灰色Foy和他已故的伙伴,狮子座Lerman,于1994年去世了47年共同生活在一个宏大的风格,无论是出生,但他们用更多的天生的嗜好和discernment-more简易处世之道而不是钱。Foy是一个艺术家和绘图员的怪异的手腕、不必要的质量在他的第一份工作,在洛克希德装配线在战争期间,但与Lerman受雇于他的生活。他仍然是一个艺术学生在哥伦比亚大学当他遇到了他未来的伴侣的生日宴请Lerman,最近他开始写作时尚基本上,扔了皮埃尔巴尔曼,他从未离开。
Lerman是巨大的在每一个尊重一个男孩来自皇后区重塑自己作为普鲁斯特式的唯美主义者在俄罗斯熊的身体,经常以一个英语主住在威尼斯宫殿。他的胃口文化包罗万象,一位多产的职业生涯中所有的经理trades-writer,编辑,导师,热门人物,主持人、记者和raconteur-he充分利用他的松露猎犬的鼻子对人才和友谊。但他也有宝藏的鼻子,特别是那种objet de vertu这没有任何显而易见的艺术品或古董Foy进。
“两是一对,但三个集合,“Lerman喜欢说,这是他的一个座右铭,第二部分:“太多是不够的。”When he and Foy were still living in their East Side town house (rent: $119 a month), where they started on the ground floor and gradually displaced their upstairs neighbors, they filled their rooms with an unstoppably rising tide of what a friend shrewdly called "opulent clutter." Much of it was charming, Victorian flotsam that told a gothic tale about nature and artifice: root and shell-encrusted furniture, taxidermy, wax and woolen flowers, spa glasses and sailors' valentines, and voluptuously impractical settees that Foy is still perching on. "There's not a comfortable chair in the house," he says with a certain pride. Most of this urban archaeology was done in prop and junk shops, or on the street, and some furniture with an air of pedigree was, in fact, acquired from set-designer chums, straight from the stage door of a drawing room comedy that had finished its run. But the hottest ticket in New York to a drawing room comedy with an all-star cast was an invitation from Lerman and Foy.
1967年财产的夫妇和他们的四层(Foy说,花了三天)的奥斯本,最伟大的文艺复兴时期的复兴在西57街的桩,建立了近一个世纪前作为替代为贵族豪宅住纽约人想缩减,一点点。(例如,没有私人宴会厅,一人尝试粗员工宿舍3。)轻盈的联系并不是一个镀金时代的标志装饰,但巴洛克rooms-16-foot天花板在麻将馆和图书馆的规模,与奢华的拼花地板和装饰线条和排外的镶板,更不用说一个attic-suited两个多数派的移民从东。他们开始,福伊说,“相对空”物业空闲相对于满足。
