did not run for re-election. In 1907, he was elected sheriff of Dutchess County, New York, and remained in that office for three years. Chanler specialized in painted screens and was a member of the National Society of Mural Painters. A ceiling mural of buffaloes painted by Chanler is in the Coe House in Brookville, New York. He was also a member of the Architectural League of New York. He painted a ceiling inside the Colony Club, a private member's club located at Park Avenue and 62nd Street in New York City. In 1905, Chanler exhibited a work entitled Au Pays des Girafes (or et argent) at the Salon d'Automne in Paris (no. 328 of the catalogue). This was the exhibition that prompted critic Louis Vauxcelles to label a group of painters "fauves" (wild beasts), thus marking the birth of Fauvism. The Armory Show Chanler's work was featured in the 1913 Armory Show in New York, and he was one of the most acclaimed American artist in the exhibition. The elaborately painted screens he submitted were placed near the entrance of the show (Gallery A), where they captured the attention of the public and critics. Chanler's screen titled Hopi Indian Snake Dance was reproduced in the New York Herald, 15 February 1913. A work titled Porcupines was reproduced on postcard made for the Armory Show. Another screen by Chanler depicting porcupines is currently in the collection of the Metropolitan Museum of Art, New York. According to the catalogues for the Armory Show, Chanler was represented by nine screens at the New York venue and eight screens at the Art Institute of Chicago, but photographs and written sources, including Walter Pach's annotated New York catalogue and the Supplement to the New York catalogue located in the Armory Show records and the Walter Pach papers, indicate that around 25 screens were displayed during the three weeks in Manhattan, and at least nine at the Chicago exhibition. Patrons and friends Chanler's portrait, painted by his friend Guy Pène du Bois in 1915, came to epitomize the world of money, fashion, and status with which he was well acquainted. 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. He painted decorative murals in Mai Coe's bedroom (1921) and in the family's breakfast room, the Buffalo Room