An interview with Susan Weber, founder and director of Bard Graduate Center, and co-curator of “William Kent: Designing Georgian Britain.” From Christie’s, the art auction house, a lesson on selecting exceptional wines. From Sands Point Preserve on Long Island, Christina Ha reports on “Titans of Business & the Best of Design” at the historic Hempstead House and on other arts and culture events.

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> FUNDING FOR 'NYC-ARTS' I MADE POSSIBLE BY ROSALIND P.

WALTER THE AGNES VARIS TRUST, SUPPORTING AFFORDABLE ACCESS T THE ARTS, EDUCATION AND HEALTH CARE JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

MILTON AND SALLY AVERY ART FOUNDATION AND ELROY AND TERRY KRUMHOLZ FOUNDATION THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM TH NEW YORK CITY DEPARTMENT O CULTURAL AFFAIRS IN PARTNERSHI WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION, EXCELLENCE FIRST REPUBLIC BANK.

IT'S A PRIVILEGE TO SERVE YOU.

> GOOD EVENING I'M PAULA ZAHN AT THE TISC CENTER

AND I'M PHILIPP de MONTEBELLO AT THE BAR GRADUATE CENTER ON WEST 86th STREET WELCOME TO 'NYC-ARTS.'

AS A RESEARCH INSTITUTE OF BAR COLLEGE, THE CENTER'S APPROACH TO GRADUATE STUDY IS A HANDS-O EXPLORATION OF THE DECORATIV ARTS, DESIGN HISTORY AND MATERIAL CULTURE -- THAT IS, THE RELATIONSHIP BETWEEN OBJECTS AND PEOPLE LOCATED IN A TOWNHOUSE O MANHATTAN'S UPPER WEST SIDE, THE CENTER'S GALLERY IS OPEN TO TH PUBLIC AND PROVIDES AN INTIMAT ENVIRONMENT FOR VIEWIN EXHIBITIONS.

LATER IN OUR PROGRAM, WE'L VISIT CHRISTIE'S FINE AR AUCTION HOUSE FOR A PRESENTATION BY WINE SPECIALIST CHARLES ANTIN.

HE SHARES HIS EXPERT TIPS ON ASSESSING A VINTAGE WINE'S CONDITION.

FOR THOSE READY TO OPEN AN OUTSTANDING BOTTLE OF WINE PERHAPS FOR THE UPCOMING HOLIDAYS, THE FIRST PIECE OF ADVICE IS 'START AT THE TOP.

BUT FIRST, MY CONVERSATION WIT SUSAN WEBER.

FOUNDER AND DIRECTOR OF THE BARD GRADUATE CENTER, SHE IS TH CO-CURATOR OF THE EXHIBITION CURRENTLY ON VIEW: 'WILLIA KENT: DESIGNING GEORGIAN BRITAIN.

ORGANIZED IN COLLABORATION WIT THE VICTORIA AND ALBERT MUSEUM IN LONDON, THIS IS THE FIRST MAJOR EXHIBITION TO EXAMINE TH LIFE AND CAREER OF ONE OF TH MOST INFLUENTIAL DESIGNERS I 18th CENTURY BRITAIN ♪♪

> SUSAN, YOU ARE NOT ONLY TH MASTERMIND OF THE SHOW, YOU'RE ALSO THE CO-CREATOR OF THE SHO AND A SCHOLAR IN YOUR OWN RIGHT.

TELL US WHY WILLIAM KENT AND WHAT HIS IMPORTANCE IS

WELL, WILLIAM KENT IS ONE O THE MOST IMPORTANT DESIGNERS O THE 18th CENTURY, OF WHAT WE CALL THE GEORGIAN ERA.

HE WAS ALSO SOMETHING OF A CHAMELEON OR AN ECLECTICIST, VERY MUCH HAD A HYBRID STYLE, BIT OF ENGLAND, A BIT OF ITALY SOMETIMES A BIT OF FRANCE.

HE ALSO WAS A GOTHICIST.

A REAL SPONGE, THE FELLOW

A REAL SPONGE OR WHAT WE CALL A PROTEAN TALENT.

I MEAN, HE HAD DESIGN IN HIS BLOOD AND HE COULD WORK IN ANY STYLE.

AND HE COULD DO EVERYTHING FRO WOMEN'S COSTUME TO A ROYAL BARGE FOR PRINCE FREDERICK

AND, OF COURSE, THE FIRST THING WE SEE WHEN WE ENTER THE EXHIBITION IS WHAT APPEARS T BE EVEN SLIGHTLY BIGGER THAN LIFE SIZE STANDING PORTRAIT OF WILLIAM KENT

ABSOLUTELY.

