>> PRINCIPAL PRODUCTION FUNDING FOR "HOUSE WITH A HISTORY" HAS BEEN PROVIDED BY THE DEPARTMENT OF CULTURAL AFFAIRS, NEVADA STATE HISTORIC PRESERVATION OFFICE THROUGH A DEPARTMENT OF INTERIOR GRANT.

MAJOR FUNDING WAS PROVIDED BY WELLS FARGO HOMES MORTGAGE.

WELLS FARGO IS PROUD TO BE PART OF THE NORTHERN NEVADA COMMUNITY FOR OVER 150 YEARS.

WELLS FARGO, THE NEXT STAGE.

ADDITIONAL FUNDING HAS BEEN GRANTED BY THE CITY OF RENO ARTS AND CULTURE COMMISSION.

♪ MUSIC >> HELLO, I'M MARLA CARR.

WELCOME TO "HOUSE WITH A HISTORY."

IN 1929, LUELLA GARVEY LEFT HER FAMILY BEHIND AND MOVED FROM PASADENA TO RENO.

THE REASON FOR THE MOVE HAS BEEN LOST IN TIME.

AS A WIDOW, SHE HAD NO INTEREST IN RENO'S DIVORCE INDUSTRY, GAMING DIDN'T APPEAR TO BE A FAVORITE PAST TIME AND THOUGH SHE HAD HAD A SIZEABLE AMOUNT OF WEALTH, SHE DIDN'T ENGAGE IN A FLAMBOYANT LIFESTYLE.

SHE WOULD HAVE PROBABLY GONE UNNOTICED IN THE GRAND SCHEME OF THINGS, EXCEPT THAT SHE CHOSE TO BUILD A HOUSE AND SHE COMMISSIONED THE TALENTED AFRICAN AMERICAN PAUL REVERE WILLIAMS AS THE ARCHITECT.

IN DOING SO, SHE MADE HISTORY.

♪ MUSIC >> ARDETH, HOW NICE TO SEE YOU AGAIN.

>> HOW WONDERFUL TO SEE YOU.

>> WHAT AN INTERESTING HOUSE.

>> COME IN AND I'D LOVE TO SHOW IT TO YOU.

>> OH, I'D LOVE TO SEE IT.

>> ARCHITECTURALLY, THE GARVEY HOUSE IS IN THE COLONIAL REVIVAL MODE, HOWEVER IT DOES HAVE SOME REGENCY COMPONENT, SUCH AS ITS IRONWORK, WHICH IS A RECURRING ELEMENT IN WILLIAMS' DESIGNS.

>> THIS HOUSE WAS BUILT IN 1934.

THERE WAS A WONDERFUL ARTICLE IN THE LOCAL PAPER ABOUT HOW THIS WAS THE MOST EXPENSIVE HOME BEING BUILT THAT YEAR.

THE COST WAS $40,000, NOT INCLUDING THE EXTENSIVE LANDSCAPING THAT MS. GARVEY HAD DONE AFTER THE HOUSE WAS CONSTRUCTED.

AND THE ARTICLE WENT ON TO SAY THAT SHE HAD PLANNED $10,000 WORTH OF LANDSCAPING, WHICH IN 1934, WOULD HAVE BEEN PRETTY ELABORATE LANDSCAPING AND YOU CAN SEE FROM THE GROUNDS EVEN TODAY THE REMAINS OF THE EXTENSIVE LANDSCAPING THAT SHE DID.

♪ MUSIC >> PAUL REVERE WILLIAMS APPRENTICED WITH A LANDSCAPE ARCHITECT AND BELIEVED THE GROUNDS OF A HOUSE WERE AN EXTENSION OF THE DWELLING TO BE DESIGNED IN HARMONY WITH THE BUILDING.

>> THOUGH SOME OF THE GARDEN AREA REMAINS, MUCH OF IT WAS EATEN AWAY BY ADDITIONS TO THE ORIGINAL STRUCTURE.

A PORTION OF THE SURROUNDING WALL IS IN TACT WITH ITS CURVED PATIO AREA.

