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Skip to main content All products featured on Architectural Digest are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.It has such a Cole Porter feelingthis kind of old-fashioned glamour, says the owner of a Manhattan penthouse that she and her husband now call home after 25 years in London. It has elegance, but it doesnt have bling. Tempering that balance between sophistication and restraint was a priority for the couple, and it led them into the like-minded hands of AD100 designer Markham Roberts.In the elevator vestibule, a set of circa 1740 botanical prints by Johann Wilhelm Weinmann hangs on walls covered in a Fabricut wool. A circa 1910 German Jugendstil pendant lantern from James Sansum hangs from a dome painted with Markham Robertsdesigned floral motifs inspired by an 18th-century Greek painted cabinet at the Benaki Museum in Athens.It reminds me of a different New York than now, concurs Roberts of the duplex, which spans the 16th and 17th floors of a 1920s Rosario Candela building and offers cinematic skyline and river views. A lot of these apartments have been entirely stripped or redone, but this one still had all of its character.An Austrian secessionist painted iron center table by Thonet stands atop a circa 1900 Russian Bessarabian wool rug in the two-story entrance hall. Walls covered in De Gournays Slub Silk dyed Duck Egg blue and embellished with Japanese designs by Roberts painted by Roberto Mora.That bygone quality is on full display from the moment one enters the residence. Passing through the private elevator vestibuleits domed ceiling painted with a botanical motif reminiscent of one that the homeowners and Roberts separately admired at Athenss Benaki Museumthe double-height entrance hall recalls Jazz Age grandeur. Wrapped in a custom blue-silk wall covering, with Japanese-inspired designs by Roberts painted by Roberto Mora, the windowed space is flooded with daylight and, after sunset, the sparkle of city lights. The team went to great lengths to retain whatever was left of the dwellings patina, adding even more in certain areas. We joked that we were going to put on sandpaper roller skates and skate around it because we all like beat-up things, the designer notes of the foyers original, polished-marble floor. It was not our cup of tea.Indeed, the trio were in enthusiastic accord on nearly everything. Having never worked with Roberts, the wife, a native New Yorker, and her investor husband, who grew up in Connecticut, discovered his work through a mutual friend, the portrait painter Julia Condon. She said, You guys have good taste, but Markham has exquisite taste, the client, who formerly worked in interior design, recalls with a laugh. And I remember thinking, Whats so great about it? But his name stuck in my mind. An initial meeting confirmed the serendipitous match. They were clear that they loved color and pattern and were open and game, Roberts says of that first encounter. Theres often this trying to gently let somebody down out of a terrible idea, and there was none of that.Mainland wicker dining chairs by Century Furniture surround a custom teak table on the terrace.Among the early design considerations was the inclusion of a red rooma long-standing rule in each of the couples homesso Roberts created a dining room wrapped in burgundy flannel. A floral border by Pierre Frey helped bring order to the irregularly shaped space, while a pink Venetian glass ceiling light set the mood. Opposite a banquette wearing a red-and-pink stripe by Claremont fabric, Bonacina 1889 wicker chairs (a material incorporated throughout the home for a dose of informality) surround the custom table.The powder room walls are covered in Sophie Coryndons Albarello linen.Although the couple, who have two college-age children, brought very few of their own pieces to the project, wanting to diverge from their London homes more casual aesthetic, Roberts encouraged them to suggest any new discoveries. Case in point: the spaces English George II burl-walnut highboy, which the couple purchased from Max Rollitt in London.Jasper Fabrics Wallace Vine linen covers the primary bedrooms walls and windows. Bedside tables wrapped in a Lee Jofa suede; rug by Beauvais.The wife also wanted to use this opportunity to pay tribute to her elegant Philadelphia grandmother and Austrian roots on her fathers side, she says, as well as her Polish ancestry on her mothers. The oak-paneled sitting roomwith its floral Lee Jofa linen, Kravet green velvet, and Japanese screenreminds her of her paternal grandmothers Pennsylvania library. Also in this room, a prominent canvas depicting the Austrian Alps by Felix Heuberger hangs over the mantel, while the rooms curtainsin Dcors Barbaress Koubla printnod to her Slavic background. The theme carries on in the nearby library, where walls and drapery of another Dcors Barbares pattern, Dans la Fort, make a bold statement alongside an Austrian Secessionist vase and lamps designed by Josef Hoffmann.The kids rooms are located off the hallway that leads to the tidy kitchen (a space the wife calls very Dean & DeLucareferring to the now-shuttered SoHo grocer known for its bright, white subway-tile aesthetic). In the sons bedroom, which the trio envisioned adhering to a handsome palette of browns, a hit of bold color was delivered through custom Marian McEvoy lampshades. Next door, the daughters room is similarly subdued, while the corner spaces George Nelson Bubble Lamp, painted with a custom floral motif executed by Agustin Hurtado, and Fleurons dHlne window treatments bear the stamp of Robertss uncanny mix-and-match alchemy. It doesnt seem like everybody elses apartment in New York, notes the designer, and I think that appeals to them a lot.Crowning the abode is the serene primary suite, comprising a bedroom, bath, dressing room, study, and upper terrace. The towering canopy bed and many surfaces covered in a vine-pattern linen by Jasper create a dreamy refuge in the sky. The husbands study, or captains cabin, a masculine counterpart to the nearby bedroom, wraps occupants in a hug of light-brown Holland & Sherry wool wall covering and a twin canopy bed that Roberts likens to a private train car. Its the husbands preferred hideaway, his spouse explains. But only after their shared first favorite: the sitting rooms concealed wet bar, which came with the apartment and now has an ice maker that crafts Sonic-like pellets for the perfect iced tea or tequila soda. The husband quips that the whole reason we bought this place was a minute to ourselves in the hidden bar.A Louis XV fauteuil cushioned in a Dupioni silk by Scalamandr stands in a corner of the dressing room. Walls swathed in Aletas Hibiscus Branch in Cream.Robertss client confides that she often likes to stand in her kitchen, looking through the dining room, sitting room, and open French doors under green-and-white-striped awnings toward the terrace, whose plantings were masterminded by AD100 landscape designer Miranda Brooks, a friend of the couple. I feel like Im standing in a palazzo in Venice, she says. Its this sweep of elegance that I still cant believe is my home. Or, in the words of Porter, Its delightful, its deliciousits de-lovely.1/6In the primary bedroom, a Shell Mirror by Thomas Boog from Maison Gerard hangs above a Venetian rococo blue lacquered commode on which stands a midcentury pink Murano glass lamp, both from Tarquin Bilgen.2/6Calacatta turquoise marble accents the primary bath. Kohler sink; Waterworks tub. Jugendstil-inspired painted frieze designed by Roberts and executed by Roberto Mora.3/6A marbled paper from Hollanders envelops the bar.4/6A Roberts-designed chair stands in front of a circa 1800 Swiss Neoclassical drop-front secretary cabinet in the study. Circa 1870 Napoleon III iron table from James Sansum; Melrose Swan-Neck floor lamp by Vaughan.5/6The kitchen is painted in Benjamin Moores White Diamond. Flooring of Hexagon Mosaic tiles by Waterworks.6/6In the elevator vestibule, a pair of midcentury Italian glass leaf-form sconces flank a 19th-century dutch mirror. A circa 1910 French ceramic vase turned lamp stands atop a circa 1700 English Walnut chest of drawers.
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