Meet Molly McCall

Meet American Artist Molly McCall whose talent for creating works revolving around the passage of time delivers photographic and mixed media compositions that are not only entirely unique, but also nostalgic for many. McCall’s work, which is memory based, is focused on the beauty of California’s central coast, where McCall was born, raised, and where she continues to live today with her husband Gordon and their two German Shorthaired Pointers.

Although deeply immersed in the art world today, McCall began her career in the world of fashion with her own private label which featured in stores like Nordstrom and Henry Bendel. Having exhibited at venues such as the Barcelona Foto Biennale and Griffin Museum of Photography, McCall’s coveted work has become a part of some of the world’s most prestigious art collections where it has even been featured in taste-making magazines such as Architectural Digest.

Recently, we were given the exclusive privilege to chat with Molly between her busy schedule which includes running her family’s business, McCall Events. Read on to learn more about McCall’s current body of work, up and coming projects, and how her family influenced her passion for art.

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What are you currently inspired by?

“I have been working with an art mentor, Lon Clark, for several years through the San Francisco Studio School. He is the first teacher I have had who works with both photography and painting—my two subjects—and who was willing to take me in and work with my desire to join the two. Lon first directed me toward abstract expressionism, and I was inspired by the exuberance and energy it conveyed. I immediately was drawn to the concept of “sensate” as well as creating a sensory feeling within my work, which opened up my visual world immensely and made me look at color in a totally new way.”

How did you first become interested in art? Was it an experience in your childhood or did your passion develop later in life?

“I am a fourth-generation artist. My immediate family of seven siblings are all accomplished artists: painters, writers, musicians [and] sculptors. Our early home environment was austere, but we had our creativity to keep us engaged with one another and our surroundings. Without television, we were left on our own to create entertainment and activities as well. Making art was just what my family did as well as play acting and performing for one another.

I was introduced to classical art at a very young age. Frequent trips to Los Angeles and San Francisco always included a museum exhibition or a theatrical performance. I can distinctly remember the French Impressionism show at the De Young Museum when I was about 10 years old. I was in awe of the scale of the work and the visual boldness of the colors, the brushstrokes, and the way the subjects were captured in such a loose form. It made a permanent imprint on me and I was inspired by the way it left a lot up to the imagination.”  

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Have you always been drawn to mixed media?

“Yes. Because I was exposed to so many different types of art mediums, I have always tried to create my own artistic language using multiple layers and materials. My creative career began in textile and clothing design, so I have an affection for the surface of things as well. All of my work is based in photography, but I like to push the boundaries of the medium. I’ve used a variety of materials on my images from spray paint to house paint to collage, ink, pencil, tar, glue, etc. I’ve sanded, torn, and even burned my photographs. Photography to me is still a magical process in which I feel I will never find the end of it. It’s the process and exploration that brings me back again and again.“

Can you walk us through your process for choosing the subjects depicted in your work?

“I have been interested in memory for a very long time. I’ve explored this subject from many perspectives: collective memory, historical memory, personal memory. I continue to be intrigued by its illusive nature and impact on our sense of identity and humanity. I’m very keen on change, the passage of time, loss, and the ephemeral nature of living.

My new work is in response to the environmental changes of our time, the parallels of flux between memory and nature, and explores the transitory state in which we live. The title of the series is The More Things Change, and is comprised of large scale color photographs created by layers of multiple images taken over a lengthy period of time.” 

Is there a particular piece that you believe defines your work best? If so, what piece and why?

“My art took a noticeable turn when I started working with Lon Clark at the San Francisco Studio School. The support of a mentor gave me both an anchor and a sail. I started to take chances and not judge my work so harshly, and I began a dedicated studio practice that shifted my work into a new place.

When I look back at this early work, I see a thread that brought me forward. The work from this time taught me how to listen to my instinct and not question it, and to just keep going. I am not sure I will ever arrive at a definition for my work, because I don’t think I will ever arrive at a definitive point. It just keeps evolving and building on itself.”  

What do you aim to express through your work?

“I am optimistic by nature, so that is always an underlying current in my work. I am also keen on the idea of expressing something visually in a way that makes people think, and leaving just enough unsaid so that they can add their own interpretation. I have always been intrigued by contrast and duality. I like the energy it conducts and the way it can transform an idea with the tension between the two.

