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Even the guest room gets a tree-house view and terrace access. The Holly Hunt four-poster bed wears custom linens from Doris Sanders, Dallas. The lamp is Karl Springer. Art by Li Wang is from Tao Water Gallery, Provincetown, Massachusetts.
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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.
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Nash loves the “beautiful, sensual, hot-red-pepper lacquer” of the Holly Hunt table. Behind the sofa is his treasured Japanese Edo screen, circa 1845.
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The flow of the spaces is reflected in this L-shaped span from living area to entry. The Rose Tarlow chair with carved circular motif is one-of-a-kind. Beneath a Zajac & Callahan mirror framed in cracked, pieced mirror fragments, a rare Yale Burge chair in leopard-print silk velvet has a hand-painted quill finish. Venetian architectural elements are framed in gold leaf.
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In the living room, mirror-backed shelves reflect a lifetime of thoughtful collecting. The center painting is Neither Here Nor There by David Della Venezia. Holly Hunt’s scarlet table pops beside “the best Louis XVI chair ever,” a Michael Taylor design in dark gray glove leather with a silver-leaf frame. Gold silk velvet pillows are a luxe contrast to the simple linen of Christian Liaigre seating. The glass cylinder lamp is by John Saladino.
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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.
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Every angle reflects Nash’s attention to composition. Beneath a colorful Cole Morgan painting, neoclassical table and chair from Rose Tarlow balance the sleek lines of a Holly Hunt chaise with bronze legs. The bonsai is “my latest little venture into gardening,” Nash says.
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