Helen Thompson
Helen Thompson
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THE COLLINS EFFECT

Patrick and Lindsey Collins started collecting art together in 2005 after they got their MBAs. When they married, the couple began traveling to major art-buying destinations such as Art Basel in Miami in order to meet other collectors and gallerists and to bolster their knowledge of contemporary art. Since then their rise to collector stardom in Dallas has been steady: Patrick is a trustee at the Dallas Museum of Art, the Meadows School of the Arts at SMU, and the Fort Worth Modern; Lindsey is on the board of CineMarfa and Glasstire. When the Collinses moved into their 1940s-era home in Dallas they chose it for its potential as a good house in which to raise a family. But they also needed to a place to show off their art and hired Dallas designer Brant McFarlain who has made something of a specialty for himself of merging fine art and interior design.

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Patrick Collins relaxes on the living room sofa under Dan Finsel’s E-thay Inward-yay Ourney-jay Andal-may Ossibilities-pay (E-may). The grey poufs are by Gregorius Pineo.

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Lindsey Collins strolls down the hall toward the library (left), just past the entry’s wall scuplture, Electric Vacuum by Haroon Mirza.

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Roe Ethridge’s Thanksgiving 1984 (Green Dress) hangs in the library.

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In the living room, a Minotti sofa from Smink; the de Sede settee is from Scott+Cooner; the cocktail table is by Caste from David Sutherland Showroom; antique Oushak rug from Abrash. Oil on linen artwork is Dan Finsel’s E-thay Inward-yay Ourney-jay Andal-may Ossibilities-pay (E-may).

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Ralph Pucci chairs in the living room were designed by Jens Risom and are from Ralph Pucci International in Los Angeles; Tom Burr’s Large Nude hangs above.

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The dining room chairs are by Ico and Luisa Parisi and were purchased in Berlin for the vintage 70s-era Lucite table. The vintage Murano glass chandelier is from John Gregory Studio. Sculptures on the mantel are by Tyler Siegrist and the 7-foot-tall marble sculpture is Pedro Reyes’ Colloquium.

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The music room is next to the master bedroom and is also Lindsey’s study, with flocked wallpaper by Zoffany and a custom velvet sofa. The Moroccan rug is an antique.

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Detail in the music room.

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Next to the music room, the master bedroom showcases an Angelo Lelli for Arredoluce chandelier, circa 1950, from 1stdibs. The settee is by Paolo Buffa, circa 1940. Lee Baxter Davis’ Genealogy hangs above the settee.

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Designer Brant McFarlain used Ann Sacks Calacatta marble tile in the master bath as a backdrop for the Waterworks unlacquered brass plumbing fixtures and Hydro Systems tub. Laurie Simmons’ Blue Bath overlooks the room.

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The Bruno Mattson 1936 Paris daybed is a perfect lounging spot for Lindsey and Ford in a room off the veranda. The two acrylic-on-canvas paintings are by Alexander Liberman, art director for Vogue magazine from 1944-1961.

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Hiro-San also enjoys the Paris daybed.

PHOTOS BY CASEY DUNN

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