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had the dining-room walls papered in Gracie Tobacco Leaf, with de Gournay African Savannah in the bar, and hung a large plaster chandelier by Stephen Antonson in the dining room. Other long-revered pieces that made the cut were a hand-knotted rug by Doris Leslie Blau for Stark in a classic Greek-key pattern; yards of exquisite Clarence House, Rogers & Goffigon, and Holland & Sherry fabrics; and a hoard of glazed Christopher Spitzmiller lamps — the latter, an obsession of his. A pair of handwoven rattan fern stands from Atelier Vime in Paris dominates the entry gallery with the drama of architectural columns. "I've loved all these things for so long, I don't imagine changing my mind about them anytime soon," Wagner says. In the living room, the custom blue velvet sofa and corner banquette were both influenced by rooms designed by Jeffrey Bilhuber, whose work Wagner has always admired. "A really long sofa was important to anchor that wall," he says. "Niven asked for a banquette, and it fit perfectly in the corner. It's the first place people go to sit in that room — even the dog." The monumental old Zuber mural that hangs over the sofa was discovered by Morgan while he was shopping at Muse on Slocum. Wagner recalls, "He called me and said, 'Oh, you need this for one of your clients,' and I said, 'No, actually that's absolutely perfect for our living room." The piece was originally 14 panels long — far too big for their available wall space — so the dealer agreed to sell them half of it in 30 days if no one purchased it. Wagner had it restored, leaving just enough patina to retain its original vintage appeal. Wagner wanted the interiors to feel collected rather than designed, so they brought a lot of furniture and art from their previous house on Greenbrier. Morgan's collection of outsider art from Louisiana, where he grew up, is an engaging mix with the antiques passed down from Wagner's family, including his interior designer mother and Amarillo grandmother, who often bought at auction, traveled the world, and lent him her books on Billy Baldwin. In the living room, Wagner has a bronze faux bois table with a chinoiserie top that his grandmother bought from the estate of Sybil Harrington, an Amarillo grand dame and Slim Aarons muse. A rope mirror designed by his mother series of pavilions connected by long, light- filled galleries around a central courtyard, the house combines a slate roof, stucco exterior, and clean, simple lines to striking effect. This elegant, modern project stands apart even in a neighborhood renowned for its architectural heritage. Noted for grand and historic homes on expansive scenic lots, Volk Estates has attracted such eminent architects as Hal Thomson, George Dahl, Frank Welch, Fooshee & Cheek, Peter Marino, and Thomas Kligerman. S helby Wagner drew inspiration from the past when designing the interiors of their new house. "It was important to create something timeless, so rather than looking for what's new in the market, I went back to things I have always loved," he says. A search through old magazine tear sheets and photos he'd saved elicited a trove of favorites that eventually made their way into the house. Among them are a pair of parchment-and- brass coffee tables by Frederick Victoria, the New York City manufacturer of bespoke furniture whose early clients included the Duke and Duchess of Windsor, Grace Kelly, Elsie de Wolfe, and Billy Baldwin. Wagner The gallery's original French-Brown floors were restored. Wicker plant stands from Atelier Vime, Paris.