TWO WROUGHT IRON GATES STILL GIVE ACCESS TO THE GROUNDS, BUT THE DECORATIVE PIECES THAT ONCE ADORNED THE ARE LONG GONE, SEEN ONLY IN OLD PHOTOGRAPHS.

THE GARVEY HOUSE WAS CONSTRUCTED AS A DUPLEX, BUT THE PRESENT OWNER, ARDETH BALDWIN, HAS INTEGRATED IT INTO A SINGLE HOME.

>> I PURCHASED THIS HOUSE IN DECEMBER, 1972 AND DECEMBER OF 1978, BECAUSE IT WAS A DUPLEX AND THAT'S WHEN BOTH SIDES WERE AVAILABLE TO BUY.

>> THE ENTRY IS A SMALL PIECE OF ELEGANCE.

IT BOASTS A SIGNATURE WILLIAMS' STAIRCASE THAT GRACEFULLY CURVES IN CONCERT WITH THE WALL.

THE STAIRWAY TREADS ARE OF OAK, AS IS THE ENTRY FLOORING AND THE HANDRAIL.

A WHITE WROUGHT IRON BALUSTRADE COMPLIMENTS THE OAK.

THE STAIR RISERS ARE ACCENTED WITH A CARVED WOODEN MOLDING THAT COMPLETES THE LOOK.

>> HE REALLY DID LOVE TO DO STAIRCASES.

IF YOU SEE SOME OF HIS OTHER DESIGNS, PARTICULARLY HIS BEVERLY HILLS AND HIS HOLLYWOOD DESIGNS, HE LOVED TO DO THESE GORGEOUS, SWEEPING STAIR CASES.

>> TO OUR LEFT IS THE LIVING ROOM.

HERE WE SEE IN ABUNDANCE THE DETAILS FOR WHICH ARCHITECT PAUL REVERE WILLIAMS IS KNOWN.

THOUGH THE DESIGN FUNDAMENTALS WITHIN THIS ROOM ARE TRADITIONAL, WILLIAMS USED THOSE CLASSICAL ELEMENTS TO DIFFERENT EFFECT.

>> IT HAS BEEN SAID OF PAUL WILLIAMS THAT HE WAS ABLE TO TAKE TRADITIONAL DESIGNS AND MAKE THEM MODERN AND IN FACT I THINK YOU CAN SEE THAT IN THIS HOUSE.

IF YOU LOOK AT SOME OF THE WONDERFUL INTERIOR DETAILS, LIKE THE COLUMNS AND THE BEAUTIFUL FIREPLACES, THEY ARE VERY TRADITIONAL AND NOTHING'S MORE TRADITIONAL THAN A COLUMN, YOU KNOW, THE ORIGINAL ARCHITECTURAL FEATURES.

BUT HE MAKES IT VERY MODERN AND VERY CHIC, IF YOU WILL, AND MANY OF HIS HOUSES HAVE THE CHIC FEEL TO THEM AND YOU CAN SEE THAT IN THIS HOUSE.

>> SO WHO EXACTLY WAS PAUL REVERE WILLIAMS?

WHAT WERE THE BEGINNINGS OF THIS MAN?

AFTER DESIGNING HOMES FOR THE LIKES OF LAWN CHANEY, BARBARA STANWYCK AND TYRONE POWER, HE WAS DUBBED "ARCHITECT TO THE STARS."

BUT HOW DID IT ALL BEGIN?

>> HE HAS A WONDERFUL HISTORY BECAUSE HE WAS ORPHANED AT THE AGE OF FOUR, HE WAS AN AFRICAN AMERICAN, GREW UP IN LOS ANGELES AND AS A YOUNG MAN IN HIGH SCHOOL DECIDED THAT HE WANTED TO PURSUE A CAREER IN ARCHITECTURE.

AND HIS TEACHER AT THE TIME DISCOURAGED HIM STRONGLY BECAUSE OF THE DISCRIMINATION THAT HE WOULD MEET IN TRYING TO EMBARK ON A CAREER LIKE ARCHITECTURE.

