Dring the opening night preview, Carlo Bella found himself busy highlighting the merits of his offerings, which included African, Oceanic, Native American and Eskimo art alongside contemporary artworks by Isac Elam Kaid. New York City.

Review & Onsite Photos by Carly Timpson

NEW YORK CITY — On November 6, Salon Art + Design opened its 14th edition with record-breaking attendance, drawing more than 3,000 visitors into the Park Avenue Armory, just on opening night. Produced by Sanford Smith + Associates, the show ran through November 10 and welcomed thousands of collectors, designers, fashion icons, cultural tastemakers and enthusiasts, all eager to explore the curated booths of more than 50 exhibitors from 11 different countries and immerse themselves in site-specific installations.

“Each year, Salon Art + Design grows more vibrant, more inclusive and more essential to the design landscape,” said executive director Nicky Dessources. “This edition captured the spirit of collaboration that defines the fair, connecting galleries and collectors, curators and creatives, in meaningful new ways.”

The opening night event was a who’s-who of collectors and designers, with appearances by prominent figures such as Jeremy Anderson, Paul Arnhold, Lady Liliana Cavendish, Anh Duong, Alessia Fendi, Fe Fendi, Paola Fendi, John Hamm, Maja Hoffmann, Lee Mindel, MaryKate & Ashley Olsen, James Reginato, Bradford Shellhammer, Indré Rockefeller, Renee Rockefeller, Robert Stilin, Jamie Tisch, Jonathan & Lizzie Tisch and others.

New York City studio Virginia Harper Design crafted an interactive installation, welcoming showgoers with “Global Threads.” Baskets of thread bracelets were included, inviting visitors to “Take one as a reminder of connection.” Photo courtesy Virgina Harper.

One of the most prominent site installations, presented in the entryway and halls of the Armory to be seen by all as they entered, was conceptualized by Virginia Harper of Virgina Harper Design. Harper described “Global Threads” as “a sculptural environment that explores how art, craft and human connection intertwine.” The installation featured suspended woven screens made of cord and fabric, and Harper said it “became a true point of connection; visitors were immediately curious about the woven screens and the participatory element of taking a thread to wear as a bracelet.” The entryway location of this presentation was “a dream, as I had the chance to connect with almost everyone coming through, including collaborators I’ve worked with over the past couple of decades,” she added. “It has truly become my favorite fair because it celebrates the more artistic, craft-driven, tactile side of design.”

The Female Design Council (FDC) also had a vignette in the main hall, showcasing works from 14 member designers from across North America. The presentation, titled “Material Dialogues,” spanned a diverse array of media, including ceramics, lighting, mosaics, glass, metalwork sculpture and mirror. The more than 20 works in the vignette were chosen to reflect the Council’s “expansive membership, which includes artists and designers working at the intersection of craft, innovation and advocacy.” Lora Appleton, founder of the FDC commented, “Each of these members contributes a distinct voice to an ongoing conversation about material, making and meaning. ‘Material Dialogues’ is a convening of works, a glimpse into the world of the FDC and its incredible range. That energy — the willingness to share process, perspective and connection — is what defines the FDC.”

De La Vega’s installation of Rugged Modernist furniture, many examples with coquille d’oeuf marquetry came to life with the live onsite demonstration by artists. New York City.

Another installation was “More Wild Things,” a project by De La Vega Designs. For this exhibition, founder Mark de la Vega displayed his collection of furniture, inspired by world travel, nature and historic techniques, in the Armory’s Library room. A special presentation of live coquille d’oeuf marquetry, showcasing the firm’s proprietary eggshell technique, brought his designs to life. Pieces De la Vega highlighted for us were a pair of “mom and baby” L’Elephante Chairs, the Jules Game Table and the Olas Screen.

Exhibitors throughout the weekend reported continuous foot traffic from knowledgeable and discerning collectors. Juliet Burrows, co-founder of the New York City gallery Hostler Burrows, noted having a great experience at the show, saying, “It was extremely well attended, both at the opening and over the course of the following days. This is our first year back after a few years’ hiatus, and the show definitely felt strong, and many clients expressed that they thought it was a strong edition for the fair as well.” Hostler Burrows’ booth, primarily focused on Nordic design and contemporary art, generated significant interest from buyers. Burrows shared that a blown glass light box installation by Tobias Møhl, Gal Gaon’s “Rings” dining table and Kim Simonsson’s ceramic sculpture flocked in green were the greatest attention-grabbers. The Møhl glass works were among the sales that she reported, also noting a pair of vintage shearling chairs and a terrazzo coffee table, adding that most pieces sold to new clients.

Seble Asfaw reported that Touré Coffey’s black-and-white abstract painting (right) sold during the show. Misgana African Art, New York City.

