与纽约富豪布兰特共进午餐 Lunch with the FT: Peter Brant

Peter M. Brant – 63-year-old industrialist, real estate mogul, magazine proprietor, art collector, polo player, husband of a supermodel, father of nine (by two wives) – is someone most people would categorise as a member of the 1 per cent. There is his net worth, which reports have put at between $500m and $1.4bn, his affinity for empire-building (four of his grown children work in his business empire), his 53-acre estate in Greenwich, Connecticut, and his penchant for Anderson & Sheppard tailoring: when he arrived for our lunch, he had on a grey flannel double-breasted suit, blue and white pinstriped shirt, navy knit tie, white pocket hankie and gold knot cufflinks. If you were drawing up a stereotype of a corporate titan, it would probably look a lot like this.

彼得?M?布兰特（Peter M. Brant）——63岁的实业家，房地产业的大佬，杂志的所有人，艺术品收藏者，马球玩家，一位超级名模的丈夫，九名子女的父亲（两任妻子所生）——多数人会把这样一个人归入1%之列。（译者注：2011年“占领华尔街”的抗议者自称为99%的人，对应1%的富人。）他的财富净值据报道在5亿至14亿美元之间；他对构建帝国有特殊的爱好（他有四名成年子女在他的商业帝国里任职）；他在康涅狄格州的格林威治（Greenwich）拥有一块53英亩的地产；他酷爱“安德森与谢泼德店”(Anderson & Sheppard)缝制的衣服。来赴我们的午餐时，身穿灰法兰绒的双排纽扣套装、蓝白相间的细条纹衬衫，佩戴海军蓝的编织领带、白色的口袋手帕、金质打结的袖口链扣。如果你想描绘出一副标准的商界巨头形象，大致会很像这个样子。

But Brant himself would say this is wrong. In fact, during our meal he says, to be specific: “I identify with the 99 per cent.”

但布兰特本人会不同意。事实上，在吃饭时他很明确地说：“我自认为属于那99%。”

As a statement, it is something to chew on. Especially because the place Brant picked to eat, Sant Ambroeus, is in the heart of 1 per cent land – the core of Manhattan’s Upper East Side, near the Whitney Museum – and because one of the reasons we are having lunch in the first place is to talk about Brant’s role as a great art benefactor, generally another 1 per cent sort of thing.

这一声明让人有些犹豫。尤其是因为，布兰特选定的餐馆Sant Ambroeus，位于1%富人生活区的中心——曼哈顿的上东区，靠近惠特尼美术馆（Whitney Museum）。而且，我们吃这顿午餐的最初原因之一，就是要讨论布兰特作为对艺术的大资助者的角色——艺术资助通常也是一件1%的人做的事。

Brant has his own art foundation in Greenwich, where he lives with his second wife, Stephanie Seymour, and their four children (including a stepson from Seymour’s earlier relationship with guitarist Tommy Andrews). Named the Brant Foundation Art Study Center, it opened in 2008, is run by his daughter Allison, from his first marriage, and holds two shows a year, as well as being a research institution. Its most recent exhibition, which opened in November, is devoted to the work of David Altmejd, a Canadian artist who represented his country in 2007 at the Venice Biennale and is known for giant, often disturbing sculptures that mix body parts with other tactile substances (crystals, hair, textiles). Challenging art, incidentally, is one more thing the 1 per cent are often attracted to.

布兰特在格林威治有他自己的艺术基金会。他也和第二任妻子史蒂芬妮·西摩（Stephanie Seymour）及四个子女住在格林威治（包括一名继子，系西摩与前夫、吉他手汤米·安德鲁（Tommy Andrews）所生）。该基金会名为“布兰特基金会艺术研究中心”（Brant Foundation Art Study Center），2008年创立，目前由他和第一任妻子生的女儿艾莉森（Allison）执掌，每年举办两次展览，同时也是研究机构。最近一次展览是去年11月举办的，主要展出的是大卫·阿尔特默德（David Altmejd）的作品。阿尔特默德是一位加拿大艺术家，曾代表加拿大参加2007年的“威尼斯双年展” （Venice Biennale），其著名作品是一些巨大的、常常令人不安的雕塑，将身体器官与其他有触感的物质（水晶、毛发、织物）混合在一起。恰巧，挑战性的艺术，又是一个通常会吸引1%的人的东西。

