The houses of Sutton Place represent the first milestone in Mott Schmidt's career.
In 1920, the apartment houses at 157 and 159 were combined as a co-op, and the facade altered by Mott Schmidt in the new style of plain tinted stucco.
A masterful assembly of a series of cottage-like elements in an offset, interlocking block along the shore.
Mott Schmidt's first major commission achieves the kind of sophistication and understatement that became hallmarks of his style.
The more austere Anne Vanderbilt townhouse occupies the 57th Street corner of Sutton Place.
Mott B. Schmidt and interior decorator Elsie de Wolfe collaborated on the renovation of Elizabeth Marbury’s house at No. 13 Sutton Place.
The Emily Dalzell Townhouse was one of the last great private residences built in the Park Slope district of Brooklyn.
This mid-block building appropriates the facade organization of a Georgian row at a greatly inflated scale, and accommodates four large apartments per floor.
This large house shows Schmidt's gift for gracious and functional planning.
Schmidt's largest apartment house stands proudly among upper Park Avenue's distinguished palaces.
This understated building was characterized by four stories of red brick, highlighted only by two thin stone bandcourses and a pedimented centered doorway.
One of a series of period revival theme villages, French City Village is a semiurban enclave which anticipated the "townhouse" developments of the 1970s.
Schmidt's creative watershed, 1926, culminated in the building of his own country house, whimsically named from a children's book by Rudyard Kipling.
Schmidt's Astor patronage produced this fine colonial revival country house for Ava Alice Muriel Astor, Vincent's eccentric sister.
This tiny jewel of a townhouse is an unusual variation on Schmidt's planning formula.
Another Adam-inspired townhouse, the Astor house is considered by many to be Schmidt's best New York building.
This elegant limestone-fronted townhouse is probably the best of Schmidt's later urban residences.
Mott B. Schmidt designed a modern entrance for Elizabeth Arden framed in polished black stone.
The quintessential English country house re-imagined and set on 15 acres overlooking the Hudson River.