At home in New York, the Pembrooke & Ives founder has curated an art and design collection inspired by travel, museum-going and his savvy clients.

At home in New York, the Pembrooke & Ives founder has curated an art and design collection inspired by travel, museum-going and his savvy clients.

WORDS

WORDS

DATE:

DATE

SHARE

Twitter
LinkedIn
Facebook
Email

SHARE

Facebook
Twitter
LinkedIn
Email

Elizabeth Fazzare: How did you begin to build your own collection?

Andrew Sheinman: I worked for a very talented art dealer at age 17 when I was still living in England. He became a mentor. At that young age, he opened my eyes to many of the American artists of that time, such as Andy Warhol and Cy Twombly. That early exposure inspired me to want to live with art.

EF: What was the first piece you purchased?

AS: Cy Twombly's Roman Notes. I was 28 years old. I had seen it as a teenager and fell in love with the lyrical nature of the piece but was not in a position to buy it at that time.

Andrew Sheinman at home in New York. Artwork: Cy Twombly, Roman Notes.

EF: Do you have a defining theme to your collection? 

AS: Not particularly. I know it when I see it. Sometimes I think about the room the art can live in, other times I purchase a piece that I love and know that eventually, I will find the right home for it.

EF: What designers/artists are inspiring you right now?

AS: Sarah Sze’s Fallen Sky at Storm King Art Center is remarkable. I recently paid a visit to Dana Barnes’s Lower East Side studio, which is other-worldly; what a talent! I purchase a lot of artist-created pieces of design for my clients and draw tremendous inspiration from these creative minds, Max Lamb to Vincenzo de Cotiis to the Haas Brothers, to name just a few.

Tina Barney's 2001 work, The Ancestor, hangs over custom Pembrooke & Ives seating and cocktail table in the family room. Franco Albini for Cassina armchair at left. Table lamps by Adam Otlewski. Custom rug.

EF: In terms of discovering new artists/designers, what are your trusted methods?

AS: Many of my clients are great collectors. I learn a lot from them and have become intimately involved with the marriage of their art with their homes. I feel very fortunate to live in New York where much of the best art and talent from around the world is so accessible. To be able to frequent the world-class museums and galleries that are on my doorstep is one of the best reasons to live in New York.

EF: What is the next piece on your radar?

AS: I saw a significant body of George Condo’s work in Athens a few years ago. I would love to live with a piece of his work. He is a real genius. 

Artworks by Anish Kapoor and David Hockney.
Family room
A Le Corbusier sconce hangs in the kitchen.
The powder room.
Powder room
Office
The primary bedroom features a Roberto Baciocchi wardrobe.
The living room features midcentury armchairs and a custom Pembrooke & Ives sofa. Grey chair from Dimore Gallery. Stool by Quentin Curry. Artwork: Chris Levine, Queen Elizabeth II, 2004.
A Tamara De Lempicka artworks hangs over the Le Corbusier for Cassina dining table with Matter chairs.
family room with sofa and art on wall
A Tamara De Lempicka artwork hangs over the Le Corbusier for Cassina dining table with Matter chairs.

EF: What is the last piece you purchased?

AS: A Derrick Adams collage. 

EF: What is the one piece that got away?

AS: A Keith Haring Sculpture. I saw it at Art Basel a few years ago. I found myself thinking only about that piece as I continued walking around the fair but by the time I went back to inquire further it had already been sold.

Generic selectors
Exact matches only
Search in title
Search in content
Post Type Selectors

Not a Doomscroll. A Deep Dive.

Subscribe now for print that informs, inspires, and doesn’t get lost in the feed.

You’ve almost hit your limit.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

GET ACCESS

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

You’ve almost hit your limit.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.
Already a Subscriber? Sign in Here
You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c

Already a Subscriber? Sign in Here

Pop-Up-1_c

Already a Subscriber? Sign in Here

We have so much more to tell you.

You’ve reached your limit.

Sign up for a digital subscription, starting at less than $2 a week.

Already a Subscriber? Sign in Here

Want a seat at the table? To continue reading this article, sign up today.

Support independent criticism for $10/month (or just $110/year).

Already a subscriber? Log in.