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I'm suspicious of places that look decorated. I can understand why people do it, but you see too many cushions or a piece of fabric hanging and it's, like, 'Ugh!' A good house with good art will always work, no matter what.

Good painting is the kind that looks like sculpture.

I have no real training in the history of fine art or furniture; my eye just works by proportions. I react intuitively. In London, it's all about color because the weather is so gray, and in that cold light they look beautiful.

You don't always have to show art in what's called a white box; you can have a kind of complexity within an exhibit which actually respects the art as well.

Fairs are beneath the dignity of art. To stand there in a booth and hawk your wares - it is just not how you sell art.

The 19th-century Continental porcelain plaques that are worth the most money are the pretty ones.

The whites are the same everywhere. I see them every day.

My home has a split personality. Some of the rooms are very French antique. Think Aubusson rugs, turquoise ceramic jugs, sandbag pillows, and broken birdcages. The other half is very Aztec. Neon ikat fabric pillows, vintage books piled up to the ceiling, and shutters from Bali.

I have a dining room done in different shades of white, with white cushions embroidered in yellow silk: the effect is absolutely delightful and the room beautiful.

There is a certain kind of respect for authenticity today that there wasn't back in the days when they did 'Cleopatra,' where everything looked like a giant motel. People want to have it be authentic in the look, and authentic in the way people behave.