Florence. His son became the greatest Scagliola master - meaning he was an expert in a specific form of decorative work. Since she seems to know the story behind all of her inventory, I asked Helen if it is ever difficult for her to have to sell a piece and part with it. "It's like having a marriageable daughter, " she responded. "You don't want someone to take her, but it would also be sad if no one wanted her. "Some of the most interesting pieces in the store were the games tables. Helen has written many books in her life, including one on old games and the antiques that teach us how they used to be played. She then brought out a little bag that Louis XV would have given to one of his courtesans. It has carved ivory "fiches" that function as game pieces and have little fortunes wrapped inside. "It's a very rare thing, " Helen said with a sparkle in her eye. There was also a collection of inlaid wood game tables, complete with clear outlines showing where to put cards, players, or pieces. Pointing to one that was signed with the artist's name, "RENOLDI, " on an arch in the wooden landscape design, Helen told us that she looks for authenticity in her entire collection. "What I care about is that things are real all the way through, " she said. "I even want the tips of feet to still be original. "Despite being in her antique business for thirty-five years, Helen is surprisingly spry and still does in-depth appraisals herself. "I may have to turn it over and crawl on the floor, but I can tell you if something is authentic, " she stated. "In this gallery, if it's painted, the paint is original and if it's gilded, the gold is real. " After exploring more of the multi-floor antique wonderland, with treasures like sixteenth century Italian ceramics, a fourteenth century illuminated manuscript leaf, and rare globes made of wood and paper mache, I returned to the first floor and Arianna's drawings. In a little corner of the room, Helen pointed out a picture of a cat that Arianna had drawn when she was twelve years old.

Like many surgeons, when Dr. Thomas Romo III graduated medical school, he hopped on a plane to India and Vietnam in order to fix cleft lips. "We felt like we had time and a reason to give back, " he said of himself and his peers who choose to travel the world doing medical procedures before settling down and developing a practice. Though Dr. Romo operated on numerous lips, he realized after a while that the program he was traveling with was only fixing a quarter of the problem. After the lip healed, the palate still did not close correctly and teeth did not grow straight. Patients would experience chronic Eustachian tube problems, resulting in earaches. Dr. Romo wanted to fix the rest of the palate, but the mission that he was with focused solely on lips. "I wanted to change the paradigm, " Dr. Romo declared. Back in New York, he began developing a plan to help children with facial birth defects through all operation stages, not just cosmetic. Dr. Romo admitted that he did not have any experience putting together a foundation, "I did not go to business school, " he pointed out, and therefore it was challenging for him to lay the groundwork of his new venture. He decided to accept only newborns through age twenty-one who were on Medicaid or required other financial assistance, with emphasis on those from the United States. As he phrased it, "Little Baby Face Foundation helps "children from Harlem to Ethiopia. "With his mission in place, Dr. Romo then recruited thirty doctors, including pediatricians, plastic surgeons, and various specialists. This impressive brain trust assembles each month to discuss fifteen to twenty children whose financial statements have been checked. They ask, "Who does this child need to see? " If they are not sure, they bring them in for a "look-see" with each of the doctors. He then went on to say that when these children come in to meet this large group of doctors, they are experiencing something unique - this number of medical professionals is rarely seen in one room. For the entire stay, including during the operation and recovery time, the child and his or her family are taken care of every step of the way: their flights are paid for, "Mario picks them up in a car service, " and they are welcomed with open arms at the Ronald McDonald House. What most impressed me about the Little Baby Face Foundation is that every doctor volunteers his or her time. It has been worked out so that no one needs to perform more than a handful of procedures each month. Occasionally, when Dr. Romo is met with slight reluctance from one of the doctors, he often responds with a poignant, yet witty response: "How much fat do you want to suck and how many boobs do you want to do? Or do you want to change a child's life? "Dr. Romo performs a significant number of the operations. He sometimes ends up doing as many as ten during the winter holidays. Speaking with him is an enlightening experience, as he is so full of energy, compassion, and joviality. He shared a few stories of patients who had touched his heart. He told me about operations that involved a Texan child with nerve paralysis and another from Harlem who was born deaf and missing an ear on one side. On the latter, Dr. Romo performed a cochlear implant and that the child "heard his name said at graduation. "Speaking about a few other patients from abroad, Dr. Romo continued to touch my own heart as he spoke of a child who came from farther afield - in Ethiopia. The girl had a large mass on her neck that no other doctor would touch. Dr. Romo said, "We had to fly her from a small village to Addis Ababa to Dubai to New York. " Not only did the girl have the mass removed, but she also got to have a New York adventure. As he continued on, I learned about a couple from England who came with their eighteen-month old son, who had a tumor falling over his eye. The parents, who were only nineteen and twenty-one, themselves, were given the opportunity to spend several weeks in Manhattan while their child was having his life changed. Dr. Romo is proud of how far the foundation has come since it began in 1990. He recently experienced a year in which he raised enough money in order to pay a small staff. One of the members of his team is his own wife, Diane Romo, who is the surgical coordinator. She deals directly with the children and has the extreme pleasure of contacting families to tell them, "We're going to bring you to New York. "Now that he has a model and a brand, Dr. Romo hopes to expand. "We can helicopter to Chicago, LA, or San Francisco, " he told me excitedly. But he is also devoted to New York, and emphasizes the concept of "New Yorkers helping New Yorkers. " He wishes that more people knew that the Little Baby Face Foundation existed. He said that a lot of hospitals are in the red, which should not be the case, since there are so many doctors willing to occasionally work for free for the sake of the greater good. His need to give to the community in any way he can is inspiring. As he perfectly phrased it for me, "I'm a surgeon. This is the only way I know how to give back. "

