are significant but unassuming. Lacquered tables quietly gleam. The major events are top-notch artworks by Louise Bourgeois and Richard Pousette-Dart, the latter a predominately white dappled canvas. "I did get to indulge my obsesssions in subtle ways," Brooke says. "We accented the pillows on the chenille sofas with antique trim. And the shades on the smoked-Murano-glass lamps were custom made."
Fox may be Hollywood A-list, thanks to his roles on Family Ties and Spin City and as the hero in the Back to the Future films, but all the photographs displayed in a long hallway are of family. The only evidence that Fox and Pollan work in show business- they met on the set of Family Ties- has been banished to his office, which is in the same building several floors away. That space is home to Fox's five Emmys and four Golden Globes. "I'm not shy about the awards," he says. “But they're to intimidate not to impress."
Clockwise from above: The dining room’s 19th-century Continental fruitwood cabinet is topped with a Murano-glass lamp from John Salibello Antiques. A 1940s French silvered-bronze chandelier from Alan Moss graces the entrance hall, where a ‘40s table designed by Osvaldo Borsani rests on a Maison Leleu rug, both from Bernd Goeckler Antiques. The library is outfitted with a Charles H. Beckley daybed covered in an Osborne & Little chenille, a Stephen Miller Siegel club chair clad in leathers by Edelman, and a circa-1950 Dunbar mahogany cocktail table from Liz O’Brien; the ‘30s German ceiling fixture is from Alan Moss.