Dame Margaret

Near the bottom of the LRV scale, where the red undertone stops being read as hue and starts being read as shadow. 8741, from Vista Paint.

At 7.0, light hits this wall and mostly stops there - plan the room's lighting as if the walls were not helping at all. In dim, ambient light this reads as a flat, undifferentiated dark; it takes a direct light source for the red undertone to surface at all.

Worth checking before committing to a full wall: blues and cool greys nearby - in a floor, a rug, a piece of furniture - will read as a clash here, not a complement, since the two colors sit at opposite ends of the spectrum.

Warm metals - brass, aged gold, unlacquered fixtures - gain a contrast against this that they do not have against a lighter wall; it is a common reason people choose a color this deep in the first place. The safest multi-color scheme moves from this dark wall to a noticeably lighter secondary tone, then to a near-white ceiling - three genuinely different depths rather than three shades of the same idea (LRV 7.0, 46 and 85, if you're matching by the numbers).

On the wall opposite the room's main window, this catches the most daylight available and is the one wall where the color reads true rather than flat. Benjamin Moore Slate makes a good second wall color here - different enough to read as a real choice, close enough to still feel related (about 31.6 points apart in light reflectance).

If the wall has any texture or repair work, matte is worth the trade-off even though it holds up to less scrubbing than a satin or eggshell.

Dunn-Edwards Lynx (DE6035) matches it closely enough that no one will tell them apart on a wall. 5 other-brand colors land within delta-E 2 of this one - a well-populated part of the spectrum with several near-equivalents to choose from.

Nearly everything Vista Paint makes is lighter than this: 45 of their 2,742 colors sit below it. Vista Paint lists it in the K codes, alongside 1,318 other colors.