BUT HE WAS VERY MUCH DETERMINED TO DO WHAT HE LOVED.

HE WAS VERY ARTISTIC AND A VERY WONDERFUL ARCHITECT WITH A LOT OF PROMISE, SO HE PERSISTED ON HIS DREAM AND ULTIMATELY BECAME VERY SUCCESSFUL, BUT IT WAS A DIFFICULT ROAD FOR HIM.

>> IT WAS WEALTHY INDUSTRIALIST, E.L. CORD, WHO HELPED WILLIAMS MAKE HIS DREAM A REALITY.

WILLIAMS COMPLETED CORD'S BEVERLY HILLS MANSION IN 1931.

THE 32,000 SQUARE FOOT HOME HAD 16 BEDROOMS AND 22 BATHROOMS.

WITH A POOL HOUSE AND STABLES, IT WAS A SOCIAL MECCA IN A BEVERLY HILLS THAT ALREADY BOASTED THE CREME DE LA CREME OF SOCIETY.

WHEN THE MANSION WAS DISMANTLED AND ITS FURNISHINGS AUCTIONED OFF IN 1962, THE PROPERTY WAS DIVIDED INTO 13 LOTS.

ITS LOSS MARKED THE END OF AN ERA.

♪ MUSIC >> THOUGH WILLIAMS DESIGNED AWARD-WINNING STRUCTURES IN HIS HOME STATE OF CALIFORNIA, THE NEVADA OF THE 1930s HAD NO INTENSION OF WELCOMING HIM WITH OPEN ARMS.

>> THE ARRIVAL OF AN AFRICAN AMERICAN ARCHITECT IN RENO IN 1934 WOULD HAVE BEEN QUITE A REMARKABLE THING.

RENO HAD A REPUTATION OF BEING THE MISSISSIPPI OF THE WEST AND IT DID NOT TREAT ITS BLACK RESIDENTS VERY WELL.

VISITORS TO THE TOWN COULD NOT STAY IN THE MAINSTREAM HOTELS OR EAT IN THE MAIN-STREAM RESTAURANTS, THEY HAD TO SEEK OUT ROOMING HOUSES THAT CATERED TO BLACK PEOPLE.

SO IT'S REALLY NOT KNOWN WHERE PAUL REVERE WILLIAMS STAYED WHEN HE WAS HERE.

WE DO KNOW THAT HE HAD AN OFFICE IN A PRIVATE HOME ON RIVERSIDE DRIVE AND IT'S SUSPECTED THAT SINCE HE WAS HIMSELF A MEMBER OF THE AME CHURCH, THE AFRICAN METHODIST EPISCOPAL CHURCH, THAT HE WOULD HAVE BEEN AFFILIATED OR AT LEAST CONTACTED THE AME CHURCH IN RENO, BETHEL AME CHURCH WHICH WAS CLOSE BY TO WHERE HIS OFFICE WAS ON RIVERSIDE DRIVE.

THE CHURCH IS ON BELL STREET.

>> THE CHURCH WOULD HAVE ALSO AFFORDED WILLIAMS A SOCIAL CONNECTION.

OTHERWISE, HE WAS LEFT TO DEAL WITH THE DISCRIMINATION OF SEGREGATIONIST RENO.

WILLIAMS WOULD HAVE NEEDED A SPONSOR TO SURVIVE PROFESSIONALLY AND STILL MANY OF THOSE HE WORKED WITH DID SO GRUDGINGLY, A NOTABLE EXCEPTION WAS ANDREW GINOCCHIO.

>> PAUL WILLIAMS AND ANDREW GINOCCHIO DEVELOPED A CLOSE RELATIONSHIP BASED ON THEIR MUTUAL RESPECT AND ANDREW GINOCCHIO RESPECTED MR. WILLIAMS HIGHLY FOR HIS ARTISTIC ABILITY AND HIS WONDERFUL BUSINESS SENSE AND HE WAS JUST A WONDERFUL HUMAN BEING AND THAT TRANSCENDED THE COLOR ISSUE.

