Wynn Las Vegas Magazine by MODERN LUXURY

Wynn - 2011 - Issue 2 - Fall

Wynn Magazine - Las Vegas

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Page 27 of 123

STEVE WYNN A pair of early-18th-century gilded Baroque carvings displayed between the Wynn Resort elevators Full Fathom Five by Tim Bavington his tower is crafted of metal, and yet this piece also has the look of metal," Thomas points out. "I think the rotunda area outside Terrace Pointe is a perfect spot for it; I wanted it to be framed by passageways both left and right, and the table underneath it creates that traffic pattern. And it's also simply the perfect scale for the space." Wynn's Tower Suites lobby, meanwhile, is dominated by a 1925 silk tapestry by Raoul Dufy, which Thomas acquired at a Sotheby's auction in New York; measuring 107 inches high by 164 inches wide, it's one of the largest Dufy works in existence. "I believe it was made for a hotel or restaurant," Thomas says. "Dufy's settings are the South of France, and this work depicts the idea of a very romantic harvest. The whole thing speaks of abundance and hospitality, making it a wonderful piece to include in our collection." Contemporary artists also get their due throughout T 26 WYNN Wynn and Encore, most notably Tim Bavington, a Las Vegas-based artist known for his vivid striped paintings, many based on the chord structures of different songs. Bavington's paintings can be found near Terrace Point Café's entrance at Wynn and at the concierge desk at ake a tour through the spaces of Wynn and Encore in Las Vegas, and you'll quickly discern that the accent on show- casing art and antiquities is not exclusive to the Macau properties. Among Roger Thomas' favorites—and likewise a favorite among many guests—is a moment you'll encoun- ter upon entering Wynn's Resort elevator lobby: a pair of early-18th-century Italian gilded Baroque carvings, discov- ered by Thomas in a Florence antique shop prior to the hotel's 2005 opening. "I've tried to research their history, but we don't know what they were made for," he says. "They are amazing examples of Italian Baroque workmanship, and I loved them so much, Steve agreed that we could acquire them, even though we didn't know where we would put them. It wasn't until two weeks before the hotel opened that their home revealed itself in the space between Wynn's Resort elevators. And it's turned out to be the perfect home, because everyone stops to marvel at them." More subtly placed, and yet no less important, is a chandelier positioned outside Terrace Pointe Café. If you think it looks familiar, there's good rea- son: It was designed by Gustave Eiffel, who also conceived a rather famous tower in Paris. Thomas purchased the early-20th-century piece at an auc- tion at Christie's New York. "It's actually crafted of wood, and we don't think of Eiffel as having constructed things in wood, because of course Encore. "I really believe in him and also think it's a great way to honor Nevada art," Thomas says. "There's also a wonderful symmetry in that he boasts a personal connection: His father was a golf pro at the Desert Inn, the site where Wynn Las Vegas now stands." Numerous other examples can be found throughout each of Steve Wynn's four resorts, each with its own unique history and—not unlike that quartet of porcelain vases soon to grace Macau—an adventurous anecdote regarding their purchase. Thomas says he'd like to someday create an audio guide, similar to those you might rent in museums, so guests may hear the details behind each of these dazzling moments of discovery. "I keep intending to plan such a project, but the building and design of hotels always seems to supplant this idea," Thomas says with a smile. And it's in this moment that I can't help but wonder: Experiences such as that July night at Christie's London—is that the high point in the design of any Wynn resort? "We acquire pieces all the way through the design process, but you're right, having something like the Buccleuch vases to center a space around is incredibly inspiring," Thomas says. "The process of identifying and buying decorative objects—for me, that's dessert. There are a lot of main courses when designing a hotel, but for me, the dessert is particularly sweet." ■ PHOTOGRAPHS BY BARBARA KRAFT (BAROQUE CARVINGS); JEFF GREEN (BAVINGTON)

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