THAT WAS A PORTRAIT THAT HUN OVER THE FIREPLACE, THE CHIMNE PIECE AT WANSTEAD, ONE OF HI LARGER INTERIOR COMMISSIONS.

I THINK WE GET A GREAT SENSE O HOW AMUSING HE WAS AS A PERSON HE'S STANDING VERY PUFFED UP VERY FULL OF HIMSELF HE IS WEARING RED SHOES.

ONLY PATRICIANS IN ROME COUL WEAR RED SHOES HE HAS AN ARTIST'S SMOCK ON, AND YET HE'S WEARING A FROCK COAT.

AND WE HAVE TO REMEMBER THAT ARTISTS AT THIS TIME WER CONSIDERED HUMBLE CREATURES.

AND HE HAS SOME STATUS HE'S FEELING GOOD ABOUT HIMSELF.

AND YOU CAN ALSO SEE HIS DOUBL CHIN AND ALSO HIS TUMMY TUCKIN OUT FROM THE WAIST COAT.

SIGNS OF SUCCESS.

SIGNS OF SUCCESS.

AND WE KNOW FROM LETTERS THAT WE FOUND THAT HE LOVED TO EAT AND WAS AN AMAZING GOURMAND AND WA FULL OF LIFE AND PEOPLE FOUGHT OVER HAVIN HIM COME FOR THE WEEKEND

CAN YOU CHARACTERIZE, ACTUALLY, KENT, LET'S SAY, MOR POSITIVELY, AS HAVING DEVELOPE A TRULY KENTIAN STYLE, NOT MERELY HAVING BEEN AN AMALGAM SO MANY OF OTHER STYLES

IF YOU LOOK AT THE RED SALOON AT HOUGHTON HALL, YOU'LL SEE WHAT ARE, SORT OF, THE HALLMARKS OF HIS STYLE THERE ARE TEXTURED WALLS COVERED WITH DAMASK AND RICH COLORS, PAINTED CEILINGS, ELABORAT GILDED FURNITURE, A VERY RIC AND WARM ENVIRONMENT, AND ALSO A VERY SYMBOLIC ENVIRONMENT, A SORT OF STAGE SET FOR A ROOM O POWER AND OF TASTE

AS IT TURNS OUT, I ACTUALLY JUST SPENT A WEEK IN NORFOLK I WAS AT HOLKHAM I WAS AT HOUGHTON.

AND I WAS AT RAYNHAM AND JUS SAW ALL OF THESE HOUSES.

AND THEY ALSO SEEM TO BE A STAGE SET FOR THE WORKS, PRINCIPALLY OF ANTIQUITY, BUT ALSO PAINTINGS THAT WERE ACQUIRED BY HI PATRONS ON THEIR GRAND TOUR.

TELL OUR VIEWERS A LITTLE BI ABOUT THE GRAND TOUR AND KENT' ROLE THERE

WELL, KENT HIMSELF WANTED T BE A PAINTER AND HE FINDS SOME FUNDING AND GOES TO ROME PARTICULARLY, ALTHOUGH H TRAVELS ALL THROUGH ITALY AN FRANCE TO LEARN ABOUT TH ENGRAVING, PRINTMAKING, FRESCO PAINTING AND THERE HE ACTS AS A CICERONE, WHICH IS A SORT OF BASIC TUTOR FOR ALL OF THESE UM UPPER CLAS MEN, WHO ARE SENT TO THE CONTINENT TO GET THE ROUGH EDGES OFF THEM

DOES HE ACCOMPANY ANY OF THEM ON THE TRIP?

HE ACCOMPANIES BURLINGTON T PARIS.

WE KNOW HE WENT DOWN TO NAPLES AND SAW HERCULANEUM AND POMPEII, WHICH HAD JUST BEE REDISCOVERED SO THEY'RE LEARNING ABOUT TH CRADLE, WHAT'S CONSIDERED TH CRADLE OF CIVILIZATION THEY'RE LEARNING LANGUAGES THEY'RE IMPROVING THEIR MANNERS.

IT'S A SORT OF GAP YEAR, YOU KNOW, FOR THE OXBRIDGE SET

RIGHT, RIGHT.

AND THEY LEARN TO DRESS THEY ALSO LEARN ABOUT THE STATUS SYMBOLS OF BEING AN EDUCATED WELL-ROUNDED GENTLEMAN SO THEY BEGIN COLLECTING ANCIENT SCULPTURES AND PAINTINGS, AN THE PRICES START REALLY RISING WALPOLE, WHO WAS THE FIRST PRIME MINISTER, SPENT TOO MUCH A HOUGHTON AND HE WAS REALLY U UNDER FIRE FOR THE EXTRAVAGANC OF IT.