>> A STORY THAT HAS BEEN HANDED DOWN TO THE GINOCCHIO FAMILY MAINTAINS THAT MR. GINOCCHIO TRADED SERVICES OF RENO IRON WORKS FOR THOSE OF ARCHITECT PAUL WILLIAMS.

THE RESULT IS THE HOUSE THE FAMILY OWNED ON ARLINGTON AVENUE IN OLD SOUTHWEST RENO.

>> THIS IS THE MASTER BEDROOM ON THIS SIDE OF THE HOUSE.

>> THE TWO-STORY WING OF THE HOUSE ORIGINALLY HAD THREE BEDROOMS, ALL ON THE UPSTAIRS LEVEL.

THE MASTER BEDROOM HAS FRENCH DOORS LEADING TO THE BALCONY THAT ADDS SUCH DISTINCTION TO THE HOME.

IN THE 1930s, THE VIEW WOULD HAVE BEEN OF THE GARDENS THAT SURROUNDED THE HOUSE.

IN RECENT YEARS, THE SIDE GARDENS HAVE BEEN CONVERTED TO GUEST PARKING.

FROM MARCH TO SEPTEMBER OF 1985, THE MGM GRAND RENTED THE GARVEY HOUSE FOR CAROL CHANNING.

SHE WAS PERFORMING IN THE LONG-RUNNING SHOW "HELLO HOLLYWOOD HELLO."

MRS. CHANNING, HER HUSBAND AND A HOUSE BOY OCCUPIED THE ENTIRE HOUSE.

THIS BEDROOM WAS HERS.

>> WHAT IS VERY INTERESTING ABOUT THIS PORTION OF THE HOUSE IS THAT EVERY CEILING TREATMENT FROM THE DRESSING ROOM TO THE BATHROOM TO THE BEDROOM HAS A DIFFERENT STYLE.

>> IT'S BEAUTIFUL.

AND IT'S QUITE LARGE.

IT'S REALLY VERY NICE.

>> I WOULD REALLY LIKE TO SEEING THE DRESSING ROOM AND THE BATHROOM.

LET'S GO LOOK AT THAT.

>> LET'S GO LOOK.

>> AS THE MASTER BEDROOM, IT HAS FIVE CLOSETS, A DRESSING ROOM AND AN ATTACHED BATH.

THE BATHROOMS HAVE BEEN ADDED IN OTHER AREAS OF THE HOUSE.

THIS ONE IS ORIGINAL AND THE INFLUENCE OF WILLIAMS AND THE 1930s IS DELIGHTFULLY OBVIOUS.

♪ MUSIC >> THE TILE IS PALE YELLOW AND PINK, WITH ACCENT TILES IN A FLORAL MOTIF.

THE BATHTUB, SINK AND TOILET ARE ALL THE SAME PINK AS THE TILE EDGING.

THE TUB IS SQUARE, SITTING UNDER AN ARCHED CEILING AND THE ENTIRE SHOWER AREA IS SURROUNDED BY TILE.

THE TOILET IS ALSO SET BACK UNDER AN ARCHED CEILING WHILE THE BATHROOM CEILING ITSELF IS VAULTED.

A SECOND BEDROOM PROVIDES A GOOD EXAMPLE OF THE WILLIAMS' PENSION TO INTRODUCE A VARIETY OF CEILINGS INTO THE GARVEY DESIGN.

THE ROOM IS FILLED WITH ANGLES.

>> OH, WHAT A UNIQUE ROOM.

>> THIS IS THE PATIO ROOM.

>> OH.

GOT SOME GREAT DETAILS.

>> THE PATIO AREA WAS MEANT TO BE THE COMMON GROUND BETWEEN THE TWO HOMES.

IT WAS ORIGINALLY A SIZEABLE SPACE, 420 SQUARE FEET, HOWEVER, ARDITH HAS ENCLOSED A PORTION OF IT.

CARE HAS BEEN TAKEN TO PRESERVE THE ORIGINAL PARTS OF THE COURTYARD AS THEY BECAME AN INTERIOR PORTION OF THE HOUSE.

