Managing partner says restaurant which opened in 1959 in the Seagram Building but left it in 2016 will close on Tuesday
The Four Seasons Restaurant in New York is to close, less than a year after it reopened away from the Seagram Building, the masterpiece of modern architecture which was its home for almost 60 years and which it came to complement as a high point of 20th-century art, style and design.
In a statement to the New York Times, managing partner Alex von Bidder said: Regretfully the Four Seasons Restaurant will close the week of 10 June. We have been privileged to work with one of the finest culinary teams and outstanding staff that has stayed with us through some challenging times over the course of our history.
Last service will be at lunch on Tuesday.
The Four Seasons opened in 1959, inside the Park Avenue skyscraper built by the Bauhaus architect Ludwig Mies van der Rohe.
The architect Philip Johnson was responsible for the dazzling restaurant interior, in which he was often to be found. It was home at various times to art including Blue Poles, a major work by Jackson Pollock that is now in the National Gallery of Australia in Canberra, and a painting by the pop artist James Rosenquist. A Mark Rothko mural series commissioned for the restaurant ended up housed in Tate Modern in London.
The Four Seasons served good food but most reviewers came to think the menu was never really the point of a restaurant which became a stage for the high, the mighty and, after a meal and drinks, the mightily high.
In 2016, on the brink of the Four Seasons ejection from the Seagram and the auctioning of its contents, a sale which raised $4.1m, the critic Jason Farago rhapsodized for the Guardian: The restaurants heyday was the 1970s. Outside, the city came within days of bankruptcy, and the streets were choked with crime. Inside, tycoons and socialites conducted a choreographed spectacle of dining and table-hopping worthy of Frances ancien rgime.
New Yorks world of publishing gravitated to the Grill Room, as did magazine editors with expense accounts larger than the entire budgets of todays viral content abattoirs. (Ive hatched every one of my deals in the booths over that swordfish and salad, whirrs Tina Brown.)
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