In the living room, a Roy Lichtenstein woodcut, Bedroom, floats down the mirrored wall. Lichtenstein's cartoonish take on an interior hangs inches above a creamy nubuck Deco-style sofa. The artwork's display is an eye-catcher, but that's just a starting point. Martha's special talent lies in mixing the graphically modern with the elegantly antique in one tight grouping: Joining the Lichtenstein-Deco ensemble are a pair of painted and gilt-trimmed neoclassical Italian chairs, upholstered in subtle, signature Fortuny.
Creamy backgrounds allow a pair of stellar gilded and black-painted Gustavian chairs to shine. French designer Jean-Michel Frank, prominent in the '30s, inspired the living room's ebonized oak coffee table, which Martha lightened with a lime rub.
A small steel dining table detailed with a Greek key design is softened with velvet-covered antique seating found in Paris.
A sidewalk-sale tree's sinewy root bears the same flowing grace as the fine marquetry of the Dutch rococo mahogany table on which it is displayed-a testament to Martha's honed eye for connections. The 18th-century table and inexpensive tree, doubled by a German gilt-framed rococo mirror, create transition to the dining area along with a Joan Mitchell painting.
A pair of gilt-accented columns add architectural interest to the bedroom. The chalky-green armoire is from Provence; the chairs are Italian.
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MAD ABOUT THE VIEW
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It was a case of truly, madly, deeply. Interior designer Martha Angus and her husband, Christopher Flach, a Ph.D. psychologist-turned-art-photographer and financial-manager of Martha's business, took one look at the Nob Hill apartment's drop-dead views of the Golden Gate Bridge, gasped, and stammered, "Where do we sign?" The living room's neoclassical tall case Danish clock, shown here behind Martha and Christopher, was found in an antiques shop in New York, where Martha has a second office.