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The Drawing Room

The French doors still show off the original painted plaster, fringed lambrequins that Tony designed when he first built the house in 1949, while the gold panels of cast resin seashells were originally made to decorate a black-tie ball in the sixties. Also sixties era, the Biomorphic console and mirror are Tony’s designs from a residential project. In collaboration with Baker Furniture, Hutton has created a line of reproductions of the console and mirror as well as other signature Duquette pieces, including the sunburst torches flanking the console.

Photo: Wendy Goodman

The Indoor Terrace

Previously an outdoor space, this newly glassed-in room has a view of the gardens and is used for year-round entertaining. The ceiling is mirrored, and the silk carpet is from the Tony Duquette collection by Roubini.

Photo: Wendy Goodman

The Garden

Instead of neatly landscaping the ravine, Tony reveled in its junglelike growth. He added varieties of succulents, mythical sculptures, and small pavilions he called “spirit houses.”

Photo: Wendy Goodman

The Dining Room

Off the library, the small dining room has three glass walls, making it feel as if cantilevered over the garden. This table is Lucite; the ceiling is covered in embroidered and appliquéd Indian panels.

Photo: Wendy Goodman

The Insect

A bronze praying mantis.

Photo: Wendy Goodman

The Tree

The Wilkinsons gave this English Regency gold-plated palm tree as a gift to Tony and his artist wife, Beegle, on their 50th anniversary. (Tony gave Beegle her nickname, because he felt she embodied the soaring poetry of the eagle and the industry of the bee.)

Photo: Wendy Goodman

The Bird

Hutton found this white taxidermy cockatoo in an antiques store and couldn’t resist topping him off with a tiny headdress from Thailand.

Photo: Wendy Goodman

The Library

A sixties portrait of Tony by Marion Pike presides over my favorite room in the house, the cozy library.

Photo: Wendy Goodman

The Library

Furnished with three neo-Gothic bookcases from Tony's collection, the library is illuminated by a cast-resin sand-dollar fixture, which hangs from the coral-red ceiling. One endlessly fascinating decoration: a petrified tortoise shell above a giant gold-plated antique lobster.

Photo: Wendy Goodman

The Ladies

When the house was completed in 1949, Beegle did a pair of paintings of ladies on pocket doors, which the Wilkinsons only recently discovered hiding in the walls. This lady, carrying a tray, was painted on the door to the kitchen.

Photo: Wendy Goodman

The Ladies

This lady, with her back to us, was painted on the pocket door that led to the powder room. Hutton took them out of their hidden spaces in the wall and refashioned them as standard-working doors to the new kitchen and new powder room.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Wendy Goodman
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