A Glenn Brown painting, mounted above a Philippe Anthonioz console table, is given pride of place in the living room of a Manhattan apartment designed by Brian McCarthy in collaboration with architects Alexandre Gamelas & Catarina Santos Arquitectos and Andrew V. Giambertone & Associates, Architects. Arrayed around a Fredrikson Stallard acrylic table from David Gill Gallery are a vintage Gio Ponti armchair, a 1980 Philippe Hiquily table, a custom sofa and armchair by Jonas, and a Campana Brothers mohair-upholstered sculptural chaise.

Modern glamour gets a Baroque twist in this Manhattan residence by Brian McCarthy, who furnished the living room with a matching chair and chaise by the Campana Brothers. “The bronze frame is made up of hundreds of pieces arranged like marquetry and soldered together,” says McCarthy. Sculptural Gio Ponti chairs and a canvas by Wifredo Lam add to the alluring mix.

An exuberant painting by renowned British artist Glenn Brown, who recently opened his own museum called The Brown Collection in London, hangs in the living room. “His body of work is very contemporary, but there’s an art-historical aspect in the manner in which he paints,” says McCarthy. Wild Horses, a 2007 work, illustrates his method of distorting classical motifs.

A Frederik Molenschot chandelier hangs in the vaulted library, which features paneling with straw marquetry by Ateliers Lison de Caunes, a Kam Tin pyrite mantelpiece, and curtains in a Claremont fabric embroidered by Lesage. An Hervé Van der Straeten cocktail table is joined by a round side table by Mattia Bonetti and a Galerie Diurne rug.

In the bar, Atelier Mériguet-Carrère applied gold leaf to the ceiling and crafted the lacquer woodwork; Based Upon fashioned the panels inset with resin. A Drift light sculpture hovers overhead, while Hervé Van der Straeten sconces frame a painting by Marc Chagall.

Composed like a jewel box, the luminous bar area features a gilded ceiling by Atelier Mériguet-Carrère and a stunning Drift chandelier made with real dandelion seeds. Anchoring the space is intricate cladding by British studio SilverLining. “It’s very multilayered,” says McCarthy. Additionally, British firm Based Upon created the sophisticated wall panels, which are composed of resin and bronze inset into lacquer. “It’s a yummy, delicious space that’s super sexy.”

An El Anatsui tapestry overlooks the staircase that McCarthy redesigned, and the Hervé Van der Straeten chandelier plays off the marble floor, on which a concrete chair by Wendell Castle rests.

A tapestry by Ghanaian sculptor El Anatsui, who recently unveiled a monumental commission at London’s Tate Modern, makes a powerful statement in the entry hall. The artist is revered for meticulously weaving recycled materials such as bottle caps into stunning wall works (like this 2016 piece, Trova). “The space needed something textural and asymmetrical to break it from the walls,” says McCarthy.

Wrapped in decorative plaster panels by Atelier Mériguet-Carrère, the dining room is outfitted with Pollaro Custom Furniture chairs and a Vosges lacquer table that McCarthy enlivened with a François-Xavier Lalanne centerpiece beneath an Ingo Maurer chandelier.

The dining room walls are sheathed in elegant plaster carvings conjured by Atelier Mériguet-Carrère in Paris. “It references Armand-Albert Rateau and the beautiful bath he did for Lanvin,” explains McCarthy of the bespoke, exotic design. “We wanted to capture light and shadow in here.”

Artist Nancy Lorenz created lacquer panels embellished with mother-of-pearl and silver leaf for the primary suite’s sitting room, where Ayala Serfaty ceiling lights float above a custom-designed L-shaped sofa by Jouffre and a rounded Elizabeth Garouste chair. The desk by W. P. Sullivan features Atelier Viollet straw marquetry and is topped by a lamp made with an Edouard Cazaux vase from the 1930s; the rug is by Beauvais Carpets.

Mark Brazier-Jones pendants dangle above a velvet-clad Elizabeth Garouste chaise and a Jallu Ébénistes vanity in the wife’s dressing room, which McCarthy accented with verre églomisé details by Miriam Ellner.

The primary suite’s bespoke bed is dressed in Vis-a-Vis bedding and bordered by Alasdair Cooke nightstands and Barbara Palatin-Doyle lamps from Liz O’Brien; the chandelier is by Robert Goossens from Maison Rapin.

Brooklyn talent Misha Kahn devised the primary bedroom’s custom table using a 1,400-pound hunk of South African rose quartz as a sculptural base. “The wife loves crystals, and I share that love,” says McCarthy. “The way Misha works the bronze over stone feels so natural and organic.”

“I’m a marble freak,” admits McCarthy, who deployed two richly veined varieties from BAS Stone for a powder room’s walls and flooring. “I wanted the stone to be the artwork.” He also tapped Fornasetti to create the lacquer cabinet, a nod to the classical design preference of the clients.