Hunter Dunn is a deep, characterful green, and the worst thing you can do with it is treat it like a feature wall. Drench it. Walls, woodwork, ceiling — the lot — so it reads as enveloping rather than patchy. Greens at this depth fall flat when you box them in with white skirting and a white ceiling; they need to wrap around you.
Warmth is the key. Bring in unlacquered brass and smoked oak — handles, lamp bases, a mirror frame — and the green goes from cold to inviting almost instantly. Avoid chrome and avoid anything blue-toned in the metalwork; it'll fight the colour.
For the lift, you want a soft stone-white or a muted ochre, never a brilliant cool white. Paint & Paper Library Paper III (LRV 75.3) is the natural in-house partner — a soft, warm off-white that takes the hard edge off without going stark. Farrow & Ball Au Lait (LRV 80) does the same job with a touch more creaminess; cracking for a ceiling or for trim if you don't want to drench the whole room.
For contrast and grounding, reach for Mylands Cigar BH.20 (LRV 11.8) — a rich, smoky brown that picks up the depth in the green and works beautifully on a chimney breast, a piece of furniture or joinery. And if you're feeling bold, a sparing hit of Dulux Fuchsia Falls 2 (LRV 29.8) as an accent — a cushion, a chair, an inside-cupboard surprise — gives Hunter Dunn the punch of its complementary opposite without overwhelming it.
The "but what about a cool white to brighten it" question comes up every time. Don't. A cool white next to Hunter Dunn looks grey and dingy and makes the green read murky. Stay warm and the whole scheme sings.
Practical tip: sample large, and look at it after dark under lamplight as much as in daylight — drenched greens come alive in the evening and that's when this one really earns its keep.