ELEMENTS THAT WERE ADDED CONFORM TO WILLIAMS' SENSE OF STYLE AND HIS INTENT.

THE ORIGINAL BRICK FLOORING IS IN TACT, AS WELL AS THE EXTERIOR WALLS OF THE HOUSE AND THE ARCHES THAT SUPPORTED A PATIO ROOF.

WHEN ASKED WHAT PART OF THE RENOVATION AND RESTORATION WAS MOST DIFFICULT, ARDITH REPLIES... >> I WOULD HAVE TO SAY THE COURTYARD.

THE INTERIOR COURTYARD WAS THE MOST EXCITING BECAUSE IT TOOK SUCH INTRICATE WORK TO GET AND TO MATCH PAUL REVERE WILLIAMS, ALL THE PIECES OF DIFFERENT MOLDINGS, LIKE THIS NEW BATHROOM THAT TOOK LIKE SEVEN PIECES OF WOOD AND PUTTING THEM ALL TOGETHER AND THEN THEY HAVE TO BE SANDED AND PUTTIED AND PAINTED.

♪ MUSIC >> IN ORDER TO HAVE A CLEARER SENSE OF WILLIAMS' DESIGN, WE ENTER 589 CALIFORNIA THROUGH ITS FRONT DOOR, RATHER THAN THROUGH THE PATIO AREA.

♪ MUSIC >> HERE THERE IS A COVERED PORCH THAT BOASTS THE SAME IRON WORK THAT FRAMED THE BALCONY.

IT'S IN THIS LESS SPACIOUS SIDE OF THE HOUSE THAT THE WIDOW GARVEY LIVED.

TWO BEDROOMS IN ADDITION TO THE SERVANTS QUARTERS WERE ADEQUATE FOR HER NEEDS.

♪ MUSIC >> THE ENTRY IS EXPANSIVE.

THE CEILING IS PATTERNED WITH A MOLDING TO OBTAIN A MODIFIED BEAM EFFECT.

THE FRENCH DOORS AT THE END OF THE ROOM OPEN TO THE PATIO.

WILLIAMS' DESIGN INCORPORATED A VIEW OF EXTERIOR FROM EVERY ROOM.

TO OUR LEFT IS A HALLWAY THAT LEADS TO THE TWO BEDROOMS.

EVEN THIS CORRIDOR HAS A WINDOW SEAT THAT OVERLOOKS THE PATIO.

LIKEWISE, EACH BEDROOM HAS FRENCH DOORS, ONE OPENING TO THE GARDEN AND THE OTHER TO THE PATIO AREA.

TO THE RIGHT OF THE ENTRY IS THE LIVING ROOM, AGAIN, WILLIAMS' DETAILS ARE SO EVIDENT.

THE FIREPLACE IS GRAY AND WHITE MARBLE, HIGHLY CARVED.

THE WALLS HAVE BEEN PAINTED A PALE PINK, THE MOLDING A PAIL PALE GRAY.

>> ARDITH USES THIS ROOM AS A COMBINATION BEDROOM AND LIVING ROOM.

IT MAKES THE CASE AS TO WHY SHE IS SO APPRECIATIVE OF THE GARVEY HOUSE.

>> THE QUALITY OF THE WORKMANSHIP, IF YOU GO IN THERE AND LOOK IN THE MOLDINGS OF THE LIVING ROOM, BEDROOM, THAT I HAVE THAT WAS IN THE -- WAS BUILT AND LIVED IN IN 1934, YOU WANT TO SHOW OFF ALL THIS WORK AND THAT'S WHAT I'VE DONE.

YOU DON'T SEE A BUNCH OF BULKY DRAPERIES OR ANYTHING.

IT'S -- THE WOOD AND MOLDINGS AND THINGS ARE THERE TO LOOK AT AND TO APPRECIATE.

WHEN YOU LIVE AROUND THIS, THIS SORT OF A HOUSE, WELL, YOU CAN WALK IN TO MOST ANY OTHER HOUSE AND IT DOES NOT HAVE THE FEELING THAT THIS DOES.