Misgana African Art, founded by Seble Asfaw, made their successful Salon debut, presenting Nineteenth and early Twentieth Century artifacts such as Kongo-Woyo and Dogon masks, Luba staffs and Baule figures alongside contemporary abstract paintings by Touré Coffey. The booth display, designed in collaboration with Rahel Semegn of Abé Interiors, highlighted how Asfaw seamlessly incorporates African artifacts into contemporary design, celebrating the craftmanship of each object. As a result of the striking presentation, Salon Art + Design x Galerie awarded Misgana African Art with the Emerging Talent award. Following the show, Asfaw reported having an “incredible” and “busy” show, saying that a new collector purchased a black-and-white painting by Coffey and there were several active follow-ups on several African works, including a Bamana mask and the Luba staff. She noticed that collectors had a “strong appetite for integrating traditional African objects alongside contemporary furniture and art, especially pieces with clear form and presence that read well in modern interiors,” adding that “Younger collectors were curious and asked thoughtful questions about use, region and care.”

Traveling from Amsterdam proved its worth, as Mia Karlova Galerie earned the Salon Art + Design x Galerie Notable Work award for Anna Volkova’s porcelain bouquet-form sculpture “Night-Bloom Silence,” which, according to the artist, was an “Homage to Seventeenth Century Dutch floral still lifes — my source of inspiration, my passion.” The porcelain florals were created within an original Seventeenth Century blue Delft vase, together becoming one single sculpture, “as if lifted from the canvas of an Old Master painting.” Mia Karlova’s other notable pieces included Valeria Isyak’s porcelain “Nexus” panels and Vadim Kibardin’s Black Mirror Metamorphosis Chair, both of which sold during the show.

Mia Karlova Galerie, Amsterdam, sold the Black Mirror Metamorphosis Chair and the pair of porcelain “Nexus” panels shown at the back of the booth.

Other Salon Art + Design x Galerie awards included Best Booth Design and Legacy Honors, which were given to Crosta Smith Gallery (London) and Sceners Gallery (Paris), respectively.

Todd Merrill Studio, based in New York City, was back again, showcasing a curated selection of contemporary fine art, sculptural lighting and collectible design from leading international artists across North America, Europe and South Korea. Todd Merrill shared, “This year’s Salon far exceeded last year bringing top decorators as well as established and new clientele. Opening night sales included a large LED light sculpture by artist John Procario for $55,000 to be followed by the sale of the sofas designed and made by John Procario.” In addition to the notable sales, highlights were “three large paintings by Aurel K. Basedow, the largest of which sold at the beginning of the fair. Clients gravitated to the ‘Pure Black’ series by British artist Ian Spencer, the ceramics wall installations by Molly Hatch and Mindy Horn as well as the spectacular lighting by German artists Pia-Maria Raeder and Markus Haase.”

First-time exhibitors included jewelry designer Cora Sheibani, the contemporary Polish gallery Craftica, Helicline Fine Art, the New York City-based French design collective ETĒLINE, Isabel Sullivan Gallery, Milord Antiques and JCRD Design.

Milord Antiques set up at Salon for their first time, exhibiting a “very eclectic mix with good energy,” said owner Francis Lord. Montréal, Canada.

Francis Milord shared that his gallery, Milord Antiques, offered “an eclectic selection of timeless classics — mostly American, French and Italian vintage masterworks.” American brutalist works from the 1960s were a dominating trend in the booth, supported by several pieces of furniture by Paul Evans and Philip and Kelvin Laverne. He added that his French Art Deco pieces from the 1940s helped to balance out the selection.

Based in London, JCRD Design filled their booth with museum-quality midcentury Brazilian design from the movement’s most notable designers, including Joaquim Tenreiro, Jorge Zalszupin, Sérgio Rodrigues, Carlo Hauner, Martin Eisler and Percival Lafer. For their Salon debut, founder Luiz Kessler emphasized the sculptural elements of Brazilian design, highlighting how these designers incorporated diverse materials to craft timeless pieces.

Private collectors and institutional buyers alike were able to find something for their tastes at Salon. James Stephenson of James Stephenson African Art was one exhibitor who expressed the strength in the fair’s clientele. Standing out in his booth was a 6-foot-2-inch Nineteenth Century female nude made by the Lagoon peoples of the Ivory Coast. He noted that this was “one of only three known examples in the world. It remains in pristine condition, retaining its original patina and the inlaid mother-of-pearl eyes. One of the other figures is in the British Museum, and the third was part of the Allan Stone collection. She is still with me, although LACMA and several other institutions have expressed interest.” As for items that did sell, Stephenson said that a rare and important Dondo prestige flywhisk sold “to an important collection,” and two photographs by contemporary artist Alison Rossiter also found buyers. “This was my first show that wasn’t centered on tribal art, though I have always exhibited contemporary work. We’re very excited to share our vision with collectors and the design community, and we look forward to participating again next year.”

The team at Sanford Smith + Associates was thrilled with the turnout, from exhibitors, designers, curators and interested shoppers, stating, “Salon Art + Design’s 2025 edition has set a new standard, affirming its place as a pinnacle event in the art and design calendar.”

The date for the 15th edition of Salon Art + Design is November 4-8, 2026. For information, www.thesalonny.com.