Beige, chocolate, blue, and red beauty these Manhattan rooms.
Distinguished designers reveal to us what hues they continue backpedaling to again and again.
In Rex Harrison's dining nook, designer Keith Irvine put a layer of varnish over the blue (see next slide) so "you can nearly observe yourself reflected in it." The roof was coated in a custom grayish with a touch of gold to get on the flicker of all the acting trophies.
Dark Royal Blue
BENJAMIN MOORE DARK ROYAL BLUE 2065-20: "I'm frantic about this dull inky blue, as it gives extraordinary dynamic quality and profundity to a divider — particularly in the event that you put a topcoat of good clear varnish over it. That is the thing that we did in Rex Harrison's Manhattan apartment in this marvelous small dining recess. The bookshelves and dividers were all Dark Royal Blue, varnished over, and afterward featured by vertical pilasters which were false tortoise-shelled and halfway overlaid. That includes a sparkle that ties in with the brilliant tone 'eland' mat and the Oscar and Tony grants on the bookshelf." - Keith Irvine
FARROW and BALL ALL WHITE 2005: "I never paint each divider in a room a similar shading. Light reaches each stopping point in an unexpected way, so I need to modify the shade. It's typically white, however not one white. All White is an unadulterated white, Pointing has somewhat ocher, Slipper Satin has more dark, and between the three I can typically get what I need. Before I begin blending, I'll check the room at various circumstances of day. A standout amongst the most imperative things is the way the shadows fall. That can be the most lovely of all." - Rose Tarlow
FARROW and BALL POINTING 2003
FARROW and BALL SLIPPER SATIN 2004
BENJAMIN MOORE DECK ENAMEL RICH BROWN 60 DECK ENAMEL BLACK C-112-80: "I can't reveal to you how frequently I've utilized this. It's a decent recipe, which I don't know I ought to uncover — Benjamin Moore deck finish dark colored blended cream with deck lacquer dark. Enlivening individuals call this tête de negre, yet that is so highfalutin. It's only a delightful dull dark colored with some sparkle to it. The sparkle mirrors the light, so it doesn't appear like a dull room. Attempt it with white trim and a touch of pink." - William Hodgins
BENJAMIN MOORE DECK ENAMEL BLACK C-112-80
PAPERS and PAINTS LTD. MOORISH RED HC55: "You can see the ground-up color in this paint, which gives it profundity and a little luminosity. It's not level, similar to American paints. Each one of those eighteenth century Robert Adam rooms were done along these lines. Red is an activity shading, yet this has a great deal of coral and umber, which diminishes it. It invokes Greek vases and the dividers of Knossos. It has the heaviness of classical times. I have faith later on, however despite everything I like an edge of the past." - David Easton
DONALD KAUFMAN COLOR COLLECTION DKC-5: "You comprehend what my shading is — white. Also, it's dependably Donald Kaufman #5. I believe there's each shading in that white. It gets light and shadow and completes a little enchantment thing around the edges of framing. My entire apartment is #5, through and through, front to back. It resembles Chanel No. 5. You generally feel great in it." - Mariette Himes Gomez
Vert de Terre
FARROW and BALL VERT DE TERRE 234: "This is the textured, fluffy green of sheep's ears. Exceptionally home grown. It's so potager, yet in the meantime it's blurred boiserie and Chinese porcelain and Colonial Williamsburg. The green is rich without being excessively soaked, and makes an extraordinary background for mahogany, silver, or ivory. It's the shade of my dream room — a book-fixed awesome ballroom with a lit Polonaise amidst the limestone floor and orange trees in tubs. A structure in the timberland." - Charlotte Moss
FARROW and BALL MINSTER GREEN 224: "Green is my most loved shading. It's simply so alleviating, and I figure a library ought to be a relieving dim shading. Wood, on the off chance that you can have it. On the off chance that you can't, make it this woodsy green. I like it coated. I think any paint shading is better coated — it has more profundity. We did this in the prettiest house in Long Island, with white-and-green weaved texture, and when we revamp the room years after the fact, the customers needed it the very same way." - Betty Sherrill
BENJAMIN MOORE PATRIOTIC WHITE 2135-70: "When the sun streams in, the dividers read white, and after that as the day advances, the shading turns out. During the evening, the room is washed in a pale, light blue-green. I adore its irregular nature. It looks lovely by the sea, since it echoes the nuances of the ocean. I frequently utilize it in bedrooms — it's gentler than a sharp white. It functions admirably with velvets or Rogers and Goffigon materials that have the same fluctuating quality." - Vicente Wolf
BENJAMIN MOORE ORIENTAL IRIS 1418: "I'm candidly pulled in to periwinkle blue. It's relieving and tranquil and changeable, in light of the fact that it goes from dim into blue into lavender, contingent upon the season of day and the long stretch of the year and the individual taking a gander at it. No two individuals see shading a similar way. Blue joins two things I adore, the sea and the sky, which lifts me out of the mess of reality. It's a sort of shower. It speaks to a purifying." - John Saladino
BENJAMIN MOORE SMOKEY TAUPE 983: "This is the shade of a delightful Belgian cloth. Extremely exemplary. Not too light and not excessively dim, but rather with enough profundity to look incredible on a divider. I would do it with white moldings and faded maple floors. Normal materials like limestone and stone look awesome against it. So does work of art. Get dark enamel, white upholstery, and red for an emphasize. Or on the other hand attempt lilac and water. It would be stunning with peony pink or java dark colored on antique French seats." - Sally Sirkin Lewis
BENJAMIN MOORE SUNDANCE 2022-50: "This is a medium-quality yellow, the shade of new pineapple. Individuals cherish it. I have customers who utilize it again and again. It's only a glad shading. Attempt it in a living room or a dining room with a light blue roof and white woodwork. It resembles daylight. Everything looks great against it — blue-and-white porcelain, a botanical chintz. In case you're attempting to pick a paint to work with a chintz, search for the shading that is minimum utilized as a part of the example, and that is typically the shading it looks incredible against." - Mario Buatta
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