Like many women of her class, Mai Rogers Coe was a patron of artists and had a taste for the elaborate decorative works of Robert Winthrop Chanler. Chanler painted decorative murals in Mai Coe’s Bedroom (1921) and in the family’s breakfast room, the Buffalo Room (1920). Mai's Bedroom, c.1920s Robert Winthrop Chanler, unlike Everett Shinn, was born to wealth in a Hudson River family that included Astors, Delanos, Winthrops and Stuyvesants. Robert D. Coe describes Chanler as being “Eccentric and almost bizarre.” Like Mai Rogers Coe and Everett Shinn, Chanler was staying in Paris in the 1890’s and became involved with the art community. When he returned to the U.S in the early 1900’s he purchased a townhouse on East 19th Street, decorated it with his own works, and called it his House of Fantasy that became a social center for New York’s art community. Like Everett Shinn, Chanler was a personality and a figure in his time. Breakfast Room Mural, detail Gertrude Vanderbilt Whitney and Mai Rogers Coe were perhaps Chanler’s greatest patrons, but he received commissions from other wealthy families for decorative murals and screens. By 1920, when he completed the murals in the Buffalo Room, Chanler’s work was well known. He later received favorable commentary in The Upholsterer and Interior Decorator Magazine for his murals in Mai Coe’s bedroom (1921) and in International Studio magazine for his painted screens (1922). Chanler designed murals for Gertrude’s studio in Greenvale, including a sea world fantasy in the bathroom. The studio is extant and privately owned. Chanler’s work has been compared to the fantastical works of some renaissance painters. His works involve the use of sculpted gesso, transparent glazes, and gilded finishes to produce very ornate and decorative designs. Today, his work still exists in his family’s estate, “Rokeby” near Barrytown, New York, the Luxembourg Museum and in private collections across the country.