AND IN FACT, THESE NORFOLK OWNERS WERE IN COMPETITION WIT EACH OTHER IN WHO HAD THE MOST ELABORATE, BEST HOUSE.

I WAS VERY STRUCK BY TH EXTRAORDINARY LANDSCAPE THAT SURROUND MANY OF THESE HOUSES, THE VISTAS KENT HAD A LOT TO DO ALSO WITH THE LANDSCAPE DESIGN, DID HE NOT?

WELL, KENT WAS WHAT WE' CONSIDER AN ARTIST WHO DID COMPLETE INTERIORS AND EXTERIORS.

MAYBE IN TODAY'S WORLD WE WOUL CONSIDER HIM A CONTROL FREAK AND HE'S CONSIDERED THE FATHER OF THE MODERN ENGLISH GARDEN UP UNTIL NOW, GARDENS, PARTICULARLY GRAND COUNTRY HOUSES, WERE DONE IN EITHE FRENCH OR DUTCH STYLE WITH SYMMETRICAL WALKWAYS AND CLIPPED TOPIARIES.

AND HE INTRODUCED A VERY MODER GARDEN STYLE, WHERE YOU FELT LIKE YOU WERE IN THE COUNTRYSIDE AND INTRODUCED LONG VISTAS HE WAS INTERESTED IN THE PLACEMENT OF GARDEN BUILDING THROUGHOUT THE GARDEN SO THA THERE'D BE A PLACE TO WALK AND A PLACE FOR VIEWING.

I MEAN, WE DON'T THINK HE KNEW ALL THAT MUCH ABOUT BEING HORTICULTURALIST, BUT HE CERTAINLY HAD AN EYE AND A VISION AND HE PROBABLY GOT A LOT OF IT FROM LOOKING AT PAINTINGS.

WOULD YOU LIKE TO TALK ABOU ONE OR TWO OTHER OBJECTS

I MEAN, KENT WORKED WITH SOME OF THE BEST CRAFTSMEN IN ENGLAND AT THE TIME.

ALSO SOME CRAFTSMEN BROUGHT IN FROM ITALY TO WORK ON THES HOMES.

I THINK ONE OF THE MOS BEAUTIFUL, LAVISH, EXCITIN PIECES IS THE MIRROR THAT HE DID FOR PRINCE FREDERICK, WITH THE THREE PLUMES THAT REPRESENT TH PRINCE'S BADGE

THERE'S A GOLD CUP WITH THE SAME THREE PLUMES AT THE TOP NO

THAT'S A CUP FOR PELHAM, WH WAS THE SECRETARY OF FREDERICK AND IT'S A BEAUTIFUL FORM.

YOU CAN SEE A CLASSIC CALY SHAPE.

HE WAS AN AMAZING DESIGNER, TH SHAPE, THE SIZE, THE PROPORTION.

HE HAD DESIGN IN HIS BLOOD N MATTER WHAT HE TOUCHED

BUT HE WAS NOT ONLY A COUNTRYSIDE AND A COUNTRY HOUS DESIGNER THERE'S A LOT OF WILLIAM KENT IN LONDON AND FOR THE VIEWERS WHO, LET'S SAY, WHEN THEY GO TO ENGLAND AND STICK TO LONDON, WHAT WILL THE SEE THERE BY WILLIAM KENT?

WELL, TODAY THEY COULD GO VISIT CHISWICK HOUSE, WHICH WA THE VILLA OF LORD BURLINGTON

AND WHEN ONE GOES TO SE EXHIBITIONS AT THE ROYAL ACADEMY, ISN'T -

THAT'S BURLINGTON HOUSE WHICH WAS LORD BURLINGTON' LONDON MANSION AND HOME.

AND, IN FACT, KENT'S FIRST FORMAL PROJECT WAS TO DO SOME OF THE CEILING PAINTINGS, AND W ALSO KNOW HE DID FURNITURE FOR BURLINGTON HOUSE AND WHAT'S FUNNY IS HE LIVED THERE HIS WHOLE LIFE HE WAS AN ARTIST-IN-RESIDENC AND GREAT FRIEND OF BURLINGTON

HE ALSO DID BOO ILLUSTRATIONS?

HE DID A TREMENDOUS AMOUNT OF BOOK ILLUSTRATIONS HE WAS GREAT FRIENDS WITH POPE WHO DID TRANSLATIONS FOR THING SUCH AS HOMER'S ODYSSEY.