Holy Trinity Cathedral, a Greek Orthodox church in the Byzantine Moderne style, is the national cathedral of the Orthodox Archdiocese of America. Though first formed in 1891, Eleanor Roosevelt laid the cornerstone of the current building in 1932.

In 1832, the Reverend Dr. McVickar found a large group of "destitute" boys playing on Stanton Street. He asked them why they were not at church, and they replied that there was no church. He immediately started raising money to start one. He managed to find a place to worship in a tiny room over an engine house. The first assembly occurred on January 6th, 1833, on the Festival of the Epiphany, hence the church's name. Since then, it has had many homes throughout the city and merged with a few other congregations before finding its current location on 74th Street. The parish moved in 1944, over a hundred years after it was first formed. At the time, the "Far East Side" had no Episcopal churches, but Epiphany chose to move in order to meet the needs of the New York Hospital complex.

Coach Jellybean, a man who was only introduced to us by his universally-used nickname, has endless good humor. He told us, "I am world famous on the Upper West Side among kids aged nine to twelve. " He added with a cheeky smile, "I'm a big deal. " He is often spotted on the street or at the zoo by gaping mouthed kids who are shocked to see their coach outside his natural habitat. It is not surprising that he is recognized so frequently, since two to three hundred kids go through the batting cages each week. It is, after all, the only place in Manhattan with an indoor facility. Jellybean took us past the large bank vaults that are a permanent part of the Apple Bank basement and into the Green and Blue rooms chatting enthusiastically. The Center can host six different classes at the same time, thanks to its size and equipment. It has every kind of pitching mechanism one can imagine, from a big ancient beast that is still "one of the best machines in the business" despite its age, to an LED display that lights up to resemble an actual pitcher. There are even simulators that can show where the ball would end up going in Yankee Stadium (with handicaps for younger batters). Not only does it motivate kids with a little firework display for home runs, but it also serves as a helpful statistical tool for older players hoping to improve their technique. One of the most impressive machines was the "pro-hitter" which can shoot out balls at 100mph and can basically mimic any kind of major league pitch. Jellybean also showed us the party room, which was decorated on one side for the Mets and on the other for the Yankees, in an effort to appeal to fans of both teams. As I was admiring the countless photographs of kids that lined the hallways, Jellybean pointed out that the center is not just for children. Far from it: the facilities have been used for bachelor parties, special needs adults, and even "big league guys" who want a place to practice in between seasons. The Center is also popular among foreign tour groups who want to try out America's pastime while visiting New York. Jellybean was particularly proud of the charity events that the Center hosts, where people pledge money for hitting pitches at a certain speed. After our tour, I took the time to speak with Jason, who told me more about the programs that the Center offers. There are tournament teams, after school programs, summer camps, and birthday parties, weekly classes, and, during the warmer months, outdoor leagues. He explained that the space's main purpose is to "Promote the experience of baseball. " When I asked how the Baseball Center accomplishes its mission, he replied without hesitating: "the coaches. " Some of the coaches played in college, some are former professionals, and some are still playing, but what binds them all together is their love of the game and their ability as teachers. "A good player doesn't always make a good coach, " Jason admitted, and assured me that each of his coaches is thoroughly trained as a teacher. With a grin, he told me that a mother had recently said to him, "I don't think I've ever seen so many men who are good with children. " With pride, Jason pointed out the sign that marked the Baseball Center as a designated New York City "safe house. "Though Jason has seen some real baseball stars come through the Center's programs - including Clayton Kershaw of the LA Dodgers - he was pleased to tell me of a child who had been coming for years, and had recently been offered a full ride to Stanford via baseball. He went on to say that he enjoys seeing every child thrive, no matter what level they ultimately achieve. He told me that his favorite part about working at the Baseball Center are those happy moments when he witnesses a child get their very first hit. "It's magic, " he gushed. It is a personal victory not just for the child, but for everyone at the Center. "We are a part of each child's team. "