PaperCity Magazine

March 2017 - Dallas

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Her collections of tortoiseshell boxes, vintage china place settings, and Picasso ceramics go back decades and span the continents. Some of her most prized possessions are blue opaline glass vases, bowls and other objects, which were inspired by her aunt's vast collec- tion of green opaline glass that she dis- played in a striking black-and-white room. "My aunt had incredible taste," Julie says. "She inspired me to go into design." Julie loves color — freshly out of Parsons, she worked for legendary Dallas designer and colorist Marguerite Green — but this house demanded a quiet palette that wouldn't compete with the neutral mid-century architecture. "I gravitate to bright colors," she says. "So it was Opposite page, top: Circa-1970s sofa from an estate sale. Tabriz rug. Karl Springer goatskin table, circa 1970s. Pair rattan chairs from the estate of Marguerite Green, from Again & Again. Plates by Pablo Picasso. Nineteenth-century gilt Italian altar candlesticks. Connie Chantilis custom fireplace screen covered in minerals and semiprecious stones. Photographs these two pages Shayna Fontana, styled by Hilary Rose Walker. Opposite page, bottom: Bronze bust from Round Top. Picasso plate. Above: Genevieve Jones self-portrait, circa 1960. Malachite and silver Taxco box, a gift from Mackay Boynton. Ceramic lemon tree and framed mosaic from Florence. Left: Julie Lloyd. hard to stay neutral." Soft browns and creams dominate, energized by occasional bits of color, such as the orange sofa in the entry, and collections of blue-and-white china. Warm bronze and brass play off the house's organic architecture and materials, including a decorative hammered bronze wall in the entry. Understated layers are important in subtly colored rooms: "To make any room interesting, there need to be several different textures going on," she says. "I've balanced out hard surfaces with soft, and matte with reflective." A massive mid- century yarn wall sculpture in the living room adds texture, but like the wood architectural details, it also absorbs light. As an antidote, she bounces light with a 1970s mirrored credenza, brass lamps, high-polish tortoiseshells, a fire screen studded with pyrite and Herkimer diamonds, metallic Gracie wallpaper, and gilt furniture. "In another house, it might be too much, but the nature of this house seems to want this yin-yang, push-pull." 83

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