And yet, “I don’t view collecting art as being in that 1 per cent,” says Brant, once we sit down, order drinks (iced tea for him, soda for me) and establish that we have met before over food, at the dinner table of fashion designer Azzedine Ala?a. Brant’s wife and Ala?a are very close; last summer, when I was in Paris for couture and stayed at 3 Rooms, Ala?a’s B&B, Brant’s son Harry was also there, reporting on the shows for the Brant-owned Interview magazine, founded by Andy Warhol in 1969. In the Brant world, interests and relationships tend to bleed into one another. After our lunch, for example, he was going to Miami Basel art fair, which he does every year, to co-host a dinner celebrating the launch of the Russian edition of Interview, which is licensed to Russian billionaire Vlad Doronin, who happens to be Naomi Campbell’s boyfriend, Campbell being another Ala?a/Seymour connection.

但布兰特还是说，“我不认为艺术品收藏是专属于那1%的，”这是在我们坐下，点了饮料之后（他点了冰茶，我是苏打水）。我们还回忆起，我们之前也曾一起吃过饭，那是在时装设计师阿瑟丁·阿拉亚（Azzedine Ala?a）主持的餐桌上。布兰特的妻子和阿拉亚关系很亲密。去年夏天，我到巴黎报道女装时，曾住在阿拉亚经营的简易酒店“三间房”（3 Rooms），当时布兰特的儿子哈里（Harry）也在那里，报道为布兰特家族拥有的《访谈》（Interview）杂志举办的一些展览。该杂志是安迪·沃霍尔（Andy Warhol）在1969年创办的。在布兰特家族的世界里，利益和私人关系常常交织在一起。例如，在和我共进午餐后，布兰特将前往迈阿密－巴塞尔（Miami Basel）艺术展（他每年都会去），共同主持一场宴会，庆祝《采访》俄罗斯版的创办。该杂志授权给俄罗斯亿万富翁弗拉德·多罗宁（Vlad Doronin），他恰好是娜奥米·坎贝尔（Naomi Campbell）的男友，坎贝尔则是阿拉亚和西摩的又一位密友。

Not just that, but the dinner is also intended as a celebration of the new Ferrari Spider 458, with Ferrari chairman Luca Cordero di Montezemolo as guest of honour. I ask Brant if he thinks Montezemolo should run for prime minister of Italy, as has been widely rumoured. “He’s done a great job with Ferrari,” he replies. “Why not?” He thinks government has sold industrialists “down the river” and likes the idea of an industrialist as head of government. This gets back to the 99 per cent issue.

不仅如此，那场宴会还是为了庆祝法拉利的新车型“蜘蛛458”（Spider 458），法拉利董事长卢卡·克劳德洛·迪·蒙特泽莫罗（Luca Cordero di Montezemolo）也将作为嘉宾出席。我问布兰特，他是否认为蒙特泽莫罗会像大家广泛传言的那样，竞选意大利总理。“他把法拉利经营得很好，”他答道。“为什么不呢？”他觉得当今的政府已经“出卖”了实业家，并喜欢实业家出任政府首脑这个想法。这就又回到了99%的问题。

“I’m putting my consciousness towards trying to teach people through pictures and sculptures that there’s something better in the world,” says Brant. “That’s what the world needs more of. To understand Occupy Wall Street, you have to understand artists. Art is freedom – freedom of expression – and its message has resonated through society for centuries.”

“我正在把我的注意力放到这方面去：努力通过图画和雕塑让人们认识到，世界上有一些更好的东西。”布兰特说。“世界正需要更多这样的东西。要理解‘占领华尔街’运动，你就必须理解艺术家。艺术就是自由——表达的自由，而它表达的信息千百年来一直在全社会共鸣。”

Whether or not you swallow this explanation will have something to do with how you see Brant. He has been relatively public of late, thanks to an acrimonious almost-divorce from Seymour that was splashed all over US gossip columns for much of summer 2010. It involved stories of drugs (he talked about her past stints in rehab), punishment (she said he cut off her credit cards) and art theft (both accused each other of making off with some of their holdings). Though reports at the time typically depicted Brant in full tycoon splendour – People magazine called him “the polo-playing owner of Interview, Antiques, and Art in America” – and various publications recalled his 84-day stint in jail for tax evasion in 1990, his primary job is actually as chairman of White Birch, one of the largest pulp and paper companies in North America. These are pretty challenging times for the newsprint industry, with White Birch seeking Chapter 11 bankruptcy protection in 2010.

