Bulletin Board 49
Chartreuse cocktails, a new H. Moser & Cie F1 collab and the art of the commission
HAPPY HOUR
Lately I’ve been thinking of Green Chartreuse, the legendary (and legendarily high-proof) herbal liqueur made by French monks that seems to be in short supply these days. As to why exactly that is—there are a lot of rumors out there—you’ll have to pick up our hot-off-the-press summer issue, whose Happy Hour feature follows Cody Pruitt, owner of Libertine in the West Village and its soon-to-open sister restaurant. Chateau Royale.
Cody knows more about the spirit than possibly any other American, having made the pilgrimage to its distillery in the Chartreuse Mountains. In the course of the print story, he busts myths and strikes down rumors while telling the spirit’s real history, which still seems stranger than fiction. In addition to the cocktail we wound up highlighting in the piece—the Bijou—he also provided his recipes for Chartreuse classics the Last Word and the Alaska, which I’m sharing below. And tune back in around Bastille Day for Pruitt’s take on the Champs-Élysées, another Chartreuse classic!
Last Word
1 oz gin, preferably No. 3 London Dry
1 oz Green Chartreuse
1 oz lime juice
Optional: 1 dash of salt solution*
Combine with ice and shake. Double strain into Nick & Nora or coupe glass. No garnish.
*Salt Solution
Combine four parts (by weight) filtered water with one part Fleur de Sel. Stir until the salt is fully dissolved.
Alaska
1.5 oz gin, preferable Neversink gin
.5 oz Yellow Chartreuse
2 dashes orange bitters
Stir over ice until properly chilled and diluted. Strain into martini or Nick & Nora glass. Express a (clean, organic) lemon peel over the top, and discard the peel.
Relatedly, I recently got a tip from a reader about a Chartreuse Negroni. It’s the classic 1-1-1 build, plus a half-ounce of Green Chartreuse. Simple, yes, but the results are astounding: the addition of the Chartreuse amplifies all of the drink’s other ingredients, making for a Negroni that’s joltingly herbaceous yet still bracingly clean. I felt a bit like a kid playing with a combustible chemistry set: not a bad metaphor, as adding a half-ounce of 110-proof liqueur to a drink that’s already all-booze is no kidding around!
Chartreuse Negroni
1 oz gin
1 oz Campari
1 oz sweet vermouth
.5 oz Green Chartreuse
Add all ingredients to a stirring glass filled with ice. Stir until chilled, then strain into a rocks glass over fresh ice. Garnish with lemon peel.
ARTIST’S STUDIO
Last year, I commissioned Alex Hilton, a British still–life artist based in Cambridge, to paint one of my favorite objects: a can of Ortiz sardines. It now hangs in our apartment in Rome, and I’ve since had many friends ask about how one goes about commissioning a painting in the year 2025. The short answer is that it’s a lot easier than it sounds, and you don’t have to be a Medici to become a patron of the arts!. For the longer answer, I reached back out to Alex to explain the process from the artist’s perspective. Read through to demystify it for yourself, and should you get any ideas drop Alex a line through his website.
How did you approach the Ortiz comission?
The commission was deceptively simple: a tin of Ortiz sardines. But like so much in life, simplicity can be profound. Matt and Yolanda are both incredibly attuned to the beauty of everyday objects, they know how to elevate the ordinary and enjoy the extraordinary. When Matt proposed the idea, he didn’t need to say much. I understood immediately: this tin wasn’t just food packaging; it was a symbol. Of travel, of taste, of the European pantry. It was design and ritual all at once.
We talked about tone and setting; he didn’t want it too polished or formal. The painting needed to feel like a moment: maybe just after opening the tin, maybe right before. A sense of pause and anticipation. I worked to capture the shine of the sardines, the embossed lid, the texture of the metal. I wanted the tin to feel luminous, a kind of quiet jewel.
What I loved most about this commission was how much it said with so little. It wasn’t a grand object or a lavish scene. But in painting it, I was reminded that a perfect commission doesn’t need to be dramatic, it just needs to be honest. This one was just that.
What is your background as an artist?