My new work explores a sense of change by creating a simultaneous impression of one lengthy moment in time. The lack of detail plays a unique role in my composition and is achieved by various digital techniques with layered images of the same subject taken over a lengthy period of time. This technique conveys not only the passage of time, but the history that I have with these locations in a metaphorical way. Color is captured in a dynamic way to create empathy. Scale speaks to the power of nature and the way it can make one feel small. Also, I hope to convey the state flux that is shared between memory and nature and a sense of calm that can occur within chaos.“

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How do you believe that your locality of choice has influenced you as an artist?

“As a native Californian, I am predisposed to the landscape. I spent the majority of my childhood outside and have been inspired by nature my entire life. Growing up with open space, the ocean and a river close by profoundly shaped my sense of being. I also grew up surrounded by some of the most notable artists and art in the world whose work was also influenced by nature and the power of its beauty. Western artist Jack Swanson was a frequent guest in our home and close personal friend of my parents. Photographers like Ansel Adams and Edward Weston were people living in my town, and they moved around the community just like any other citizen. The artwork of California landscape painters like Maurice Braun, E. Charlton Fortune, August Gay, and contemporary artists like Wayne Thiebaud, Richard Diebenkorn. and Russell Chatham, was and still is frequently on exhibit in our community. And of equal importance were movies, the Western film genre in particular. The cinematic expanse of the landscape still captivates me to this day. My favorite Western of all time is The Big Country, filmed in Northern California. It is still studied today as one of the all-time best films for cinematic artistry and capturing the freedom of the West.”

Are there any artists in particular that you believe have influenced your work?

“I love photography and collect it as well, but I am influenced by other forms of art, mostly painting. Abstract painters like Swiss artist Uwe Wittwer, Scottish artist Pete Doig, and British artist Laura Landcaster, all of whom work from photography, and abstract expressionists like Joan Mitchell, and Helen Frankenthaler, whose work I often look to for color inspiration.”

Take us through a day in the life of Molly McCall.

“I divide my day into part work in my office with my family business and the rest of the day either in my studio or in the field. The early morning and late afternoon are optimal hours for my creativity, but I have also been known to duck into my darkroom and not return for eight or nine hours.

On a perfect day, I get an early start on a hike with my dogs at a nearby regional park, a former cattle ranch, which involves hours of soaking in the landscape and patiently waiting for a feeling to take over, the clouds to gather, the grass to blow, or the water to stand still: something that visually creates a mood. Sometimes I don’t even take a camera but bring a sketchbook. The process of drawing helps me record a different kind of response that inevitably shows up in my photography.”  

You’re currently working on a large body of work for the Quail Lodge Resort. How did this project challenge your creative process?

“I did a lot of traveling last year and decided at the end of the year that I would focus my next project on my own backyard. As memory is my main topic of interest, I thought I would explore the landscape within my own memory. Having lived in the same town almost my entire life, I am constantly confronted by the past and the passage of time, and I am keenly aware of how it has formed my artistic sensibility. This new work explores locations that I frequented as a child and attempts to capture the transitory state of the present.

The challenges to this new work were mostly internal, with movement playing a key role in conveying a sense of change and the passage of time. Part of my creative process involves the act of motion, and I wanted to embed that in the work as well. Hiking, swimming, and riding a motorcycle are all activities that unlock creative thoughts for me. There’s something about physically changing the speed at which one moves through space and time that disengages hesitation and self-judgment, somehow unlocking that first thought, that uninhibited moment before you start piling on all of the debris that pollutes it.”

Where to next?

“I have three solo shows coming up this year.

The first was to be at Quail Lodge Resort in Carmel, California, and was postponed due to the coronavirus pandemic. I will be rescheduling this show hopefully this summer. This exhibition will be of my recent landscape work titled ‘The More Things Change’ as well as a new group of cameraless lumen prints made with only photographic paper, the sun, plants from my garden, and darkroom chemistry.

The second solo show will be on exhibition this summer at the Griffin Museum of Photography in Winchester, Massachusetts, a small town about 20 minutes north of Boston. I won the honor of this exhibition last year and have been awarded a room in the museum to display my work. I will be displaying darkroom images inspired by a poem written by Irish poet WB Yeats called Into the Twilight. My exhibition is titled ‘Remembering the Twilight’.

My year will close with an October exhibition in Barcelona, Spain at the FotoNostrum Gallery. My work is included in part of the Foto Biennale, a group show of photographic artists from all over the world, as well as a solo show of my landscape work ‘The More Things Change’.“

Where can we follow you?

“I post new work, artistic inspiration, and studio projects along with images of my beloved dogs on Instagram and Facebook.“

Images courtesy of Molly McCall

The Legendary 105 Meter Lady Moura Now Available For Sale For The First Time

An Icon, a Legend, the 105 meter (344 ft) Blohm & Voss Lady Moura is many things. She is grand, she is imposing, she is the definition of a floating villa, but most of all she is arguably the best cared for yacht in the world.

