Issue link: http://papercitymagazine.uberflip.com/i/734526
T heir growing collection of contemporary art, which includes works by Julian Schnabel, Robert Longo, Donald Sultan, Robert Rauschenberg, Roy Lichtenstein, and Herb Ritts, laid the basis for the home's vibrant peacock blue, lemon- curd yellow, emerald green, orange, and, of course, 1920s black and white. "They wanted a fresh, crisp look, so I used blocks of strong color in each room for more impact," says Green. Moritz, who was adamant that the colors be clear, not muddy, rejected many fabric and paint samples before settling on a pleasing palette. The extra effort was worth it — the apartment's sumptuous colors are one of the first things people notice. Case in point: Cocooned in peacock Rubelli silk velvet, the dining room walls have turned out to be a petting zoo. "People just want to run their hands all over the velvet, it's so luscious," Moritz says. "But it always leaves handprints, and Jon freaks out." Finally, the designer came up with a solution: a wide paintbrush to smooth out the mussed velvet nape, which he had slipcovered in velvet and monogrammed with his clients' initials. Green presented it to them one evening when he arrived for dinner. Says Moritz: "Now, when anyone comes over and touches the wall, I hand it to them and say, 'Take 30 lashes with the paint brush.'" Monogrammed wall brush. Faux-shagreen nesting tables. Opposite page: In the library, custom chairs by Designer's Furniture Mfg., in Jack Larsen fabric. Fortuny light fixture. Walls are Fine Paints of Europe Admiral Gray lacquer by J.M. Coulson Ent. Interior designer Jon Green. 70