22 EAST 64TH STREET
NEW YORK, NEW YORK
When Lillian Rojtman Berkman passed away in 2001 after four decades of stewardship—having become one of the first women to govern American corporate boards—these monumental marbles bypassed the commercial auction block. They entered the permanent collections of The Metropolitan Museum of Art and the National Gallery of Art in Washington, D.C. In 2004, the house was sold to its current owner and has remained with its new steward since.
When Lillian Rojtman Berkman passed away in 2001 after four decades of stewardship—having become one of the first women to govern American corporate boards—these monumental marbles bypassed the commercial auction block. They entered the permanent collections of The Metropolitan Museum of Art and the National Gallery of Art in Washington, D.C. In 2004, the house was sold to its current owner and has remained with its current steward since.
CURATION & LEGACY
The drawing rooms above were lined in silk damask to receive Old Master canvases by Rembrandt, Rubens, Frans Hals, and Van Dyck. Yet the residence’s most demanding architectural commitment took shape on the ground floor.
In 1962, as Londonderry House on Park Lane faced demolition, the Rojtmans acquired four monumental Neoclassical marble sculptures commissioned in the 1820s by the 3rd Marquess of Londonderry directly from the studio of Antonio Canova. To bear thousands of pounds of solid Italian stone, the entry gallery of No. 22 was structurally reinforced down to its bedrock foundation.
For nearly forty years, Canova’s Venus Italica, Paris, Dancer with Finger on Chin, and Naiad occupied this private corridor—anchored to honed cabochon marble floors, framed by rusticated ashlar limestone arches, and reflected across full-height antiqued mirror panels.
CURATION & LEGACY
The drawing rooms above were lined in silk damask to receive Old Master canvases by Rembrandt, Rubens, Frans Hals, and Van Dyck. Yet the residence’s most demanding architectural commitment took shape on the ground floor.
In 1962, as Londonderry House on Park Lane faced demolition, the Rojtmans acquired four monumental Neoclassical marble sculptures commissioned in the 1820s by the 3rd Marquess of Londonderry directly from the studio of Antonio Canova. To bear thousands of pounds of solid Italian stone, the entry gallery of No. 22 was structurally reinforced down to its bedrock foundation.
For nearly forty years, Canova’s Venus Italica, Paris, Dancer with Finger on Chin, and Naiad occupied this private corridor—anchored to honed cabochon marble floors, framed by rusticated ashlar limestone arches, and reflected across full-height antiqued mirror panels.
When Lillian Rojtman Berkman passed away in 2001 after four decades of stewardship—having become one of the first women to govern American corporate boards—these monumental marbles bypassed the commercial auction block. They entered the permanent collections of The Metropolitan Museum of Art and the National Gallery of Art in Washington, D.C. In 2004, the house was sold to its current owner and has remained with its new steward since.
