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windows and painted the room a soft powdered color somewhere between pink and gray. The room was peaceful but lavish because of her attention to detail. Brentwood was a simple house. Salle called it "a plain Jane house," but her idea of luxury was to turn every room into a jewel box. Because she was a painter, the walls of her homes were always a mystery because of the way she mixed the color, and her rooms always showed the touch of craftsmen, which added warmth. All the walls in Brentwood were stucco, which gives any room a distinctly different look, a more European look. Jimmy always called Salle "my beauty." Salle and I often talk about the magnificent old homes Houston is losing. "But I believe that will change one day," she says. "There will be a revival, and beauty will return." Cabinet inspired by 15th-century German reliquary shrine in the collection of the Germanisches National Museum, Nuremberg. Salle's circa-1978 Surrealist canvas, from the decade she was featured in the Whitney Biennial. The second-floor sculpture room, a collaboration with New York designer Stephen Sills, who lived in Dallas at the time. Handcrafted plaster wall. Danish antique settee from Salle's New York apartment. English Jacobean chair. French Gothic-style cabinet from Norbert Antiques. William & Mary upholstered armchair. Salle's Surrealist painting, circa 1976/1977. 85