>> THE LIVING ROOM GIVES WAY TO THE DINING ROOM AND THEN THE KITCHEN.

AT ONE TIME, THE DINING ROOM'S TWO SETS OF FRENCH DOORS GAVE ACCESS TO THE PATIO ON ONE SIDE AND THE GARDEN ON THE OTHER.

INCLUDE A FLOOR-LENGTH WINDOW INTO THE MIX AND THE LIGHT MUST HAVE BEEN INCREDIBLE.

NOW THE PATIO IS ENCLOSED AND A BATHROOM HAS BEEN ADDED OFF THE DINING ROOM.

>> THIS KITCHEN WE REMODELED, BUT WE KEPT THE ORIGINAL CEILING.

>> OH, IT'S GREAT.

I'M SO GLAD YOU DID, YOU DON'T SEE VERY MANY CEILINGS LIKE THIS IN HOUSES.

>> THOUGH THE KITCHEN HAS BEEN BEAUTIFULLY REMODELED, THE CEILING TILE WAS KEPT IN TACT BECAUSE TRUTH BE TOLD IT WOULD HAVE BEEN NEARLY IMPOSSIBLE TO REMOVE.

THE TILES WERE SET IN CEMENT INSTEAD OF USING GROUT.

THE CEILING ITSELF IS ANOTHER EXAMPLE OF AN UNUSUAL SHAPE, DEEPLY COVED, RATHER LIKE A HIPPED ROOF.

IT'S BORDERED ABOVE THE CABINET WITH TURQUOISE AND WHITE ACCENT TILE.

A KITCHEN WINDOW WOULD HAVE ORIGINALLY OVERLOOKED THE GARDEN, BUT ARDITH HAS EXTENDED AND ENCLOSED THE AREA.

♪ MUSIC >> AFTER LUELLA GARVEY DIED, THIS SMALLER RESIDENCE WAS SOLD TO NICK ABELMAN AND HIS WIFE JUNE PETTITE ABELMAN.

THEY PURCHASED 589 CALIFORNIA AVENUE IN 1946.

NICK MADE HIS OWN PLACE IN RENO HISTORY.

HE WAS ONE OF THE TRUE PIONEERS OF EARLY GAMBLING IN NEVADA.

BORN IN CHICAGO IN 1876, HE CAME TO GOLDFIELD IN 1906, MOVED ON TO TONOPAH AND FINALLY SETTLED IN RENO.

HE RUBBED SHOULDERS WITH THE LIKES OF BILL GRAHAM, JAMES MCKAY AND GEORGE WINGFIELD, MEN WHOSE NAMES RIDDLED THE HISTORY OF THE BIGGEST LITTLE CITY IN THE 1930s AND '40s.

DURING HIS LIFETIME, ABELMAN OWNED OR WAS PARTNERS IN A NUMBER OF CASINOS IN RENO AND THE TAHOE AREA.

>> THE REASON THAT NICK ABELMAN RAN THE RIVERSIDE CASINO, PARTICULARLY, AND THE GAMING PRIOR TO THIS, WHEN NICK WAS IN BUSINESS IN THOSE COMMUNITIES, SO NICK HAD TO SPEND AS THE PRINCIPAL OWNER OF THE CASINO, HAD TO STAY AT THE RIVERSIDE A LOT BECAUSE IT WAS A PRINCIPAL PLACE, AS WELL, FOR DIVORCEES, RICH DIVORCEES LIKE BARBARA HUTTON, DORIS DUKE AND THAT AND THEY DEMANDED PERSONAL ATTENTION FROM AN OWNER, NOT A MANAGER.

>> AFTER TWO YEARS, JUNE GREW TIRED OF HOTEL LIVING AND BEGAN LOOKING FOR A HOME.

THE TIMING WAS PERFECT.

JUDGE LUNSFORD, WHO HAD INHERITED THE DUPLEX, HAD JUST FINISHED A TIRESOME FOUR-YEAR PROBATE ON MS. GARVEY'S WILL AND THE GARVEY SIDE OF THE DUPLEX WAS ON THE MARKET.