你是否接受这一解释，在一定程度上取决于你如何看待布兰特。他近来相对更受公众关注，这是因为他和西摩之间几乎闹到离婚的尖锐冲突。在2010年夏天的大部分时间里，此事出现在全美的八卦专栏里，传得满城风雨。故事细节涉及毒品（他谈到她过去曾接受过戒毒治疗）、惩罚（她说他撤销了她的信用卡账户）和艺术品偷窃（双方都指责对方偷走了他们的一些藏品）。尽管当时的报道通常都把布兰特描绘为一名炙手可热的大亨——《人物》（People）杂志称他为“拥有《访谈》（Interview）、《古董》（Antiques）与《美国艺术》（Art in America）杂志的马球玩家”——尽管各类报刊都回述了他1990年因逃税而入狱84天的往事，他首要的职务其实是白桦公司（White Birch）的董事长，白桦是北美最大的纸浆造纸公司之一。当前新闻用纸产业正面临艰难挑战，白桦已在2010年申请《美国破产法》第11章规定的破产保护。

Indeed, what became clear during our two courses – first artichoke salad, which Brant always has when he comes to Sant Ambroeus, and then tuna tartare – is that Brant sees himself as an old-fashioned mogul in the Mellon/Rockefeller mould, struggling, just like the rest of us, through the mess created by new-fangled moguls. And where businessmen such as Stephen Schwarzmann and John Paulson work in the ephemeral world of conceptual financial instruments, Brant works in the tangible world of pulp and paper.

确实，在我们吃两道菜的过程中（先是洋蓟沙拉、布兰特每次来Sant Ambroeus的必点菜，然后是金枪鱼塔塔），明显可以看出，布兰特把自己看作一个梅隆与洛克菲勒式的老派富豪，就像我们其他人一样，正在新潮富豪所制造的混乱里挣扎前进。史蒂夫?施瓦茨曼（Stephen Schwarzmann）（译者注：黑石集团联合创始人）、约翰?保尔森（John Paulson）（译者注：美国对冲基金经理）等商人是在概念化的金融工具组成的多变易逝的世界中工作，而布兰特则是在纸浆与纸组成的切实世界里工作。

For Brant is a guy who makes things, like newsprint, and owns things, likes houses, horses, and art. His narrative is the classic American narrative: father came to America from Europe with nothing in 1939, worked hard, started a small pulp and paper business; son worked hard, made a fortune. But now that narrative has changed – “What was a simple business 20 years ago has become extremely complicated,” he says – and he needs to cook up something new. Which is where the art comes in: Brant is ready to give something back.

因为布兰特这个人确实是在生产出具体的东西，比如新闻用纸，而且拥有具体的东西，如房产、马和艺术品。他的故事是经典的美国故事：一文不名的父亲在1939年从欧洲来到美国，辛勤工作，创立一家小型纸浆造纸企业，儿子也辛勤工作，发了大财。但现在这个故事已经改变了。“20年前那个简单的产业现在已经变得极为复杂了”，他说。因此他需要创造出一些新东西。这就需要艺术出场了：布兰特已经准备给社会一些回报。

Brant grew up in Queens, New York, and went to the same elementary school as Donald Trump (they became friends at the age of five, played on many sports teams together, and are still close; New York magazine has referred to Brant as “Trump with taste”) and started collecting art when he was 18, inspired by his Bulgarian father, who collected French rococo paintings. Peter, however, focused on late 20th-century works; his first purchase was a Warhol drawing, and today he has one of the world’s best Warhol collections. In total, he is reported to have more than 500 works of art, though when I ask how many exactly, he says: “I couldn’t give you a ballpark figure and swear it was accurate to within 200 pieces.” This seems extraordinary to me but he explains it by saying he is “a Pisces – I’m very good at focusing on big problems and negotiations but I’m not a day-to-day structure guy. I try to go where the action is and leave the management to get on with it.”