The story of Lady Moura begins in the 1980s when a successful businessman decided that he would like to build a refuge for his family. Although Lady Moura was the ninth largest yacht at the time of her launch, few if any yachts comparable to her existed. As such, the Lady Moura along with Nabila (now Kingdom 5kr) and Corintha VI inspired many of the yachts we see today. At nearly 6,500 tonnes, Lady Moura’s volume is immense offering over 2,600 square meters (27,000+ sqft) of private chambers for guests and owner alike. Within, amenities that put most yachts to shame and a superfluous interior by the Italian-born Luigi Sturchio.

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Now available for sale with Camper & Nicholsons by the original owner for the first time, Lady Moura represents the most impressive offering of any yacht currently available on the brokerage market. Maintained to the highest standards by her crew headed by Captain Matthias Bosse, Lady Moura served solely as a family residence, never being used for charter.

Stepping aboard the Lady Moura is an experience in and of itself. The yacht’s general arrangement is laid out in an impressive fashion; when boarding aft via a staircase from the lower deck you are ushered to an intimate outdoor sitting area, and when moving forward into the vessel you are instantly greeted by an impressive space, the main saloon. Serving as the principal formal reception room, the main saloon is vast with several separate sitting areas highly decorated with dark wood paneling and elegant marble details. The space is inherently Italian in design, yet boasting elegant, muted arabesque details. The main saloon is fitted with an elegant piano and original furnishings, something of a theme that is found throughout Lady Moura.

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Moving forward on the main deck past the main saloon is a dark wood paneled walkway with simple, yet supremely elegant arabesque details on the wood and gold railings and light fixtures. The walkway leads to the yacht’s main deck lobby, which features an impressive staircase crafted of light toned wood stretching 5 levels from the lower deck to the top deck. For those that would like to save energy for swimming, there is a nearby elevator. Continuing forward past the lobby is a vestibule which offers direct access to a grand wood paneled dining room for 24 complete with Egyptian murals, a spacious office, and a wing containing four guest staterooms and one full beam VIP stateroom. The VIP Stateroom is a particular highlight as its ample size allows for two sitting areas, a dining area, office area, and a generously portioned walk-in closet and bathroom.

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Located adjacent to the central stairwell on the lower deck is Lady Moura’s main reception lobby with sitting area and direct access to tender transport. Aft of this area is the yacht’s beach club with amenities that include a bar, sitting room and dining area. The décor of the beach club is supremely casual, yet entirely chic; although the décor is now 30 years old, it is perfectly modern and fresh. Specific highlights of this full beam beach club are the fold down platforms located at each side of the space. The swim platforms are expansive in size and space, perfectly suited for al fresco dining; and due to their high positioning, they resist small waves and swells, that would otherwise soak your feet. The swim platforms contain stairs and diving boards for easy access to the sea.

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Last, but certainly not least, is Lady Moura’s cinema located aft of the beach club. Here guests can recline in a glamorous space furnished with small sofas, a hallmark of Luigi Sturchio’s onboard cinemas. Most impressive of all is the fact that the cinema can be converted to a disco complete with a dance floor.

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Situated above Lady Moura’s main deck is a level devoted entirely to private family staterooms. Forward of the lobby is a wing of six spacious staterooms, all featuring expansive closets and private marble en suites. Aft of the lobby is the massive owner’s stateroom complete with two bedrooms, two large walk-in wardrobes, two plush marble bathrooms, a spacious office, as well as a private terrace aft.

Lady Moura’s bridge deck offers a combination of ample family and technical space. A pilot house along with accommodation for the first officer, chief engineer and captain occupy a third of this deck. Located off of the grand staircase’s lobby forward is a children’s playroom and a large office with a sitting area. Aft of the lobby is an impressive lounge where the owner and his family spent a great deal of their time on-board. Here in the family room there are abundant sitting areas, bookcases, and a dining area. Aft of the family room is a well-proportioned outdoor area with access to the wraparound deck.

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A true highlight of the Lady Moura is her top deck, here aft of the lobby is a very large helipad, whereas forward is an in-door swimming pool. A retractable ceiling allows for guests to enjoy the beauty of open air while also enjoying the comforts an indoor pool has to offer. The top deck boasts a large spa and gym as well as a forward terrace for sunbathing.

