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This Maximalist Manhattan Penthouse Channels the Opulence of a Venetian Palazzo
The article details the design of Andree Caldwell's Manhattan penthouse by Hutton Wilkinson, showcasing a maximalist aesthetic inspired by Venetian palazzos. Caldwell, a lecturer on 17th-century Old Master paintings, first encountered Wilkinson's work at a design weekend in the Lyford Cay Club, Bahamas, where he spoke about his mentor, Tony Duquette. Impressed by Duquette's aesthetic, which she felt resonated with her experiences in Venice, Caldwell commissioned Wilkinson to design her New York penthouse.
The collaboration between Caldwell and Wilkinson is described as a "date with destiny," revealing a prior connection to the apartment. Years before, Wilkinson had found the same apartment for a client, who ultimately did not purchase it. He then intended to buy it himself but was pre-empted by Caldwell, a long-time family friend of the previous owners. Caldwell provided Wilkinson with a budget and complete creative freedom, allowing him to fully express his unique design philosophy.
Wilkinson's design approach, similar to Duquette's, emphasizes elevating the ordinary and disregarding conventional rules. This is evident in the choice of materials and finishes throughout the 1,000-square-foot space. Velvet is used to cover walls, while malachite-patterned cotton adorns ceiling beams. Antique chairs are painted green and their silk upholstery is marked with felt-tip pens, which Wilkinson describes as "chic." The decor further includes bed curtains edged with pearls and citrines, golden brocade on baseboards and moldings, and marble tabletops painted to resemble tortoiseshell. Caldwell expressed delight with the results, despite some initial surprises.
The penthouse's design aims to create an atmosphere conducive to sophisticated entertaining, reminiscent of the glamorous salons depicted in Woody Allen’s film, *Midnight in Paris*. Mirrors strategically placed on ceilings and walls enhance the perception of space and amplify light from the three terraces, contributing to an opulent and expansive feel. The interior is divided into distinct zones, including a drawing room, living room and bar, and a primary bedroom, each meticulously designed with intricate details.
The drawing room, drenched in emerald hues, features Roman shades made from Tony Duquette cotton for Jim Thompson Fabrics and art by Joseph Heintz the Younger. Natural motifs, such as coral and leopard spots, are incorporated to add visual interest. A custom banquette, antique table, and a 19th-century Chinese Coromandel screen further enrich the space. For dining, a deep velvet-covered sofa is positioned alongside an antique table, adorned with tablecloths made from Tony Duquette cottons and complemented by 18th-century English chairs.
The living room and bar area continue the theme of graphic patterns with coral and leopard spots. A custom banquette, an antique table, a 19th-century Chinese Coromandel screen, and art by Henri Cartier-Bresson define this space. A Venetian secretary is repurposed as a bar, furnished with Tony Duquette dinnerware for Mottahedeh. The primary bedroom is enveloped in golden brocade and lace, creating an opulent and luminous sanctuary. It features a vintage mirror, an Italian chest, an antique lamp from the Tony Duquette collection, and a custom bed with a canopy, dressed in linens from E. Braun & Co.
For entertaining, the article highlights the presentation of Champagne and caviar hors d’oeuvres on a malachite-painted table, accompanied by Georgian candlesticks and Tony Duquette dinnerware for Mottahedeh. The article concludes by noting its original publication in the November/December 2014 issue, with interior design credited to Hutton Wilkinson, photography by Francesco Lagnese, production by Carolyn Englefield, and writing by Frances Schultz.
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