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T he American financier Robert Frank Agostinelli and Jacques Grange have known each other since 1984. “I was 30-years-old, and the antiquaire Didier Aaron introduced us,” recalls Agostinelli. “He said, ‘You need to meet Jacques Grange, he’s the next great star of interior decoration in the world.’” An hour later, they met at Bagatelle where Grange was preparing an exhibition of Paris’ 18th-century dealers. “We instantly clicked,” says Agostinelli. “Jacques Grange’s genius is that he ties history together, he ties comfort together and he just makes it work.”
During the following four decades, there have been 11 projects that have spanned London, Paris, New York, Palm Beach, Monaco and a soon-to-begin one in Rome. “Jacques encouraged my instincts to evolve, expand and go deeper,” he says. “Grange, on the other hand, refers to the trust and pleasure. “It’s a game to collect, select and design architecture for Robert,” he says.
Time flies when they sit down and discuss the upcoming sale of Agostinelli’s London home – like many, the co-owner of the Rhône Group is leaving the United Kingdom. Indeed, it is hard not to be struck by the complicity of the collector and the interior designer and their myriad adventures. These range from their hilarious tales of checking out real estate to meeting Grange’s artist friends like Claude Lalanne, François-Xavier Lalanne and Guy de Rougemont to Agostinelli discovering the world of Christian Bérard, Jean-Michel Frank, Diego Giacometti, Gio Ponti and Bernard de Boutet de Monvel “True, I helped Robert develop his eye but he started with very good taste,” reasons Grange.
Natasha A Fraser
Robert, before delving into your relationship with Jacques Grange, a few words about your career that began with Jacob Rothschild in 1981 and included other financial monstre sacrés.
Robert Frank Agostinelli
I went from Jacob Rothschild to Goldman-Sachs run by Geoff Boisi and Steve Friedman (1982-87.) The Goldman-Sachs people were brilliant. Almost everyone became a billionaire. Then it was Lazard-Frères with Michel David-Weill and Antoine Bernheim (1987-95.) With hindsight, they were a powerful group: strong, difficult, complex, tough people. Big gorillas – it’s a compliment – who were value creators.
Natasha A Fraser
Most were or remain important collectors. Who did you initially aspire to be?
Robert Frank Agostinelli
I read an article about the financial giant André Meyer, written by Cary Reich. And I thought that’s who I want to be. Meyer galvanized my mind. He was Lazard-Frères, he was private equity and a collector of fine art. Later, when I befriended Jackie Onassis, she compared me to him.
“By selling, you’re giving another life to everything. That’s part of the nature and joy of collecting.”
Natasha A Fraser
Did you collect as a child?
Robert Frank Agostinelli
I had a baseball card collection. If my mother hadn’t thrown the 5000 cards away, it would probably be worth $10 million. I then progressed to 18th-century pieces bought from dealers in New York and invested in really good French wine.
Natasha A Fraser
Jacques, what was your first step with Robert?
Jacques Grange
I opened the gate for more contemporary artists like Christian Bérard, Jean-Michael Frank, Diego Giacometti and the Lalannes. The idea was to mix up the classics and forge a link with modernity.
Robert Frank Agostinelli
In 1996, I met the Lalannes with Jacques and Pierre Passebon at their studio in Oury. Everything was laid out in the garden. My swan lamp came from there. At the time, the Lalannes were down on their luck, but Jacques insisted they were important. I bought about 15 pieces and generally prefer Francois-Xavier’s work.
Jacques Grange
When Francois-Xavier used animals and birds, it became something else. Those desks or drinks cupboard or my bar autruche defined otherworldly.
Natasha A Fraser
Let’s discuss this Christian Bérard religious screen (1934) that came from Schiaparelli’s Paris apartment on the rue Barbet-de-Jouy.
Robert Frank Agostinelli
Why do I love it? The screen could go in the Sistine chapel or be 21st century. At my home, it’s behind François-Xavier’s swan lamp, by the fireplace.
Jacques Grange
I met Schiaparelli through Marie-Laure de Noailles. At lunch, I was sitting between both women. Marie Laure said, “Oh Elsa what was the name of the premier from your atelier who slept with the Germans?” And Schiaparelli said, “Marie Laure, I’m leaving the table.” But Marie-Laure said, “Sit down.”
Natasha A Fraser
Jacques, you also knew Diego Giacometti.
