In the adjoining sunroom, three sash windows hung with matchstick blinds overlook treetops and the Thames. The room is “treillaged,” as Grenney says, indicating the intricate white-painted trellis that adorns the walls and ceiling. Fig trees stand at each end of the room, and in front of them sit matching sofas upholstered in Pierre Frey’s Mikado toile, with off-white and gilt side tables next to them. “The look is very Billy Baldwin meets Sister Parish,” the designer notes.
The upper floors house the family’s private spaces, including an enchanting full-floor primary suite. The dressing room, upholstered in Grenney’s own Folly fabric by Schumacher, a squiggle green print, with woodwork painted a soft eau de nil, is calming and immaculately organized. The bedroom, whose walls are clad in a hand-painted de Gournay paper—“just like Pauline de Rothschild’s was,” says Peter—has a view from the ebonized four-poster straight over the river toward Chelsea bridge, which is lit up like a fairyland at night. “It’s incredible to wake up here every morning,” says Whitney, “seeing the river sparkling in the sunshine.” Then she adds, looking at her husband, “We pinch ourselves every day that we live somewhere so beautiful, don’t we, Dream?” Peter laughs. “Dream,” he says, “it’s a dream.”
This Veere Grenney-designed town house appears in AD’s December issue. Never miss a story when you subscribe to AD.