布兰特在纽约的皇后区长大，和唐纳德?特朗普（Donald Trump）（译者注：美国房地产商，已宣布竞选总统）上的是同一所小学（他们在五岁时就成为朋友，一起在许多运动队比赛过，现在关系仍很密切；《纽约》杂志（New York）曾称布兰特为“有品位的特朗普”）。他从18岁开始收藏艺术品，这是受了他的保加利亚裔父亲的影响。他父亲收藏法国的洛可可式油画。彼得则集中在20世纪后期的作品。他购买的第一件作品是沃霍尔的一幅画，现在他是世界上最好的沃霍尔作品收藏家之一。据报道，他总共拥有500多件艺术品，但当我问他具体是多少时，他说：“我无法给你一个近似准确的数字，但我发誓，说在200件以内是没错的。”这在我看来很意外，但他解释说，他是一个“双鱼座——我非常善于集中精力于大问题、大谈判，但不善于日常规划。我努力去跟着行动走，把这些日常事务留给管理层。”

He says he and Seymour live with “about 10 per cent” of their collection at any given time, changing pieces every six months or so, with the rest at the foundation or on loan to other institutions (on average the foundation lends to a dozen other shows a year). He likes Jean-Michel Basquiat, and produced the 1996 biopic that another artist friend, Julian Schnabel, made about Basquiat, and he owns pieces by Jasper Johns, Richard Prince, Jeff Koons, Karen Kilimnik (an American painter and installation artist who will be the subject of a show next year), and Urs Fischer. He describes his criteria for buying as “anything that affects me, negatively or positively, and which I think will be important later on”. He recently bought a piece by Nate Lowman, an American artist who works in graffiti and collage. When asked if he buys from his gut, he snorts, and shakes his head, although initially it’s hard to tell whether this is at my question or to reject the bread being offered by the waiter.

他说，他和西摩总是会把他们藏品的“大约10%”放在他们居住的地方，每六个月左右轮换一些，其他藏品放在基金会，或者借给其他机构（他的基金会每年平均向12个其他展览借出藏品）。他喜欢让－米歇尔·巴斯基亚特（Jean-Michel Basquiat）。1996年，他的另一位艺术界的朋友朱利安·施纳贝尔（Julian Schnabel）为巴斯基亚特拍了一部传记片，他是制片人。他拥有贾斯珀·约翰斯（Jasper Johns）、理查德·普林斯（Richard Prince）、杰夫·昆斯（Jeff Koons）、卡琳·基利姆尼克（Karen Kilimnik）（美国画家和装置艺术家，将是今年一场展览的主角）和乌尔斯·费舍尔（Urs Fischer）的作品。他这样描述他的购买标准：“任何给我正面或负面的影响、而且我觉得不久后会很重要的作品。”他最近买的一件作品是纳特·洛曼（Nate Lowman）的，那是一位创作涂鸦和拼贴画的美国艺术家。当我问他是否凭内心直觉购买时，他哼了一声，摇着头，不过一开始很难判断，这是在回应我的问题，还是表示拒绝侍者送上的面包。

“Any serious collector who tells you that they buy from their gut is lying,” he says, spearing some parmesan and lettuce from his appetiser, which is destined for said gut. “It’s like saying beauty is in the eye of the beholder: what appears to be beautiful today may not be judged beautiful in a few years. A perfect example is the Warhol ‘Marilyn’; in the 1960s it was deemed garish. Art needs to be socialised, and you need a lot of context to understand that, and that doesn’t mean having read a few art history books.”

“任何告诉你他是在凭内心直觉购买的严肃收藏家都是在撒谎，”他一边说，一边戳着他开胃菜里的一些帕玛森乳酪和莴苣，这些食物的最终命运是进入他的胃肠（译者注：原文为gut,双关,既有内心直觉的意思，也有内脏的意思）。他说：“这就像是说‘情人眼里出西施’：今天看上去美的东西，也许过几年就不被视为美。沃霍尔画的玛丽莲就是一个绝好的例子，在1960年代它被认为是俗艳的。艺术需要被社会化，你需要了解很多背景才能理解它，这不仅仅意味着读过几本艺术史书。”

When Brant sees an artist he is interested in, he does two things: he tries to meet them and he studies them. Sometimes he also becomes friends with them, as he did with Warhol and Urs Fischer. “When I first saw Jeff Koons’ work, it really troubled me,” he says. “I thought it was baroque, highly decorative, in-your-face. I went to his first show six or seven times.” He has since become an avid Koons collector and, among other work, owns the 43ft-tall Koons topiary sculpture “Puppy”, which resides on the lawn of the foundation and is planted every spring.