Jacques Grange
I did, due to working for Henri Samuel. Giacometti was a charming man, but he required pushing when finishing a balustrade for Lina de Rothschild, Edmond de Rothschild’s first wife. I would say, “Mr Samuel is impatient,” and Giacometti would say, ”Yes it’s coming, it’s coming.”
I returned to Giacometti for the table of Marie-Hélène de Rothschild. It was a bit like the Lalannes. Diego’s star rose dramatically when he did furniture for the Picasso museum. Everything changed.
Natasha A Fraser
Robert, that Gio Ponti bookcase is incredible as are Ponti’s round table and zodiac ceiling sconce.
“Diego Giacometti was a charming man, but he required pushing.”
Robert Frank Agostinelli
The bookcase is from Gio Ponti’s home and was sourced by Jacques and Pierre. About 20 years ago, Jacques said, “Ponti will be the next, new thing and we’re going to get you the best pieces before anyone realizes what they are.” Now it’s become Ponti, Ponti, Ponti – but, at the time, nobody paid attention.
Natasha A Fraser
That wasn’t quite the case when you went with Jacques to Pierre Berge’s sale.
Robert Frank Agostinelli
We spent three days there, and everyone was watching us. Jacques had built the collection and would decimate what a piece was and what it meant. The auctioneers loved it. Jacques has a ability to price something and say, “Go, go, go.” And I’ll say, “Hey, wait a minute, this is way off,” and he’ll say, “You trust me or no?” (They both laugh.) Jacques is invariably right. We got all that Vittorio Bonacina furniture that came from Tangiers.
Natasha A Fraser
The Ernest Boiceau pair of light columns (1935) belonged to the same sale.
Robert Frank Agostinelli
Beforehand, Jacques said, “We’ll buy these because they’ll be perfect for the dining room in London. And even if they’re not right, they’re too extraordinary to let go.” We outbid everyone, and Jacques was spot on. He realized that the terracotta, marble and wood columns would create a balance of light in the dining room.
Natasha A Fraser
Jacques, you’re also renowned for your nose for apartments.
Jacques Grange
I know when a place is perfect. In Palm Beach, Robert was given four choices. We see the first one, I say, “Robert, we leave immediately.” The last one, I say, “Buy it immediately.”
Robert Frank Agostinelli
Our real estate broker was Christian J Angle, number one in America. He didn’t know who Jacques Grange was and started giving advice until Jacques says, “Alors, it’s not for you.” Christian Angle still dines off this story!
Jacques Grange
But I wasn’t wrong was I? Besides, I’m saving you time and money.
Natasha A Fraser
The Cactus painting by Boutet de Monvel is unusual.
Jacques Grange
I bought it from his daughter in 1998.
Robert Frank Agostinelli
He thought it would go well with the Federico Pallavacini panels. With Jacques, it’s always about the feel, the texture and how every sense has to be incorporated. As a result, nothing ever irks the eye in the homes he creates.
Natasha A Fraser
Robert, you acquired Tintoretto’s Concert of the Muses from Sotheby’s New York in 1993.
Robert Frank Agostinelli
The painting was in terrible condition. The provenance was traced back to the Guerlain family. I took it to the Met museum’s favorite restorer Marco Grassi (1934-2025.) Eight months later, he called and said, “Come to the studio right away.” Grassi had removed the yellowness and suddenly all the colors were bursting with light.
Natasha A Fraser
Once reframed, the Tintoretto hung opposite the Sophia Loren portrait (1963), in the dining room.
Robert Frank Agostinelli
That’s the way we do it with Jacques Grange!
Jacques Grange
Pierre found Sophia. Isn’t it incredible? It’s a film publicity panel (The Fall of the Roman Empire, directed by Anthony Mann).
Natasha A Fraser
Robert, what attracted you to Sugimoto’s Sea of Japan?
Robert Frank Agostinelli
His depth of work is equivalent to an old master. The purity mesmerizes. I met Sugimoto and his wife in Japan around 2010. I liked him; he’s a very weird guy.
Natasha A Fraser
Since every item tells a story, it must feel strange to sell.
Robert Frank Agostinelli
By selling, you’re giving another life to everything. That’s part of the nature and joy of collecting.
Jacques Grange
Here’s to the objects, paintings and photographs bringing as much pleasure to the buyer as we experienced when purchasing them.