AND SOME OF THE DOCUMENTAR EVIDENCE FOR KENT'S FURNITUR CAN BE FOUND IN THAT ODYSSEY SUCH AS THE THRONE HE DOES, AN AMAZING THRONE THAT SORT OF WRITHES AND MOVES AS THIS DYNAMIC OUTLINE.

AND I DON'T THINK IT WAS EVE DONE I DON'T THINK IT WOULD B POSSIBLE, FRANKLY, TO DO IT IN WOOD, BUT HE DRAWS TAILPIECE AND HEADPIECES FOR SPENSER'S 'FAIRIE QUEENE.'

AND WHAT'S FUN IN THE 'FAIRI QUEENE' IS HE USES A GOTHI STYLE.

LOOKING AT SOME OF THE DRAWINGS, IT'S ALSO FUN TO SEE THAT HE MAKES FUN OF HIMSELF IN ONE FROM CHISWICK HOUSE WHERE WE SEE HIM SLEEPING NEXT TO THE OBELIST, HE IS DREAMING AND THERE ARE RABBITS PLAYING IN THE GARDEN AND HAVING A VERY GOOD TIME.

I NOTICE IN THE EXHIBITION -- IT'S DIFFICULT NOT TO -- IT' QUITE SPECTACULAR, THE SETTE WITH THE HOGARTH, BOTH OF WHIC COME, I THINK, FROM WANSTEAD IT'S QUITE WONDERFUL TO SEE THEM TOGETHER AND WHAT'S SO MUCH FUN IS THAT THE HOGARTH PAINTING SHOWS THE ACTUAL BALLROOM AT WANSTEAD, WHERE THESE SETTEES WERE PLACED.

AND THE WANSTEAD SETTEE AND TH HOGARTH PAINTING HAVE NEVER BEEN SHOWN TOGETHER AND HOGARTH WAS ALSO A GREAT ENEMY OF KENT AND ALWAYS MAD VAST FUN OF HIM.

AND, IN FACT, IF YOU LOO CLOSELY AT THE PAINTING, YOU WILL SEE THAT KENT'S FACE IS I THE SCULPTURE IN A VERY, SORT OF FUNNY-LOOKING WAY, SITTING O THE MANTELPIECE THERE.

I ENCOURAGE EVERYONE TO COM AND DISCOVER ONE OF THE GREA DESIGNERS IN ENGLAND IN TH START OF THE 18th CENTURY.

SO THANK YOU VERY MUCH FOR YOU HOSPITALITY, SUSAN

AND THANK YOU IT'S A PLEASURE TO HAV CHANNEL 13 HERE.

> HELLO, I'M RAFAEL PI ROMAN WELCOME TO THIS WEEK AT LINCOL CENTER WITH ITS THEATERS OVERFLOWIN WITH THE BEST IN MUSIC, DANCE, OPERA, DRAMA AND FILM FROM AROUND THE WORLD, IT IS TRUL THE INTERNATIONAL CROSSROADS O ARTS AND CULTURE THIS WEEK AT LINCOLN CENTER -- 'SALONEN, SIBELIUS, AND RAVEL' AT THE NEW YORK PHILHARMONIC COMPOSER-CONDUCTOR ESA-PEKKA SALONEN WILL RETURN TO THE NEW YORK PHILHARMONIC TO LEAD TH NEW YORK CONCERT PREMIERE OF HIS VIOLIN CONCERTO.

THE WORK FEATURES SOLOIS LEILA JOSEFOWICZ, FOR WHOM SALONEN COMPOSED THE PIECE THE PROGRAM PAIRS THE VIOLIN CONCERTO WITH RAVEL'S 'MOTHE GOOSE SUITE' AND SIBELIUS' 'SYMPHONY NO. 5.

'SALONEN, SIBELIUS, AND RAVEL' WILL BE PERFORMED ON SELECTE EVENINGS THROUGH NOVEMBER 5th AT AVERY FISHER HALL.

FOR COMPLETE LISTINGS, PLEAS VISIT NYPHIL.ORG AND FOR EVEN MORE INFORMATIO ABOUT EVENTS AT LINCOLN CENTER YOU CAN VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

NEXT WE'LL VISIT CHRISTIE'S FINE ART AUCTION HOUSE FOR SOM EXPERT ADVICE ABOUT WINE PERHAPS A LESSER KNOWN PART OF THEIR VAST INVENTORY NOW, 'OBJECT LESSONS: COLLECTING CAN WAIT, A CONNOISSEUR'S THRE STEPS TO SELECTING A EXCEPTIONAL DRINKING WINE.

