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View all rates. Current Paid Subscribers Only. Free for days. Have a promo code? Find Offers. Sorry , no promotional deals were found matching that code. I have his support in anything I do. It would be like letting someone choose my clothes. It is an apt description for the graceful, three-story edifice that comes complete with an editing annex where Duvall worked on The Apostle, for which he received an Academy Award nomination for best actor.
For its Americana-in-a-nutshell look, Pedraza sought out a design master: Ralph Lauren. It was the library, in fact, originally done in a western motif, that presented Pedraza's biggest challenge.
Flanking the fireplace, a pair of exquisite horse profiles, by Argentine artist Jorge Piola, jump out, as does a saucy cartoon depicting the incongruous notion of Marlon Brando doing the tango. Atop the mantel, a fiercely provocative black-and-white photograph of a couple, midtwirl, vies for attention with the Oscar that Duvall picked up for Tender Mercies.
Being with Bobby, making movies, I've learned its importance. Light can achieve great coziness—or it can kill it, which is why I work with lots of shades and draperies. When it came to their own antiques, Pedraza and Duvall opted for French country, like the sensational butcher-block table that serves as a sideboard in the dining room.
That I can't abide. French country is more sensual, and certainly more comfortable than early American furniture, which, due to the Puritan influence, tends to be stiff and uncomfortable.
Another trick Pedraza employed was to play down the immensity of the rooms with color. Beside the fireplace, with a carved wood mantelpiece, is a 19th-century French chinoiserie screen. Set designer Jack Taylor transformed the barn into a dance area, with a pine floor and a beam ceiling.
Terraced gardens seclude the pool. Oak, maple, and English boxwood trees, as well as northern Virginia's tallest shag bark hickory, grow on the farm, which includes a pond edged with a spring garden, reeds, and a weeping willow.
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