PaperCity Magazine

October 2013 - Houston

Issue link:

Contents of this Issue


Page 75 of 95

Continued from page 74 ceiling height — my big paintings can breathe here." Holly Hunt's siren of a pedestal table in "beautiful, sensual hot-red-pepper lacquer" sizzles in the company of refined Christian Liaigre sofas in simple ivory linen; pillows in gold silk velvet echo the shimmer of a Japanese Edo screen, circa 1845. "It has been my soul mate since 1979," Nash says of the screen. "I have sold it and bought it back three times." Every space is designed for both comfort and maximum visual impact. "I love to put together compositions," he says. "I love chairs thrown around in a room." The living area incorporates three. A Michael Taylor piece is "the best Louis XVI chair that has ever been. The proportion and quality are excellent, the silver leaf is perfection. It cannot be ignored." A glamorous leopardprint silk velvet beauty is "a one-off Yale Burge experiment" whose hand-painted quill finish resembles nothing so much as glossy liquid caramel. And a one-of-a-kind Rose Tarlow chair combines the powerful scale of its Biedermeier forebears and a daredevil carved frame that begs for future museum acquisition. Nash relishes its bold presence, explaining, "I don't like dinky stuff. Dinky stuff is irrelevant." Although the space is ideal for entertaining, especially with the wraparound terrace, "we don't have a big social life. We have to borrow silver if we have more than 12 for dinner. We are two gentlemen who work 10 hours a day, come home, feed the dogs, go to dinner, walk the dogs, watch TV, and we're asleep by 10 o'clock." Those 10-hour days are nothing new. Nash was "the only boy in design class" at the University of Houston when he got "an accidental job" pulling fabric samples at a showroom in 1975. After working for several others over the next decade, he founded his eponymous showroom in 1987 with $5,000. "I had the good, the bad and the ugly to start with," he says, "but by editing for years and years, little by little, I attracted the best — many of the most important design originators in the industry. "One of my best friends in the industry, Holly Hunt, is often asked when she plans to leave her business or slow her pace. Her answer is 'when I get it right.' I don't think I've gotten it right yet," Nash says. "There is still plenty to do. But I love the avenue I'm on — the personal enjoyment of acquiring wisdom." The flow of the residence is impeccable. There are almost no interior doors, but each room is clearly defined in the clean lines of the architecture and the thoughtful composition of furnishings. Above: The entry is a precise composition in black and white, with Lucifer Lights — a photograph by Shirine Gill of X-ray film from Holly Hunt — above a Christian Liaigre lacquer console, shaped to reflect the silhouette of a saddle. Left: George Cameron Nash with a recent work by Cole Morgan. "It's a tactile thing, and you always see something new in it," he says. OCTOBER | PAGE 76 | 2013

Articles in this issue

Archives of this issue

view archives of PaperCity Magazine - October 2013 - Houston