THERE'S A COMMO MISCONCEPTION THAT ALL OF OU CLIENTS HERE AT CHRISTIE'S ARE BUYING WINE TO INVEST AND TO AGE AND THAT'S NOT ALWAYS THE CASE A LOT OF OUR CLIENTS, MOST O OUR CLIENTS, IN FACT, ARE BUYING WINE TO ENJOY IT, TO DRINK IT.

AND WHEN YOU DECIDE THAT -- TO BUY WINE AT AUCTION, IT'S GREAT THING, BECAUSE YOU'R GETTING WINES THAT HAVE SOME BOTTLE AGE ON THEM, THAT ARE A LITTLE BIT OLDER AND YOU CAN GET THEM AT GREA VALUE.

THESE ARE THINGS THAT OFTE TIMES WILL NEVER COME UP IN RETAIL SETTING BUT WHEN YOU DO DECIDE TO STAR BUYING OLDER WINES AT AUCTION, THERE'S A NUMBER OF THINGS T LOOK FOR SO THAT YOU CAN ENSUR THAT YOU'RE GETTING A BOTTLE THAT'S IN GOOD CONDITION AND TASTES LIKE IT SHOULD FOR A WINE WITH SEVERAL DECADES OF BOTTLE AGE ON IT.

THE FIRST THING I LOOK AT WHEN I'M EVALUATING A BOTTLE OF WIN IS THE TOP OF THE BOTTLE, TH CAPSULE.

THE FIRST THING I'M LOOKING FO THERE IS TYPICALLY ANY CORROSION AROUND THE TOP WHAT THIS CAN MEAN IS THAT THE CORK FAILED SLIGHTLY AND THERE'S BEEN SOME WINE SEEPING OUT O THE BOTTLE AND THAT LIQUID CAN CAUSE SOME RUST.

A LITTLE BIT OF CORROSION ISN' NECESSARILY A BAD THING, BUT QUITE A BIT CAN MEAN THAT YOUR CORK IS SLIGHTLY COMPROMISED AND IT'S SOON TO FAIL.

THE NEXT THING YOU'RE GOING TO LOOK FOR AS YOU LOOK AT THE TO OF THE BOTTLE HERE IS THE CORK ITSELF ON MOST BOTTLES OF WINE YOU CA ACTUALLY SEE THE CORK PEEKIN OUT BELOW THE CAPSULE.

THIS IS AN OLDER BOTTLE WITH A OLDER CAPSULE AND HERE YOU CAN ACTUALLY SEE THE WHOLE COR ITSELF THE CORK SHOULD BE A CLOSURE THE CORK IS MEANT TO CLOSE THE BOTTLE OF WINE, OF COURSE, BUT AS WINES GET OLDER, WHAT YOU'L FIND IS THAT THEY CAN TEND T SHRINK SLIGHTLY.

WINE BOTTLES, AS YOU AGE THEM, ARE -- SHOULD BE STORED ON THEIR SIDES.

AND ONE OF THE REASONS FOR THA IS THAT IT KEEPS THE CORK MOIS AND PREVENTS IT FROM SHRINKING IF A BOTTLE OF WINE HAS BEEN STORED INCORRECTLY, FOR EXAMPLE, STANDING UP, OVER THE COURSE O A FEW DECADES THE CORK CAN ACTUALLY DRY OUT THE NEXT THING TO LOOK AT WHEN YOU'RE EVALUATING AN OLDER BOTTLE OF WINE IS THE LEVEL OF THE WINE IN THE BOTTLE WE CALL IT THE ULLAGE, AND I CAN MEAN SEVERAL THINGS.

WHEN YOU BUY A NEW BOTTLE OF WINE, INVARIABLY THE WINE IS FILLED UP TO THE TOP, JUST BELOW THE CORK AND THAT'S NORMAL.

ANY BOTTLE OF WINE THAT YOU'RE GOING TO BUY AT A RETAIL STORE IS GOING TO BE COMPLETELY FILLED UP. AS WINE AGES, THE WINE TENDS TO EVAPORATE SLIGHTLY AND THAT'S COMPLETELY NORMAL.

YOU WANT TO FIND WINES THA HAVEN'T EVAPORATED TOO MUCH.

SO HERE WE HAVE AN EXAMPLE OF 1967 MARGAUX AND THE LEVELS AR RIGHT ABOUT HERE AND WHAT WE CALL 'UPPER SHOULDER' IN THE WINE DEPARTMENT AT CHRISTIE'S.

AND THAT'S OKAY FOR A WINE O THIS AGE RIGHT BEHIND IT HERE, THOUGH, WE HAVE A WINE FROM 1959.

THIS IS A 1959 CHEVAL BLANC AN YOU CAN SEE THAT THE LEVEL O THE WINE IS RIGHT AT WHAT WE CALL 'BOTTOM NECK.