I have always painted, which has been a constant in my life, even when other paths took precedence. I studied art in my earlier years and always felt a strong pull toward visual storytelling. But for a time, my career went in a very different direction: I studied and worked in biomedical science, a field rooted in precision, observation, and problem-solving, with a high manual dexterity requirement. Skills that, interestingly, have ended up serving my artistic practice very well.
After a significant hiatus from creating during these years, I found myself slowly drawn back to painting. What began as a quiet return quickly became a full re-immersion, and for the past two years I’ve been working professionally as an artist. In that time, I’ve exhibited nationally and sold work to collectors around the world. Clients have ranged from private collectors and social media influencers, to interior designers and even two Michelin-starred restaurants, as well as many wonderful clients in between. Each project has helped expand my practice and deepen my understanding of what art can communicate and the value that is provided to each viewer that is more than just money.
I work predominantly in still life, a genre that allows me to explore the beauty and intimacy of everyday objects. I’m particularly drawn to the quiet drama of light on form, the way a tin can reflects or a lemon’s skin can catch the last warmth of the day. Still life isn’t just about painting things (well, sometimes it is) however, it can be about what those things stand for: memories, nostalgia, the texture of daily life, and the emotions that quietly linger around them. That being said, I’m not bound to one subject or style; I have created abstract pieces, landscapes, and portraiture as well. Each approach offers something new to explore, but still life remains my anchor, the place I return to for the beauty in the simplicity.
Ultimately, I see myself as a painter of feelings through objects, translating the seemingly mundane into something that resonates on a deeper level. That blend of observation, sensitivity, and quiet storytelling is at the heart of everything I make.
At what point in your career did you begin to accept commissions?
I began accepting commissions at the very start of working professionally as an artist and rather memorably, my first major project was for the two Michelin-starred restaurant Midsummer House. It began with a portrait of the chef-patron, Daniel Clifford, inspired by René Magritte’s The Son of Man. In the original, the face is obscured by an apple; in this version, the apple represents a key ingredient from the restaurant’s ancient apple tree, which grows in the garden just beyond the dining room. That single object was deeply symbolic, a quiet thread tying together landscape, memory, and taste.
That portrait was just the beginning. The project expanded to include additional commissioned works adorning the whole restaurant space. Individual still lifes of ingredients central to the restaurant’s seasonal tasting menu such as: scallops, truffle, crab, asparagus, finger limes, and, of course, apples again, each painted with reverence and attention to their natural beauty. The aim was to create a visual experience that ran parallel to the culinary one. Paintings that not only reflected the ingredients on the plate but also the ethos of craftsmanship and seasonality behind them.
That first series set the tone for how I approach commissioned work, not as a transactional exchange, but as a creative partnership. It was an invitation to tell a story, to celebrate the sensorial richness of chef Daniel Clifford's food through paint, and to create something meaningful that lived both within and beyond the frame.
How much of your work is now based on commissions?
At this point, around half of my work is commission-based. It’s a steady part of my practice, balanced alongside personal projects and gallery work. Commissions bring fresh energy into the studio; they introduce new stories, new objects, and often push me into visual territory I might not explore on my own.
I’ve created commissioned pieces for private homes, restaurants, interior designers, and collectors around the world. Each one begins with a conversation and becomes a collaboration. I love that no two are the same; some are deeply sentimental, others are purely aesthetic, but all are rooted in the client’s personal connection to the subject.
While I still set aside time for independent work, commissions have become a vital part of my creative rhythm. They keep me looking outward, listening carefully, and translating other people’s experiences into something lasting. It’s a rewarding balance - personal work feeds the commissions, and commissions, in turn, keep my personal work evolving.
What, in your experience, is most important when it comes to commissioning an artwork?
Trust is absolutely the most important element but equally important is understanding that a commission is a creative journey, not a fixed transaction. It’s a collaboration between two people: the patron, who brings the story or inspiration, and the artist, who interprets and expresses that visually.