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Lady Moura’s crew and technical spaces are vast and provide a commercial level of sensibility often not found on yachts. Two large tender garages enable the possibility of carrying up to four tenders, each of which may exceed 30 feet in length. Separate crew and guest kitchens and laundry rooms are an impressive amenity along with the yacht’s own bakery. With the capability of accommodating up to 72 crew and staff compared to just 26 guests, Lady Moura offers a fantastic crew to guest ratio allowing for the highest levels of service.

Although Lady Moura has not traveled much, clocking just over 10,000 hours in her 30 years, she boasts the capability of traversing over 8,000 nautical miles at 17 knots. Stretching a further two levels beneath the lower deck, Lady Moura is capable of storing provisions for months of non-stop cruising. The vessel’s on-board medical facility coupled alongside her remote monitoring system for real time troubleshooting and support make her the ideal yacht for extended cruising with these highly desirable safety features.

Lady Moura is currently listed for sale with price available upon application. Though the yacht’s value has been estimated to be in the region of 200 million euros.

Images courtesy of: Camper & Nicholsons International

The World of Visual Art with Angelique de Limburg Stirum

Recently, The Extravagant was given the exclusive privilege of interviewing Angelique de Limburg Stirum on her passion for artistic expression through portraiture. The young Belgian artist and former model is currently developing a unique take on modern portraiture.

The daughter of the Count and Countess of Limburg Stirum is proving to be an innovator in a world where capturing human likeness on canvas is becoming increasingly underrated. Read on to see how Angelique’s own artistic ability has been shaped by her family’s many generations of talented collectors and artists.

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Tell us about how you first became interested in art, and what initially attracted you to the human form and visual art in particular? 

“I come from a lineage of artists, so in a way I inherited an interest and an affinity for artistic expression. These interests were further magnified by being surrounded by art. My grandmother, Princesse Hélène d’Orleans, is an amazing painter and also composes classical music. Since I was nine, I roamed around her atelier, which was a sort of magical safe haven, where she taught me how to paint and draw. 

When I was little and first started making art, all I wanted to do was paint portraits. My grandmother refused to teach me portraiture and insisted that I first learn the basics of painting through inanimate objects. Although at the time I remember feeling extremely frustrated, I am now grateful to her because she understood the complexity and skills necessary for capturing the human form in a worthwhile way.

Besides, I realise now that being dyslexic has played a big role in being attracted to [create] visual art. It has always been easier for me to express myself with images than it has been with words. I also have synesthesia which means that I perceive sounds, smells and tastes as inherently coloured.“

In a few words how would you personally describe your work?

“My work is very varied right now. I am trying out many different styles and ways of working. But you can usually recognize my big brushstrokes in all of my paintings. 

My art is mostly figurative and the human form is one of my main interests.

The common thread in my paintings is my unquenched thirst for beauty and harmony.

My creativity is my vital energy. I embody this energy in vibrant colours in order to exist.

My paintings and drawings follow a certain cycle. You can read my energy frequency through my art: It goes from periods of big sobriety and very limited pallets of colours, to periods of explosion and a very vibrant colour palette.“

You’re currently studying at the Royal Academy Antwerp; with that said, what in particular attracted you to the Royal Academy?

“Before going completely [into] the arts I thought it would be useful  to have  a degree in business in order to be able to manage my own career. 

After getting my bachelor in business management, I wanted to know more about the history of art. So I continued studying. But this time, I did it in evening school for two years combining it with my work as an artist in my own atelier during daytime. How I loved to be completely free artistically!

Although, after a while, I felt like I needed some guidance to take my art to the next level. I required some extra technical abilities and knowledge. Going back to school felt like the right thing to do. Finally I was going to study [what] I was born to do: painting.

The academy of Antwerp, is one of the only schools that still offers a kind of academic way of teaching, all the while giving us the freedom to explore. Huge spaces, [massive] windows, inspiring teachers, small groups, [as well as] space and time to discover oneself. The right place for me.“

Describe a day in the life of Angelique de Limburg Stirum.

“I wake up quite early and have a little ritual to start of my day: short meditation, cold shower, healthy breakfast and … off to school.  Most of my days are spent at the academy right now.

At night I work in a bar near the school. It is very pleasant as many students and teachers come and have a drink there. I find it to be a nice way to disconnect from painting. Plus I get to meet and talk to many different people, which is always a source of inspiration and inner richness.“

Do you believe that being based in Antwerp has affected your work? If so, how? 

“Actually it’s not the city but the the academy which has affected my work. It has helped me [to] broaden my horizons and see all the different directions my art is able to go. This is such an exciting time for me. I am constantly being challenged and encouraged to question my own creations. Being surrounded by so many creative people is so stimulating and inspiring!“

Although your career is just beginning, which of your pieces do you believe defines your work best?