当布兰特发现某个他感兴趣的艺术家时，他做两件事：想办法与他们见面，并研究他们。有时他也会和他们成为朋友，就像和沃霍尔及乌尔斯·费舍尔。“当我第一次看到杰夫·昆斯的作品时，它真的让我很苦恼，”他说。“我当时觉得它是巴洛克式的、高度雕饰的、挑衅性的。他的第一次展览我去了六七次。”在那之后他就成为昆斯作品的热心收集者，拥有他的多件作品，包括昆斯的43英尺高的花卉雕塑“小狗”（Puppy），该雕塑位于基金会的草地上，每年春天都会重新枝栽。

Brant has a more intense relationship with his hobbies than most people do; he does not just play polo, for example, but for 20 years was ranked the world’s top amateur polo player. He also used to breed racehorses, and had a horse that won the Kentucky Derby in 1984, as well as one that won the Breeder’s Cup a few years later. When he was getting divorced from his first wife, Sandy, in 1995, he realised he couldn’t afford both polo and racehorses, so one had to go. “I decided polo was healthier.”

与大多数人不同，布兰特与他的嗜好保持着非常紧密的关系。例如，他不仅玩马球，而且在20年里他一直是世界最好的非职业马球手。他过去还饲养赛马，他的一匹马曾在1984年的肯塔基赛马会（Kentucky Derby）上获胜，还有一匹在几年后赢得了“育马者杯”（Breeder's Cup）。1995年他准备和首任妻子桑迪（Sandy）离婚时，他意识到，他不能同时玩马球和赛马了，必须放弃一个。“我认定马球是两者中比较健康的那个。”他说。

A relatively small round of tuna arrives arrayed on a plate with a few sprigs of greenery on top. Given everything else he has to do, I wonder how involved he is in the foundation. “Like they say in poker, ‘I’m all in,’” he replies. “I decide what artists we show, and work with them on how the show is hung, curate it or co-curate it.”

一道份量相对较少的金枪鱼上来了，码在一个盘子里，上面缀着几枝绿叶菜。鉴于他涉猎的范围很广，我不禁好奇，他对基金会的参与度有多高。“就像人们在打扑克时说的，我‘全押’，”他答道。“我决定展出哪些艺术家的作品，和他们一起安排展览，单独或与别人一道管理展会。”

Still, the foundation is a fluid enterprise, just as his collection is fluid. “Long-term I would, maybe, put a collection in a place – a city, a state, an institution – that really wants to have it,” Brant says. “But the only way to get a great offer for that is to build a great collection.” He often sells pieces to buy other pieces or, if necessary, to fund his pulp and paper business.

不过，他的基金会依然是一个流动性的企业，就像他的藏品也在不断变化一样。“长期而言，我可能会把藏品放在一个真正想展示它的地方——一个城市、一个州或一个机构，”布兰特说。“但要为此获得一个好的报价，唯一的方法是收集一批好的藏品。”他经常卖出一些艺术品，用得来的钱购买另一些艺术品，或者，在必要的情况下，将钱投入他的纸浆造纸业务。

“If I have to raise money, it’s what I do,” he says, though there are pieces he would never part with. When I ask him what he would take to a desert island, he says, “a little portrait of Marilyn Monroe Warhol did that used to belong to Philip Johnson called ‘Licorice Marilyn’ and one called ‘Blue Shot Marilyn’, that I bought in 1967 for $5,000. It literally got shot, and then Andy covered up the bullet hole like it was a pimple. I love that piece.”

“如果我必须筹钱，我就会这么干，”他说。不过有些艺术品是他永不会放弃的。我问他，如果去一个荒岛，他会带上哪些作品，他说：“沃霍尔绘的一幅玛丽莲?梦露（Marilyn Monroe）的小画像，它原本是属于菲利普·约翰逊（Philip Johnson）的，名为“甘草玛丽莲”（Licorice Marilyn），还有一副是我在1967年以5000美元买的、名为‘蓝底色的玛丽莲’（Blue Shot Marilyn）。这幅画的确被射了一枪，后来安迪就像补一个小疮疤一样，把那个弹洞掩饰过去了。我喜欢那幅画。”（译者注：shot既有拍摄的意思，也有开枪射击的意思。）

He adds: “If I had all the art I had sold since I was 18, I would have one of the best art collections in the world. Really. But you have to operate on the premise everything can shift at any time.”