SO THIS WINE ACTUALLY IS OLDER BY ALMOST A DECADE, BUT TH LEVEL OF THE WINE IN THE BOTTL IS BETTER.

IN ORDER TO MITIGATE YOUR RISK WE RECOMMEND THAT YOU LOOK FOR BOTTLES WITH A HIGHER FILL THE REASON FOR THAT IS THERE'S LESS SURFACE AREA OF THE WIN BEING EXPOSED TO OXYGEN.

THE NEXT THING TO LOOK AT AS YOU'RE EVALUATING A BOTTLE O WINE IS THE LABEL ITSELF AS YOU CAN SEE WITH THIS BOTTLE, WHICH IS APPROACHING ITS 50t BIRTHDAY, THE LABEL IS DIRTY AND THAT'S OKAY.

THIS JUST MEANS THE BOTTLE O WINE WAS STORED IN A WINE CELLAR FOR A LONG PERIOD OF TIME AN THAT'S A GOOD THING TO SEE IF YOU'RE BUYING THE WINE FO INVESTMENT, SAY, OR TO RESELL AT SOME POINT IN THE FUTURE, THES DAYS WE SEE MORE AND MOR CLIENTS INTERESTED IN DISPLAYING BOTTLES IN THEIR CELLAR AND TH CONDITION OF THE LABEL SO IF THAT'S THE CASE YOU WANT TO MAKE SURE THAT THE LABEL IS CLEAN, THAT YOU STORE TH BOTTLES IN THE ORIGINAL CASING THAT THEY'RE FREE FROM TEARS AND RIPS, AND THINGS THAT MIGH DEGRADE THE QUALITY OF THE LABEL.

THE ONE OTHER THING TO LOOK FO AS YOU LOOK AT THE LABEL IS WINE STAINS IF YOU HAVE A BOTTLE WITH WINE STAINS THAT CAN SOMETIMES MEAN THAT THE WINE HAS BEEN HEATED UP OR IT'S LEAKED SUBSTANTIALLY AND THAT WINE HAS THEN COME OUT OF THE CORK AND GOTTEN ON THE LABEL.

HERE WE HAVE AN EXAMPLE OF A BOTTLE OF WINE THAT HA SIGNIFICANT SEEPAGE.

THIS IS A WINE FROM 1995, WHIC IN THE CHRISTIE'S WORLD IS A PRETTY YOUNG WINE, BUT IF YO LOOK AT IT CLOSELY THERE'S SIGNIFICANT SEEPAGE HERE AROUN THE NECK AND ON THE BOTTLE AND ALSO ON THE LABEL ITSELF THIS IS A BOTTLE OF WINE THA YOU WOULD NOT SEE IN A CHRISTIE'S AUCTION FOR THAT VERY REASON, A BOTTLE THAT REJECTED FINALLY, ONE OF THE INTERESTIN THINGS ABOUT WINE IS THE COLOR IF IT.

AS WINE AGES, AS RED WINE AGES IT STARTS TO GET SLIGHTL LIGHTER IN COLOR AS WHITE WINE AGES, IT STARTS TO GET SLIGHTLY DARKER.

OBVIOUSLY YOU CAN KNOW 100% TH COLOR OF THE WINE BEFORE YOU OPEN THE BOTTLE, BUT ONE THING WE OFTEN DO OR RECOMMEND THA CLIENTS DO IS TAKE A FLASHLIGH AND PUT IT UP IN THE PUNT OF THE BOTTLE, THE INDENTATION AT THE BOTTOM AND SHINE IT THROUGH JUST THE SIDE AND THAT CAN SOMETIMES GIV INDICATION OF THE COLOR OF THE WINE ITSELF.

THESE ARE JUST A FEW OF TH THINGS YOU CAN LOOK FOR AS YOU START TO BUY OLDER VINTAGES OF WINE AND THESE ARE A FEW OF THE THINGS THAT WE LOOK AT EACH AN EVERY BOTTLE THAT COMES TO AUCTION AT CHRISTIES

> GOOD EVENING, I' CHRISTINA HA WITH TONIGHT' 'NYC-ARTS' NEWS.