From the outset, I see each commission as a conversation. We begin with an idea, but it often evolves through shared dialogue, reference images, and sometimes a few iterations until the vision feels right for both of us. That space to explore and refine is key; it allows the project to grow organically and ensures that what we create together feels considered and personal.
The process works best when there’s a mutual sense of openness. I want my clients to feel involved, heard, and excited, but also confident enough to let the work unfold in its own way. The goal is always to arrive at something the patron truly connects with not just visually, but sometimes emotionally. And when that trust is there, it almost always leads to something more meaningful than either of us could have predicted at the start.
What is the dialogue like between you and a patron?
The dialogue is always collaborative, personal, and grounded in trust. From the very beginning, I aim to make the process feel open and exciting, especially for those commissioning art for the first time. It shouldn’t feel intimidating or exclusive; it’s simply a creative conversation, where your ideas, feelings and passion are just as important as my paint and canvas.
I start by asking about the object or subject the client wants captured. What does it mean to you? Is there a memory tied to it, or is it just something that brings you joy and excitement? Understanding the story behind the idea helps me find the right tone, composition, and light to reflect its deeper significance, but not all commissions require one.
It’s also important for me to understand your preferences, style, colour palettes you love, the kind of atmosphere you may want the piece to evoke, where it might hang. Some patrons come with a clear idea; others only know how they want the work to feel. Either is welcome.
And for those worried it might be out of reach, it’s often more accessible than people think. I work with a wide range of budgets, and most commissions can be tailored by adjusting the size, complexity, or framing options. The goal is to create something meaningful and lasting, not overwhelming.
Together, we refine the concept over time, I will then sketch out the piece for approval or iterations from the patron and the process repeats itself. It’s not about getting everything perfect from the start; it’s a journey that evolves, shaped by your input and my creative ideas, until we land on something that feels just right and perfect for you.
What are the common mistakes/missteps that a patron should avoid?
One of the biggest missteps is thinking that commissioning art is a formal or intimidating process. It really doesn’t need to be. Some clients worry they’re not “art people” or that their idea isn’t interesting or important enough, but that’s never the case. A meaningful commission can start with the simplest object or a passing idea. The key is to be open and honest about what draws you to the subject, style or theme of painting. You don’t need to know exactly what the final piece should look like, that’s something we explore together. It’s a creative partnership, not a transaction, and there’s plenty of room to ask questions, change direction, and grow the idea as we go.
Another misstep is rushing the process. Painting takes time, especially when it’s done with care. Sometimes people expect something immediate, like ordering a framed print. But a commission is a slow-cooked meal, not a fast snack. I always encourage patrons to embrace that slowness, it’s part of the magic. The waiting is where the anticipation builds, where the artwork begins to form in the background of your mind. That being said, timelines are always discussed as patrons may require the painting for gifts or notable dates.
Finally, this isn’t always the case however, some people hesitate to share the personal context behind their chosen subject, assuming it’s too small, too simple, or not “important” enough. But often, it’s those quiet, overlooked items that hold the richest stories; a well-used kitchen utensil, a piece of fruit from a family recipe, a jar from a memorable trip. It’s those small, specific details that bring a painting to life. The emotional connection is what gives a piece weight and depth, and sharing that with the artist can be very beneficial. Don’t underestimate the value of your own story; it can be the heart of the commission.
WRIST CHECK
A few weeks ago I was lucky enough to be invited to Barcelona for the Spanish Grand Prix launch of the latest collaboration between 200 year old Swiss watchmaker H.Moser and the Alpine F1 team. I have been a fan of Moser for a while—they are a real favorite of mine when I head to Geneva for Watches and Wonders—I’m always excited to see their new novelties. I’m also a recent F1 fan (thank you Netflix “Drive to Survive”!) and did not want to pass on the opportunity to see the practice day and get into the pits to see the Alpine team in action. The watches being released were a packaged duo of watches developed in close collaboration with Alpine Motorsports: The Streamliner Alpine Drivers Edition, a mechanical chronograph powered by a skeleton version of the AgenGraphe movement, (a first time in a skeleton version) and the Streamliner Alpine Mechanics Edition, the first watch specifically designed to meet the needs of a Formula 1 team. One is at the heart of watchmaking tradition, while the other is a digital showcase, integrating cutting-edge connected technology--both watches developed alongside drivers and engineers. The HMC 700 skeleton caliber is finished in a contemporary anthracite. With its emphasis on minimalism and legibility, this chronograph features a central minute and seconds display, with no subdials. It is equipped with the Flyback function, which enables the chronograph to be restarted instantaneously. The other is a GMT with country selector, split-seconds chronograph, perpetual calendar and F1 mode, with countdown to the start and notifications of the key moments for the Formula 1 season’s races. Streamliner Alpine Mechanics Edition works autonomously and syncs via Bluetooth on demand.