他补充说：“如果18岁以后我卖的那些艺术品现在还都在我手里，我将是世界上最好的艺术品收藏家之一。不骗你。但是，一切都在不断的流变之中，你干事情必须以此为前提。”

And for Brant this is true in work as well as art. The market for recycled paper has shifted to China, while the North American newspaper business, which has been his main customer, has downshifted. “Forty years ago, when I got into this business, Europe consumed 50 per cent of the newsprint North America did,” he says. “Now it consumes more. Ten years ago, 90-95 per cent of the product went to North America; today 65 per cent leaves North America. In 2000, there were 16m tonnes of newsprint made in North America, today it’s 7.5m. Who would have guessed 10 years ago that newspapers would be in the state they are?” He looks at me challengingly. I raise my eyebrows. We both ask for coffee.

而且，对于布兰特来说，艺术如此，工作亦然。再生环保纸的市场已经移到了中国，而作为他主要客户的北美新闻产业，已经减速了。“40年前，当我踏入这个产业时，欧洲消费的新闻用纸只有北美的50%，”他说。“现在欧洲消费得更多。10年前，90%－95%的新闻用纸销往北美，现在则是65%离开北美。2000年，北美制造的新闻用纸有1600万吨，现在只有750万吨。10年前，有谁能猜到新闻纸业会是现在的情况呢？”他用挑战性的眼神看着我说。我扬了扬眉毛。然后我们都要了咖啡。

And yet he believes pulp and paper “will be a viable business going forward. Not a growth business but a viable business. It’s undergoing a restructuring, like the auto industry, but it will level out.” Before I can open my mouth he says, “I don’t know when. But soon, I think.”

但他依然相信纸浆造纸业“将是一个可生存的产业，将会继续前进。不是一个增长型产业，但是可生存的。就像汽车产业一样，它正在经历一场重组，但它将恢复稳定。”还没等我开口问，他就补充道：“我不知道是什么时候，但会很快，我觉得。”

The waiter takes away the coffee and the table looks pretty bare – just two water glasses – but Brant is still engaged. “Here’s how I look at the world,” he says: “Some days, some assets produce more cash and other assets have more equity benefits; then it changes again. You have to play the long game and try not to sink the ship on the way. Diversification is key.”

侍者拿走了咖啡杯，餐桌看起来有点空荡荡的，只有两个玻璃水杯，但布兰特依然谈锋甚健。“我是这么看待世界的，”他说：“有的时候，有的资产能创造更多现金，其他资产则能带来更多产权收益，过一段时间就又会变化。你必须玩长远的游戏，而且努力不要在这个过程中把船给弄沉了。多元化投资是关键。”

This gets me thinking and after we part I go across the street to the Whitney, whose official name is the Whitney Museum of American Art, and ask staff there about its origins. The museum, I learn, was founded by Henry Whitney, an oil heir, and Gertrude Whitney, great-granddaughter of Cornelius Vanderbilt, a man who made his fortune in railways and shipping. Which is to say: industry.

这让我陷入了思考。在我们分手后，我走到街对面的惠特尼博物馆，它的正式名称是“惠特尼美国艺术博物馆”（Whitney Museum of American Art），向那里的职员打听它的起源。我得知，这座博物馆是两个人创立的：亨利?惠特尼（Henry Whitney），一位石油产业的继承人；格特鲁德?惠特尼（Gertrude Whitney），靠铁路和航运生意发财的科尼利厄斯·范德比尔特（Cornelius Vanderbilt）的曾孙女。也就是说，它源于实业。

Really, I should have known.

此时我切实地感到，我原本应该知道这些的。

Vanessa Friedman is the FT’s fashion editor

范妮莎?弗瑞德曼是FT的时尚编辑

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Sant Ambroeus

Sant Ambroeus餐馆

1000 Madison Ave, New York, NY 10021

纽约麦迪逊大街1000号（邮编为NY10021）

Diet Coke $5.00

健怡可乐 5美元

Iced tea $6.00

冰茶 6美元

Chilled asparagus $16.00

冷芦笋 16美元

Artichoke salad $22.00

洋蓟沙拉 22美元

Tuna tartare x2 $44.00

金枪鱼塔塔（两份） 44美元

Café Latte $6.50

拿铁咖啡 6.5美元

Cappuccino $6.50

卡布其诺咖啡 6.5美元

Total (including tax) $115.41

总额（含税）115.41美元