“As I said before I work in cycles and different periods, so I can only answer this question to what defines what I make right now. 

And currently I am creating portraits, interior scenes and still lives. The common feature between these different works is the colourful intimacy of everyday life or the soul of the characters I portray.

Take the portrait of my friend Guilia for example. It’s not exact copy, but rather an interpretation of her ‘being’. I capture the moment we shared. It is a glance in the intimacy of a privileged moment of daily life.“

Where to next?

“There are so many different mediums that I would like to explore! Sculpture, ceramics, photography….  Give me more hours in one day, more days in a year ; – )“

Where can we follow you?

“You can follow me on Instagram: angeliquedelimburg“

Image credit: Sarah Kirchner

The Art of Portraiture with Fanny Rush

Portraits created by Fanny Rush are stylistically characteristic of a bygone era. The London based artist, who just built a new home and studio in Battersea after relocating from Chelsea, employs seldom used Old Master techniques in her portraits that immortalize both her subjects and their personalities.

Rush’s prestigious commissions are numerous and include American Ambassador Robert Holmes Tuttle, famed actor Charles Dance OBE, as well as Sir William Castell, Chairman of the Wellcome Institute, to name just a few. Regardless of the fact that Rush has never trained professionally as an artist, it’s an underestimate to call her working anything but fantastic. The artist spent years analyzing the works of old masters, such as Rembrandt, Titian and Velasquez to develop her own style which blends old master discipline with a sensible contemporary touch.

Read on to learn more about the process behind Rush’s portraits as well as her inspirations and the reasoning behind her recent move to Battersea.

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What are you currently inspired by?

“Amongst many others I am inspired by the techniques of the old masters namely Rembrandt, Goya, Titian, and Velasquez.  I am also inspired by the use of light in the work of painters such as Vilhelm Hammershøi, William Nicolson and Andrew Wyeth, and the design sense of Edward Hopper, Matisse and Degas.

Great photographers inspire me too, such as Cartier Bresson, Cecil Beaton and Irving Penn.

In my work, an amalgamation of these influences comes together with my own painting style. I love strong colours and shapes and I am captivated by the way light behaves.“

Is there a certain place that you trace your love of portraiture to?

“I think I have always been fascinated by faces. My father took me to the big national galleries in London as a child, so at that age I saw some of the best portraits that have ever been painted – I fell in love with portraiture then.

In a successful portrait the whole of the facial muscular structure has to be understood. For example, how the slight lifting of the corners mouth will gently and almost imperceivably push up the muscles under the corners of the eye, making a genuine soft smile. 

As human beings we read true emotion in other faces better than we do anything else, our lives have depended on us interpreting them correctly. Mistaking a smile for a sneer where the eyes are not involved could be fatal.

I keep a constant subliminal communication going with the face as I paint, and this will tell me that it rings true and that the likeness is there – ‘this is this man’s smile’.”

Have you always possessed an affinity for old master techniques?

“It was very natural for me to seek out their methods and strive to emulate them because I love the way they painted.  When I started painting, I read everything they wrote and I visit the same great paintings often, understanding more every time I see them. 

In the old masters I find the richness and luminosity of the colour in the glazing, the variety of skin tones and the portrayal of texture fascinating.  In these works you can often feel that you almost know the person portrayed.

I also love the way these portraits are designed to sit so comfortably in the eye of the beholder. What looks easy and natural is actually very skilled design.“

Currently, what are some exciting projects that are keeping you busy?

“I am just finishing a portrait for New York at the moment, and there are some exciting British and international portraits in the pipeline. I’m really looking forward getting to know my new clients.” 

Why the move from Chelsea to Battersea?

“I rented a beautiful Victorian laboratory which was my studio for many years, it was just a few streets from my home in Chelsea.  I was heartbroken when the land the studio was on was sold to developers.  Studio space in the area just doesn’t exist anymore and there was nothing else for it, I had to leave Chelsea.

 I followed the American Embassy to just over the river Thames to Nine Elms, Battersea and I’m so glad I did.  I bought two adjacent properties, knocked them together and built the perfect home and studio for me. I’m very happy here.”

Where can we follow you?

“My website fannyrush.com is updated regularly and you can follow me on Instagram @fanny_rush“

Images courtesy of Fanny Rush via Damson PR

Sotheby’s NOW! Online Auction To Feature African Art, Photographs, and Contemporary Design

From the 18th to the 26th of February, 2020 Sotheby’s will offer a wide range of stunning lots online as part of their sixth NOW! sale. Made up of 20th century Design Pieces, Contemporary Works, Photographs, as well as African and Oceanic Art Works, the auction is held exclusively online. Estimates for the lots in the sale range from €500 to €50,000.