The breakdown for you tech heads:
TECH SPECIFICATIONS: STREAMLINER ALPINE DRIVERS EDITION
Reference 6700-1200, steel model with blue PVD treatment, skeleton dial, integrated white rubber strap, limited edition of 200 pieces
Case: Steel with a blue PVD treatment, topped by a slightly domed sapphire crystal diameter: 42.3 mm height: 14.2 mm chronograph push-buttons at 10 and 2 o’clock; screw-in crown at 4 o’clock, decorated with an engraved “M”, with white rubber ring see-through case-back; water-resistant to 12 ATM
Strap: Integrated white rubber strap steel pin buckle with blue PVD treatment, engraved with the Moser logo
Dial: Fully skeletonised blue hour and minute hands with Globolight® inserts minute track for the elapsed seconds and minutes tachymeter on the flange
Movement: Calibre HMC 700 developed with AGENHOR for H. Moser & Cie., fully skeletonised self-winding movement; Diameter: 34.4 mm or 151/4 lignes height: 7.3 mm; Frequency: 21,600 vibrations/hour bi-directional winding skeletonised tungsten oscillating weight, positioned between the movement and the dial double barrel column wheel chronograph two-stage chronograph mechanism horizontal clutch with friction wheel; smooth wheel equipped with micro-teeth to avoid any issues when the teeth intermesh and reduce unwanted jerks when starting the chronograph tulip yoke allowing the chronograph to be triggered or released 434 components 55 jewels power reserve: minimum 72 hours bridges and main plate with anthracite grey rhodium-plating; Moser stripes angled at 45°
Functions: Hours and minutes chronograph with central display and indication of the elapsed minutes and seconds flyback on the minutes and seconds; automatic
TECH SPECIFICATIONS: STREAMLINER ALPINE MECHANICS EDITION
Reference 6DI0-1200, steel model, Funky Blue fumé dial, integrated blue rubber strap, limited edition of 500 pieces
Case: Steel with blue composite, topped by a slightly domed sapphire crystal diameter: 42.6 mm height: 14.4 mm; Push-buttons at 2, 3 and 4 o’clock SYNC push-button at 9 o’clock for race mode. Sapphire crystal case-back with Moser emblem; Water-resistant to 12 ATM
Strap: Integrated blue rubber strap Steel pin buckle, engraved with the Moser logo
Dial: Sapphire dial with digital display Small Funky Blue fumé dial at 12 o’clock with H. Moser & Cie. logo in transparent lacquerSuper-LumiNova® ceramic indicesSuper-LumiNova®-filled hands
Movement: Calibre DI0 developed with SEQUENT for H. Moser & Cie, connected movement. Width: 32.50 mm; Length: 33.90 mm; Height: 6.90 mm; Frequency: 32,768 vibrations/second; Accuracy: ±0.3 seconds per day 186 components Power reserve: 9000 hours (12 months) for time indication/6 GP of 1 hour with continuously lit digital display“Magic” digital display at 6 o’clock; Vibrations Display: Hours and minutes (analogue) + digital functions (via connected module) Bluetooth Low Energy (BLE 5.3)iOS & Android compatible
Functions: Hours and minutes GMT with country selector Chronograph displaying 1/100th of a second Perpetual calendar race mode with indications: Upcoming races; Countdown to the races; Specific Team alerts and messages
I love yellow Chartreuse, my favorite use of it is in a cocktail called the Yellow Parrot. so yum