WE'RE HERE AT THE DESIGN SHOWHOUSE AT HEMPSTEAD HOUSE NOW PART OF SANDS POIN PRESERVE, THIS FORMER GUGGENHEIM ESTATE IS LOCATED ON LON ISLAND'S FAMOUS GOLD COAST FOR THE SHOWHOUSE, A TEAM OF WORLD-CLASS DESIGNERS HAVE TRANSFORMED THE MANSION' MAGNIFICENT ROOMS WITH CONTEMPORARY DESIGNS RECAPTURING SOME OF ITS GILDED AGE SPLENDOR OPEN TO THE PUBLIC, SANDS POIN PRESERVE IS SET ON 216 ACRES O WOODED TRAILS AND BEACHFRONT OVERLOOKING THE LONG ISLAN SOUND, JUST A SHORT TRAIN TRIP FROM THE CITY.

IT IS ALSO HOME TO FALAISE ANOTHER FORMER GUGGENHEI RESIDENCE, WHICH IS OPEN FOR TOURS IN SEASON, AND CASTL GOULD, WHICH HOSTS CULTURA EVENTS YEAR-ROUND.

HEMPSTEAD HOUSE IS THE KIND OF GRAND, LAVISH ESTATE THA INSPIRED F. SCOTT FITZGERALD'S FICTIONAL BUCHANAN HOME IN EAS EGG, THE GLAMOROUS SITE OF HIS JAZZ-AGE NOVEL 'THE GREA GATSBY.'

THE SHOWHOUSE FEATURES THE WOR OF CONTEMPORARY DESIGNERS LIKE KEITH BALTIMORE, LIZ CORDEIRO, AND OTHERS ALL OF THEM WERE INSPIRED BY REAL-LIFE 'TITANS' OF INDUSTRY INCLUDING ICONIC FIGURES I ENTERTAINMENT, FASHION AND THE ARTS THESE INCLUDE THE GROUNDBREAKING MODERNIST AUTHOR VIRGINIA WOOLF, THE PROVOCATIVE FASHION DESIGNER ALEXANDER McQUEEN AND GROUND BREAKING MODERNIST AUTHOR, HARRY GUGGENHEIM, HEIR TO TH GUGGENHEIM FORTUNE AND ONE O THE FOUNDERS OF THE NEW YORK RACING ASSOCIATION THE ROOMS OF THI 1912 TUDOR-STYLE ARCHITECTURAL MASTERPIECE ALSO INSPIRED TH PRODUCERS OF 'BOARDWALK EMPIRE,' WHO HAVE USED THE MANSION AS A SET FOR THE AWARD-WINNING HB TELEVISION SERIES.

THE DESIGN SHOWHOUSE IS OPEN FROM NOVEMBER 2nd THROUGH TH 24th THE BEAUTY AND SPLENDOR OF THI ESTATE TODAY STANDS IN STARK CONTRAST TO THE DEVASTATIO WREAKED BY HURRICANE SANDY A THIS TIME LAST YEAR.

BUT NEW ARTISTIC PROJECTS HAVE ALSO BLOOMED FROM THE RUINS OF THE STORM.

WESTBETH, THE ARTISTS' COMMUNITY IN THE FAR WEST VILLAGE, WAS SEVERELY IMPACTED BY SANDY OVER 70 STUDIOS IN THE BASEMEN WERE WIPED OUT IN ONE NIGHT.

THE PLAY 'LOST AND FOUND, SCENES FROM AFTER THE FLOOD' TAKE AUDIENCES AROUND WESTBETH AN THROUGH THE EVENTS THAT NIGHT, AN EXHIBIT OF ART WORKS 'TOUCHED BY SANDY,' SHOWING THE DETERMINATION TO CREATE NEW AR OUT OF THE TRAGEDY, REMAINS ON VIEW IN THE WESTBETH GALLERY THROUGH DECEMBER AT THE MUSEUM OF THE CITY OF NEW YORK, 'RISING WATERS PHOTOGRAPHS OF HURRICANE SANDY INCLUDES WORK SUBMITTED BY OVE A THOUSAND PHOTOGRAPHERS, BOTH PROFESSIONAL AND AMATEUR PRESENTED IN CONJUNCTION WIT THE INTERNATIONAL CENTER O PHOTOGRAPHY, THE EXHIBITIO FEATURE STRIKING BEFORE-AND-AFTER IMAGES OF THE HURRICANE'S IMPACT INDUSTRY CITY, A HISTORI MANUFACTURING CENTER I BROOKLYN, SUFFERED MAJOR FLOODING AND INFRASTRUCTUR DAMAGE YET IT BECAME ONE OF THE FIRST SITES OF HEALING FOR VOLUNTEER CONSERVATORS WORKING ON TH RECOVERY OF HUNDREDS OF WORKS OF ART AFTER THE STORM.

THE SPACE NOW HOUSES AN AR EXHIBITION, ORGANIZED BY THE DEDALUS FOUNDATION, INCLUDIN THE WORK OF MORE THA 300 ARTISTS.