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Curated by Lolita Cros, the NOW! sale includes pieces by artists and designers, such as Hans Hartung, Robert Indiana, Jean-Pierre Pincemin and César. Other interesting highlights include a Senufo figure from the Ivory Coast, design pieces by Philippe Hiquily and photographs by Peter Lindberg, Richard Prince and Liu Bolin.

Although the New York based, Paris born, Lolita Cros is an independent curator, she was specifically selected for this sale due to her talent for creating unique scenography. Particular highlights of her career include curating all of the spaces at The Wing since 2017, which encompass at The Salon by Marilyn Minter, Jenny Holzer and Senga Nengudi, among others.

Select lots will be on exhibition in Paris on the 21st, 22nd and 24th of February.

Images courtesy of Sotheby’s

Feadship Launches the 99.95 Metre MY Moonrise

At just shy of 100 metres, the Moonrise with her sleek lines and massive 15.5 metre beam stands as a testament to Feadship’s devotion to craftsmanship. Unveiled on the 7th of this month in Makkum, the Netherlands, Moonrise is characterized by her blend of sleek lines and modern sharp profile. Designed by Studio De Voogt, stand out elements include an aluminum ‘superstructure [which] is entirely clad in glass’ and a contrasting silver colored steel hull paired with elongated windows.

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Substantial in presence, Moonrise’s impressive volume provides ample interior living spaces capable of accommodating sixteen persons in eight luxurious staterooms. The sophisticated modern, yet minimalist interior design by Rémi Tessier is described as “instantly welcoming,” and the vessel’s high ceilings make transitions between indoor and outdoor areas perfectly seamless. A stand out amenity is Moonrise’s impressive aft beach club, which includes a gym and wellness center. A highly spec’d crew area accommodates up to 32 crew in spaces flooded with natural light, a rarity in most yachts. Lastly, a helipad situated on the fore-deck makes for the ultimate addition in safety and convenience.

Moonrise is propelled by twin MTU engines that allow for a top speed of just under 20 knots and a cruising speed of 16 knots. Quantum stabilisers make for a smooth ride, though owner and guests will benefit from the yacht’s advanced naval architecture and engineering which ensures an exceptionally quiet cruising experience. Feadship even boasts the fact that Moonrise has exceeded “even Feadship’s legendary standards of noise and vibration attenuation.” This is in part due to the fact that the yacht’s propeller and appendages were designed to reduce noise levels underwater. Ultimately this reduces both the vessel’s interior sound levels and its environmental impact, in addition to increasing the range by reducing fuel consumption.

On the subject of environmental impact, Feadship has taken several key steps with Moonrise that include both the installation of Feadship’s proprietary generator exhaust cleaning system and main engine exhaust gas treatment. Energy aboard Moonrise is conserved through the use of unique technologies, such as the heat recovery system installed on the generators which allows for the jacuzzi’s water to be heated with less electricity than is typically required. Finally, an “ECO-certified system for dynamic positioning facilitates the most energy-saving generator use in this mode.”

Environmentally friendly features, a cutting edge design, and the latest in extended cruising and autonomy contribute to the fact that Moonrise is undeniably one of the most exciting recently launched super-yachts.

Image credit & courtesy: Copyright of Feadship

A 1958 Ferrari 335 S Spyder Takes The Win at the 5th Peninsula Classics Best of the Best

For The Peninsula Classics Best of the Best Awards’ fifth year, an award that draws eight of the concours circuits’ ‘Best of Show’ winners to compete against one another, a stunning 1958 Ferrari 335 S Spyder emerged as the champion among the competition which included some of the most coveted and timeless automobiles ever produced. This year’s winner, which boasted coachwork by Scaglietti, was dubbed the ‘Best of the Best’ after claiming “Best of Show” at the 2019 Cavallino Classic. You may be curious as to what contributed in making the car stand out among its fierce competition? Aside from its irrefutably breathtaking exterior design and famed Ferrari V12 engine, this 335 S Spyder offered finely-detailed accounts of its past glory both inside and outside the racing circuit.

When the classic 1958 Ferrari 335 S Spyder was showcased at The Peninsula Paris during a private party, the car soon became the center of attention as it defeated the other seven competitors that were chosen for their own distinguishable qualities. The Ferrari’s sleek body, incredible curves, powerful engine and extensive documented provenance surely contributed to its victory. It was a great battle between these fellow nominated vehicles due to the fact that each of them were the 2019 Best of Show winners hailing from top-class concours events from across the globe. The judges for this competition included leading figures in the automotive world, such as names like Henry Ford III, Jay Leno and Nick Mason of Pink Floyd.

