The March re-opening of the Frick Museum was one of the most anticipated New York City events in recent memory. So much so that you could argue there’s nothing more to be said about it: Splashy features ran everywhere from Architectural Digest to The New York Times to Vogue itself, while thousands over New Yorkers lined up outside Henry Clay Frick’s former Upper East Side mansion to see its new Annabelle Selldorf-renovated halls. Those who didn’t were subject to constant questioning at dinner parties throughout the spring: “Have you seen the New Frick?”

But as it turns out, there’s still plenty more to talk about. On June 6, the museum opens a new café: Westmoreland.

Photo: William Jess Laird

Named after the Frick family’s Pullman train car, Westmoreland is a jewel box of a space on the museum’s second floor. A foyer resembles a moody enchanted garden with a mohair forest green settee and a woodland mural, Fugue, by Darren Waterston. The dining room features the pastel palette of a Fragonard subject’s rococo frock, with floors in a distinctive pink hue and chairs in red bamboo. Meanwhile, another panoramic frieze by Waterston, Arcadia, depicts a dreamy landscape scene in a warm cream.

Photo: William Jess Laird

Photo: William Jess Laird

The interiors are the brainchild of Bryan O’Sullivan Studio, an AD100 designer who was once an apprentice to Annabelle Selldorf herself. He tells Vogue he didn’t need to look far for the inspiration: “We took a lot of our design cues from different elements of the Frick itself,” O’Sullivan says. The red bamboo chairs, for example, are an ode to the red-robbed cherubs in the Elsie de Wolfe-designed Boucher Room and the scarlet-cloaked monkeys in J. Alden Twachtman’s chinoiserie mural. As for all that green? “We looked at a lot of the paintings in the Frick, and the color green came up quite a bit,” O’Sullivan says. “Then there’s the Russell Page garden, which is right outside the window.” (Indeed, a floral motif behind the bar features a subtle motif of a “burnet,” a perennial that grows on the grounds.)

One of his favorite details? The biomorphic bas relief ceiling medallions, also by Waterston, which look like ivy climbing across the wall. “His medallions are organic—almost like they’re growing on the ceiling,” he says.

Photo: William Jess Laird

Photo: William Jess Laird

Underneath them sit walnut tables with brass detailing, some of which are surrounded by leather banquettes. It lends the space a slight industrial flair—wanting to pay a visual homage to the Frick’s Pullman carriage of the past, O’Sullivan designed them to look like the seats found on Gilded Age or Progressive Age locomotives.

So this summer enjoy a caramelized onion and thyme scone, or perhaps some poached trout, in a room that’s pretty as a painting—before spending your afternoon surrounded by them.