On the second level up from the living room one can contemplate Cocteau’s large pastel-and-charcoal rendering of "La Métamorphose d’Actéon" (1951), which depicts the celebrated huntsman of Greek mythology being transformed into a stag. Next to it is the series of large hands and forearms that Cocteau created for Hermès in Paris in 1942. These six panels, which were used as illustrations by Sacha Guitry in his 1952 book L’Illusioniste, reveal the elegance of Cocteau’s own artistic hands and the rope motif long used by Hermès.

The grand stairway to Wunderman’s private quarters is covered with a hand-loomed carpet woven with the family crest and lit by two blackamoor statues holding alabaster torches. En route is a 1979 work in oil and gouache painted as a portrait of the artist in his gallery in a realistic manner by Tomassi Ricardo Ferroni, which had been in Aldo Gucci’s collection. Wunderman admires this 10-foot by 12-foot work, which is a recreation of an artist’s studio depicted in neoclassical contemporary conception.

Though Wunderman collects modern art, he typically refrains from buying much contemporary work. "Let history judge them. Important art, truly important art, has been judged by history and not recent university graduates with the values of the present," he says. The few contemporary pieces that he does own "reflect the values and techniques of their predecessors," he notes.

In the hallway that leads to the master bedroom suite is Léon Bakst’s original gouache drawing for Igor Stravinsky’s famed ballet "The Firebird," which created such a sensation in the Ballets Russes presentation in Paris from 1909 to 1912. Along the same wall is Georges Rouault’s painting "Deux Bouffons et une Ballerina," which depicts the artist’s two loves: the ballet and the circus. Rouault’s long apprenticeship to creators of stained-glass windows is apparent as one notes the work’s unit-like composition executed in broad brushstrokes with a deliberate avoidance of detail.

The master bedroom is a showcase for Wunderman’s 1860 Empire bed, Regency wine cooler, 1820 ormolu-and-walnut chair, elaborate boule and black lacquer desk. The bathroom of faux-marble columns with bronze ram’s heads and majolica garden stools conveys the owner’s whimsical taste. By contrast François Boucher’s 18th-century oil painting "The Muse Erato," originally in the collection of the Marquise de Pompadour, conveys the voluptuous eroticism of the 18th century. Boucher and Fernando Botero are a study in contrasts concerning eroticism, then and now. Botero’s "Nude Lady in Red Shoes," displayed in the living room is typical of Wunderman’s sense of whimsy when it comes to his art collecting. The life-sized oil on canvas depicts a rotund nude viewing herself in a hand mirror as she balances on her tiny red pumps assisted by a diminutive chair. These paintings, which are married by the same sense of the majestic and embody painterly excellence, express Wunderman’s penchant for a diversity of themes.

Another example of Wunderman’s diversity is Marc Chagall’s oil of a vase of flowers. Huddled at the base are two joined figures. A letter from Chagall’s daughter, Ida, in Wunderman’s possession, confirms that these figures represented herself and her mother. The image of a vase of flowers comes to mind as well when one thinks of Moïse Kisling. Wunderman selected "Gina" (1925) for its solid painterly style, in which the stolid figure is more commanding than erotic. In the portrait, the subject’s dark hair lies on her shoulder and covers her forehead, almost concealing her black smoldering eyes.
 
Maurice Utrillo, who is known for his scenes of Paris, is represented in the Wunderman collection by a street scene in which the painting is bisected by street and sky. Trees and buildings frame a typical Parisian street scene in which the architecture is outlined by rows of trees. Kees Van Dongen, who shared a studio with Picasso in the early 20th century, found fame primarily through portraits of sullen, heavily mascaraed women. His oil "Fleurs" is a departure, and his colors (a blue-and-white striped vase on a blue table with an orange background) are suggestive of Matisse’s colors.

Concomitant with the early painting of Van Dongen was that of Maurice de Vlaminck. This early oil study, "Bouquet de fleurs" (1914), reveals a formalism that is not found in his later works in which darkened skies cut across his landscapes. Here the lavender and white flowers crowd a vase with none of the violence that prevails in his later works.