“It is difficult as a judge to choose a winner for The Peninsula Classics Best of the Best Award because each vehicle has already been selected as one of the best and most prestigious in the world and they’re all immaculate,” states Jay Leno. “For 2019, we selected the Ferrari due to its extremely detailed history, including its racing heritage. Of course, it’s also an incredibly beautiful vehicle.”

Having previously been on display at the New York International Auto Show in 1959, this particular Ferrari competed on multiple raceways in the United States, including Watkins Glen, Daytona International Speedway and the Virginia International Speedway. The last of which resulted in the car sustaining a blown motor in May of 1960. Following this incident, repair costs were so exceedingly high that the Ferrari was left to rest at a New York customs facility where it remained unclaimed and patiently awaiting the day for it to be unleashed upon the world.

Although this Ferrari’s nap at the customs facility was not too excessive, it still had taken roughly three years until the car was eventually acquired in April 1963 for around $1,000 USD. The car was then passed through the hands of many owners and across many countries from 1963 to 2013, until it reached the hands of Andreas Mohringer of Salzburg, Austria. Mohringer wanted to fully restore the car to its former glory, so he commissioned a complete restoration by Paul Russell and company. The firm, which is famed for specializing in restoration, preservation and maintenance of fine vintage vehicles, truly demonstrated their skills as the Ferrari once again made a name for itself by claiming Best of Show winner at Cavallino Classic and later obtaining the Best of the Best award. Other notable achievements from the years before include being the top of its class at the 2017 Pebble Beach Concours d’Elegance as well as the best of show for the 2018 Concorso d’Eleganza d’Este. 

“This Ferrari is the ultimate combination of beautiful Scaglietti coachwork and racing pedigree,” said Andreas Mohringer, the vehicle’s owner. “After restoring this extremely noteworthy car back to its former glory, it is an absolute joy to share it with the world. We’re thrilled that the judges have recognized how special this vehicle is and it is a great honour to be presented with this prestigious award.”

The private party held at the The Peninsula Paris’ subterranean garage announced the 1958 Ferrari 335 S Spyder as the winner of the award in a very exciting way. After dinner came to a close, a vertical bi-fold door together with numerous lighting effects wowed the crowd as the vehicle made its entrance into the festivities. Big names within the automotive world, international press and authoritative members of Parisian society ended the party with a high-note as they danced to music by Model and Dj Amber Le Bon.

“As the automobile industry continues to evolve, not least technologically, with each passing year, celebrating the beauty, innovation, and craftsmanship that defined a century of automobile manufacturing takes on an ever-greater significance” said William E (Chip) Connor, co-founder of The Peninsula Classics Best of the Best Award , Chairman and CEO of William E. Connor & Associates Ltd., a regular judge and vintage racer. “Everyone associated with this fantastic award should be proud of the work they have done.”

For more information visit: The Peninsula Classics Best of the Best Award 

Images Credit: Peter Singhof

“Flower Gems of India” by Bvlgari Joins Forces with 100 Family-owned Farms in India

Bvlgari perfume division has announced their newest partnership, a collaboration dubbed “Flower Gems of India.” The program, which has been praised for its efforts to support 100 family-owned Indian Jasmine farms, will feature perfumes designed by Firmenich and Jasmine Concrete, a specialist in the production of floral extracts for perfumes. The three-year long program will focus on flowers produced in India’s Tamil Nadu state.

The Italian house, which was founded in Rome nearly 150 years ago, has long maintained a passion for sourcing the best of materials. The “Flower Gems of India” is a demonstration of Bvlgari’s undying resolve for creating remarkable products that bridge the gap between luxury and sustainable, ethical and responsible production.

“It became important to us that we contribute to support the communities that enable us to create our masterpiece fragrances, and that we establish a sustainable approach to preserve and support the local economy. Like our jewels, our fragrances are crafted from nature’s finest gems and we are passionate about finding, sourcing, and wherever possible, supporting the production of these extraordinary ingredients,” says Jean-Christophe Babin, Chief Executive Officer of Bvlgari.

Sound, scientifically based farming techniques are at the heart of Bvlgari’s approach to Jasmine production. Methods will focus on advising small farms on how they can improve soil quality and better manage their water supply to ensure improved quality flowers and ultimately higher levels of profits to improve the farmer’s and their family’s own quality of life.

