Public Space

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

As we move to the second floor, up the grand staircase, we encounter a painting called Doublet by painter Sarah Lutz. Sarah exhibits widely in Massachusetts, New York, and throughout the United States. Doublet is a painting from 2009-10 that we just think perfectly expresses the etiquette of the occasion when you arrive at the public spaces designed for celebrations and camaraderie on the second floor of the Newbury. Doublet is an oil painting on linen and consists of two stacks of beautiful colors and large swirls and kind of imaginary landscape. These two stacks look like anything from a water space to two large colorful croquembouche desserts. They really invite people to take a pause at the top of the staircase and experience the joy of this moment and anticipate the story of the next as they move into the ballroom or afternoon tea overlooking Newbury Street.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

The next photograph is by Cuban photographer Adrian Fernandez, called The Threshold of Uncertainty. It’s a mesmerizing and mysterious photograph of a doll’s mask, a porcelain mask that stares back at the viewer. This photograph indicates the sort of style and mystique of the property and location. We wanted to have a photograph that talked to Newbury Street’s history as a source for fashion and styling and creativity and The Newbury Boston’s seat at One Newbury Street as the source of that artistry. What’s interesting about this photograph is that it looks directly up Newbury Street from the lobby. It’s the second portrait in the set that guides you into the library itself.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

Last is one more photograph by Francis Olschafskie, a reflection of a window taken in London. It’s simply black and white string with trees behind it. A natural scape, very elegant, very beautiful and appears to almost be an etching on metal with one very subtle moment of color to activate the piece.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

With The Great Conjunction, another special commission for the hotel, Fred again looked at the many trees and plantings in the Public Garden - a masterpiece by landscape architect Frederick Law Olmsted and part of the Emerald Necklace. With the Newbury Hotel facing the Garden, Fred’s piece exemplifies ideas about connectivity, appreciation and contains fascinating plants and birds that are explored in the artwork. In this case, Fred examined and walked the park closely for quite a while, learning about the many plant samples and bird species that occupy the park and folded them into the piece which is made of cut paper over monotype filled with color.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

In the center of this hall, is an early work by the Canadian-Armenian photographer Yousuf Karsh. Karsh is celebrated as one of the greatest portrait photographers of the 20th century. This is an early work using his first wife, Solange, as muse. The surrealistic photograph of a female nude seems to be captured inside a crystal perfume bottle. The idea of having a moment of surrealism in the collection was very important to us, not only does it acknowledge a way of thinking in art history, but it is just exhilarating as a moment to pause in this hallway where guests promenade to the ballroom.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.

The first photograph that people see as they enter is another by Francis Olschafskie called ‘Monet’s Garden at Dusk’. This photograph, almost entirely black, is another part of Francis’ exploration into the possibilities of photography and of looking at art in general. Monet’s garden, which is well known for its beauty and color and lyrical charm, has been photographed with no color and light. It appears as though you are looking at a piece of black obsidian or a piece of black metal. The garden image is almost completely invisible, one must look very closely and consider in a new way this very famous, iconic image that we’ve all grown up with as a part of history.