PaperCity Magazine


Issue link:

Contents of this Issue


Page 110 of 135

81 she says. When the house with Bryan's offices was damaged in a fire four years ago, Aldridge renovated and refurnished with her own inventory. "I shopped my garage," she says. The look is crisp and tailored, furnished with modern classics by Florence Knoll, Adrian Pearsall, and Paul Evans, and layered with Moroccan rugs and brass lanterns brought back from trips to North Africa. The Elephant Room, one of the house's three living areas, got its name from a pair of massive antique doors from India that dominate a wall. The door's long spikes threaten to poke anyone who gets too close — a striking design element that originally kept elephants from charging the building. A 1970s faux- elephant-tusk table attributed to Karl Springer stands guard in front and holds a life-size figure used by Asian acupuncturists as a teaching aid. On the opposite wall, an oversized modernist painting by artist David Bierk came from the lobby of a nearby Marriott hotel. "I had admired it for 20 years," she says. "I told them if they ever decided to sell it, to call me." The hotel remodeled, and the call finally came, but it took two more years of negotiating with corporate before she could bring it home. In Aldridge's world, patience pays off. Left: The antique Indian door has spikes to ward off elephants. Seventies faux tusk table by Karl Springer and a vintage Asian figure used to teach acupuncture. Below: The living room in Bryan Aldridge's office includes a rare Paul Evans sculpture, Adrian Pearsall coffee table, and antique French chairs upholstered in fabric from Guatemala. The 1978 nudes painting by Jillian Denby is from Gillian Bryce Fine Art in Tucker, Georgia — an Aldridge favorite. Judy Aldridge

Articles in this issue

Archives of this issue

view archives of PaperCity Magazine - PaperCity_Houston_January_2021