Most importantly of all, Bvlgari’s “Flower Gems of India” will help promote and keep alive the act of traditional Indian flower cultivation and improve the livelihood of Indian Farmers.

Image credit: © Bvlgari, courtesy of LVMH

A 12 Million Dollar Hawaiian Masterpiece

Ever considered acquiring a stunning retreat on Hawaii’s biggest island? Atop a hill on the island of Kailua Kona is one of Hawaii’s most exceptional residences. The 5 bedroom, 6 bathroom, 7,000+ square foot home is situated on a private street in Kukio, a community often refereed to as the “Billioniare Getaway.” According to Forbes, several prominent businessmen have acquired homes in the community, including Michael Dell, who owns a nearly 20,000 square foot residence in the Kukio.

Kukio, a gated community with 24 hour security, offers peace of mind to the security conscious buyer. Aside from safety and security, one of the most significant highlights of the property is the ability to apply for membership at the prestigious Kukio Golf & Beach Club. The club is well regarded for its 18 hole course designed by Tom Fazio, sports center and spa.

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When entering through the property’s gates you are immediately greeted by mature landscaping and a courtyard framed by the main residence along with not one, but two guest houses. An immense auto court features a two and one car garage. With panoramic ocean views in mind, the house was meant to take full advantage of the property’s excellent high position. The main home’s design, which is best described as island chic, boasts gracious living areas, a sumptuous kitchen that opens up via a set of lanai doors to an elegant 25 yard lap pool and an adjacent outdoor bar. A media and game room offer a space to unwind after a long day of enjoying Hawaii’s stunning natural beauty. The absolutely quintessential porch that swings just beside the front door completes this resort like property.

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72-199 Lae Kikaua Mauka was recently reduced from an asking price of $17.9 million USD to a guide price of $10.9M to $12.9M USD. Whereas one of the adjoining 3+ acre lots with Ocean and Volcano views is considering offers between $3.3M to $3.9M USD. Interested parties are invited to submit their offers through Spark Offer; the company’s unique platform “allows sellers to dictate pricing, set terms, and review all offers in a simple dashboard that will reveal the true market value of their home.”

Images courtesy of Quinn PR

Costa Rica’s Hotel Aguas Claras | A Caribbean Retreat with Victorian Flavor

Looking for a warm Caribbean retreat with perfect waves and classic, yet simple Victorian elegance? Famed watercolourist Elizabeth Steinvorth and her daughter Elena have created what can only be described as Costa Rica’s most splendid, eco-friendly resort situated in Puerto Viejo. Steinvorth, who has holidayed in the country for decades, originally came to Costa Rica long before the nation benefited from modern conveniences, such as widespread electricity. Now having breathed new life into what resembled to be a small village of dilapidated cabanas, the new found hotelier has bridged the nation’s quaint past with modern convenience in a setting that values the natural environment above all else.

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Situated on a remote private island in Costa Rica’s Limon province, Hotel Aguas Claras is made up of 6 bungalows and 6 suites which each feature their own individual design language. In addition, it offers endless opportunities to immerse oneself in this Central American nation’s rich blend of Afro-Costa Rican culture. Though all the bungalows and suites do have something in common: bright colors, comfortable fabrics, and fixtures decorated in local seashells. Highlights of this plastic free property include a significant collection of local artwork, botanical gardens, Casa Gandhi a yoga and meditation space, as well as a splendid pool.

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When renovating the property in 2017, Elena Steinvorth and Elena Rohrmoser focused on modernizing the property with an equal focus on preserving the Victorian-Caribbean style. Each bungalow and suite is meant to reflect the resort’s natural beauty and have been decorated with thoughtful details, such as ‘recycled materials, recreated furniture and found objects.’ Awakening the senses of the guests is at the heart of this hotel’s philosophy, and to no surprise the Aguas Claras was awarded the Tourism of Tomorrow award by the Cayuga Collection.

The Zoological enthusiasts will not be disappointed by the Flora and Fauna, which are found in abundant quantities from Palm Trees to howler monkeys and sloths.

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In addition to the Claras’ wonderful tropical setting and exceptionally private beaches is the resort’s cuisine. The local and international cuisine served at the restaurant includes an innovative menu showcasing the best of Costa Rican and international flavors, while incorporating fresh local ingredients. Highlights of the menu include Sea Bass, Plantains, and Ceviche. We also hear the bar crafts some delicious mixological cocktails. If you are a fan of hiking, biking, snorkeling, or just rejuvenating in a natural environment, few properties in Costa Rica compare to Hotel Aguas Claras.

Images courtesy of: Hotel Aguas Claras