Vanity Fair makes a meal of the Peter Brant/Stephanie Seymour divorce papers to accompany some racy photos of the former supermodel. Our excuse is to run the art-related details from the divorce filings:
And then—well, after a decade and a half of presumed bliss—it got ugly. Legal documents in divorce proceedings probably never make for happy reading, but the filings in Stephanie S. Brant v. Peter M. Brant read like a series of increasingly nasty, or sad, brushback pitches. Last April, for instance, a month after she filed for divorce and requested custody, Seymour claimed that her husband had “harassed and intimidated” the children in an effort to turn them against her and that he had instructed the family’s domestic staff and officials at their five-year-old daughter’s school to keep her away from the children. Another filing accused him of spiriting a small museum’s worth of artworks from “the marital residence” without Seymour’s consent, a haul that allegedly included nearly 50 Warhols—Brant had a long association with the artist—as well as works by Koons and Prince, not to mention some drawings by Jean-Michel Basquiat that had hung in Seymour’s bathroom and a pair of Cindy Sherman photos allegedly pilfered from her dressing room. No mention was made of the Cattelan bust, which may have lost its trophy-like luster in the eyes of at least one of its owners.
[…] Yet another filing accused her of making off with her own Sotheby’s lot: five more Warhols, another Cindy Sherman, five Tiffany picture frames, and a leopard throw rug. (The filing doesn’t say if it was genuine leopard.) But her greatest sin, in Brant’s view, may have been that she supposedly loaded the valuable and delicate artworks into the back of her S.U.V. as casually as if they had been soccer gear or lacrosse sticks.
First, The Gloves Came Off (Vanity Fair)