A painting by Milton Avery adds a modern touch to the living room’s 18th-century mantelpiece and pine paneling, elements from a 1990s renovation by Mark Hampton that designer Thomas Jayne and his associate Egan Seward preserved in their refresh of the early ’60s Houston home. Sofas copied from a George II original face a vintage cocktail table in the style of Diego Giacometti, while a pair of antique English hall chairs painted with pelicans—from a set of eight that were once owned by Bunny Mellon—flank the fireplace. The custom-made rug is by Mitchell Denburg.

Blending Greek Revival and Texas Territorial style, the house features extensive loggias and terraces; on the front façade, roses garland the balustrade of the upper terrace, which overlooks a stone forecourt by landscape designer Johnny Steele.

In the entrance hall, pale-green walls embellished with a subtle crosshatching by decorative painter Chris Loew play host to a luminous Mark Rothko canvas at the far end and a painting by Milton Avery that is joined by a trio of Old Master drawings over a neoclassical console and pelican chairs.

Jayne repurposed antiques from the clients’ collection, as with this Regency console and bouillotte lamp installed in the library beneath a Giovanni Battista Tiepolo drawing and an unattributed gold-ground painting; the chair is upholstered in an Etro fabric, and the rug is by Mitchell Denburg.

Jayne designed a butler’s pantry cabinet to house the clients’ collection of antique porcelain.

Gracie wallpaper panels provide a richly toned backdrop for a 17th-century Dutch still life in the dining room, where Jayne reupholstered the owners’ George III and Adam-style chairs with seats of embossed leather; the curtains were made in a Claremont fabric with embroidered trim by Simon Peers.

The enclosed loggia along the back of the house looks directly out to a fountain in the gardens.

A painting of Noah’s Ark by 19th-century artist Gaetano Mormile is displayed next to the living room’s Schimmel baby grand piano; the Napoleon III–style lounge chair by Jonas is covered in a Robert Kime floral.

On the loggia, a Marvin Alexander pagoda-style lantern hangs above an 18th-century French games table and 1910 Danish chairs upholstered in a Fortuny fabric; the decorative painted-steel grillwork in the window behind was inspired by James McNeill Whistler’s Peacock Room at the Freer Gallery of Art.

A work by the Pre-Raphaelite painter Edward Burne-Jones is mounted over an antique table in the entrance hall.

Both ends of the loggia are furnished with custom slipper chairs based on a Billy Baldwin design and curved sofas, all of which were made with Rose Tarlow Melrose House fabrics; the table is by Metal Dimensions, and the wall sconce is by Collier Webb.

In the primary bedroom Jayne created a cove ceiling and clad the walls in a Gracie wallpaper custom painted with bird species common to the region. Old Master drawings and a Henri Fantin-Latour floral still life overlook the bed made by Jonas and an antique French caned bench cushioned in a Robert Kime linen. A 19th-century table serves as a nightstand on one side and a Robert Kime fabric skirts a circular table on the other. The swing-arm lamps are by Vaughan, and the painted chairs are circa 1810.