THE MAMA FOUNDATION FOR THE ARTS IN HARLEM IS DEDICATED T PRESERVING THE HISTORY O GOSPEL, JAZZ AND RHYTHM AN BLUES THROUGH PERFORMANCE.

THIS YEAR THE FOUNDATION I BRIDGING THE GENERATION GAP WITH TWO NEW ORIGINAL MUSICALS.

'WE ARE!' IS A MUSICAL ABOUT AND STARRING THE GOSPEL FOR TEEN CHOIR.

THE MAMA FOUNDATION PROGRA TEACHES GOSPEL MUSIC TO YOUN PEOPLE BETWEEN THE AGES OF 13 AND 19 AT NO COST ALSO NEW TO THE REPERTORY IS 'ALIVE!' AN ORIGINAL MUSICAL THAT FEATURES A FULL COMPANY O PERFORMERS AGE 55 AND OVER PERFORMANCES OF THESE SHOW CONTINUE ON SATURDAYS THROUG THE END OF NOVEMBER.

IN DANCE, MARIE CHOUINARD BRINGS HER MONTREAL-BASED TROUPE BACK TO THE JOYCE THEATER WITH TW NEW YORK PREMIERES THE VISUAL ARRESTING 'HENR MICHAUX: MOUVEMENTS' CREATES WITH BLACK COSTUMES AND A WHIT FLOOR A CHOREOGRAPHIC VERSION OF INDIA INK DRAWINGS. CHOUINARD' WORK DRAWS FROM THE POETRY A WELL AS THE DRAWINGS OF TH BELGIAN POET AND ARTIST.

ANOTHER WORK IS INSPIRED BY TH ECCENTRIC PERSONALITY AND STYL OF COMPOSER AND PIANIST ERIK SATIE.

FOR A HALLOWEEN TREAT, HEAD TO THE GERSHWIN THEATER THIS WEEK MARKS THE 10th ANNIVERSARY OF THE BROADWA SMASH HIT 'WICKED.

A PREQUEL TO THE BELOVED CLASSIC TALE OF DOROTHY AND 'THE WIZAR OF OZ,' 'WICKED' TELLS THE UNTOLD STORY OF THE WITCHES OF OZ THE MUSICAL FOCUSES ON THE UNLIKELY FRIENDSHIP BETWEEN TH TWO GIRLS WHO WILL BECOME TH WICKED WITCH OF THE WEST AND GLINDA THE GOOD.

MUSIC AND LYRICS ARE BY STEPHE SCHWARTZ WITH A BOOK BY WINNIE HOLZMAN, BASED ON THE NOVEL BY GREGORY MAGUIRE.

THE WIZARD WILL SEE YOU NOW

FOR ANOTHER TIMELESS CLASSIC, HEAD TO THE NEW VICTORY THEATER.

BUT DON'T BE SURPRISED IF THIS 'SLEEPING BEAUTY' COMES WITH SOME STRINGS ATTACHED.

ITALY'S OLDEST AND MOS RESPECTED CLASSICAL MARIONETTE COMPANY PRESENTS THE ORIGINA FAIRY TALE ALONG WIT TCHAIKOVSKY'S ENCHANTING BALLE SCORE.

THE 11 PUPPETEERS OF THE CARLO COLLA AND SONS MARIONETT COMPANY SKILLFULLY OPERATE 165 HANDCRAFTED PUPPETS, EAC WITH ITS OWN WARDROBE OF MARIONETTE COUTURE AND THAT'S THE LATEST FO 'NYC-ARTS' NEWS THIS WEEK.

FROM THE DESIGN SHOWHOUSE AT HEMPSTEAD HOUSE IN SANDS POINT PRESERVE, I'M CHRISTINA HA

> FROM THE TISCH STUDIOS A LINCOLN CENTER, I'M PAULA ZAHN

AND I'M PHILIPP DE MONTEBELLO.

THESE CANDELABRA WERE MAD AROUND 1800.

> FUNDING FOR 'NYC-ARTS' I MADE POSSIBLE BY ROSALIND P.

WALTER THE AGNES VARIS TRUST, SUPPORTING AFFORDABLE ACCESS T THE ARTS, EDUCATION AND HEALTH CARE JODY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

MILTON AND SALLY AVERY ART FOUNDATION AND ELROY AND TERRY KRUMHOLZ FOUNDATION THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM TH NEW YORK CITY DEPARTMENT O CULTURAL AFFAIRS IN PARTNERSHI WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FLEXIBILITY, COORDINATION, EXCELLENCE FIRST REPUBLIC BANK.

IT'S A PRIVILEGE TO SERVE YOU.