As Merrill explains, the 9,000-square-foot luxury homeoffers a staging ground for future art exhibitionsand a space to assemble new acquisitions while he gets to know his subjects’ work intimately.
“This is where I bring things to look at and photograph and create collections,”
three-level hillside home filled with the latest collectible design trends and blessed with views of Shinnecock Bay and the Atlantic Ocean is a mid-1980s mash-up of Fire Island beach luxury home style and Charles Gwathmey–inspired modernism. After buying it nine years ago, he and his wife removed the most glaring vestiges of the era: vertical blinds, off-white porcelain tiles, and added French limestone and reclaimed oak floors, whose smoky-hued Scandinavian oil finish complements the warm gray paint on the walls.
Given the effort and expense of constantly packing and transporting large, valuable objects, the flow ofart gallery-bound works and inventory through Merrill’sluxury home is more than a play for free storage. But he recognizes the benefit of extra space.