A FREQUENT VISITOR TO THE CORNER BAR AT THE RIVERSIDE, LUNSFORD PASSED THE WORD ALONG TO THE ABELMANS AND THEY BOUGHT IT.

BILL PETTITE HAS FOND CHILDHOOD MEMORIES OF VISITING HIS AUNT AND UNCLE ON CALIFORNIA AVENUE.

>> I USED TO GET IN TROUBLE OCCASIONALLY AS A YOUTH FOR PULLING THE TAPESTRY, PULL THE CORDS WHICH SUMMONED SERVANTS.

AT ONE TIME THEY HAD A NICE PHILIPPINO COUPLE WHO LIVED IN A SEPARATE WING OF THE HOUSE AND THEY WERE THE SERVANTS FOR NICK UNTIL HE SOLD THE RIVERSIDE CASINO IN 1949.

>> THE SYSTEM IS NO LONGER FUNCTIONAL, BUT THE TAPESTRY BELL PULLS STILL REMAIN IN SOME AREAS OF THE HOUSE AS A REMINDER OF THAT ERA.

>> NICK WAS INVOLVED IN GAMING AND MINING, TWO OF RENO'S MOST LUCRATIVE ENTERPRISES.

HE WAS A PART OF THE SCENE WHEN BUSINESS WAS DONE ON A HANDSHAKE, WHEN NOT EVERYONE WAS PRECISELY ON THE UP AND UP AND WHEN RENO HAD A REPUTATION.

NEVERTHELESS, BILL'S RECOLLECTION OF HIS UNCLE IS LACED WITH FONDNESS AND RESPECT, THE REPUTATION OF HIS FRIENDS NEVER SEEM TO TARNISH NICK'S.

>> I WAS ALWAYS IMPRESSED WITH HIM, A VERY QUIET MAN AND A GENEROUS PERSON.

LOANED LOTS OF MONEY TO PEOPLE THAT HE WAS NEVER REPAID.

WAS A VERY GOOD DRESSER.

ALWAYS HAD HIS CLOTHES FROM THE JACOBS, AN OLD RENO COMPANY, CUT FOR HIM, HE NEVER BOUGHT FROM THE RACK, LIKE I DO.

AND SO HE WAS VERY KIND AND ALWAYS DID BUSINESS ON A HANDSHAKE, NEVER HAD A WRITTEN CONTRACT ON ANY -- ANYTHING THAT HE EVER HAD.

>> BILL PETTITE'S MEMORIES OF THE HOUSE ARE FROM A CHILD'S PERSPECTIVE, FILLED WITH A CHILD'S WONDER.

>> THE HOUSE WAS SO BIG AND AS A KID YOU LOOK -- EVEN THE BEAUTIFUL IRON WORK FENCE WORK WAS BIG.

AND THEY HAD A BIRTHDAY PARTY FOR ME HERE IN THE HOME IN 1951 AND I WASN'T VERY OLD EVEN THEN AND IT WAS JUST LIKE A BIG, BIG PLACE AND TO A YOUTH OVERWHELMING IN ITS DEPTH.

♪ MUSIC >> WILLIAMS LOVE OF DESIGN CAN BE TRANSLATED INTO HIS LOVE OF DETAILS.

IT WAS HE WHO ENVISIONED THE ELEMENTS IN THE HOUSE AND THE GARDENS THAT MADE IT UNIQUE AND GAVE IT THE CHIC THAT HELPED DEFINE HIS STYLE.

IT'S SAID THAT HE SPENT HOURS SKETCHING THOSE FINISHING TOUCHES WHILE HIS ASSISTANTS LAID OUT THE BASICS OF THE HOME.

PAUL REVERE WILLIAMS IS KNOWN TO HAVE HAD 15 COMMISSIONS IN THE STATE OF NEVADA, THOUGH THERE ARE LIKELY MORE THAN THAT.

THEY RANGED IN SIZE FROM CHURCHES TO APARTMENT BUILDINGS TO COTTAGES.

THEY ENCOMPASSED A VARIETY OF STYLES USING TRADITIONAL AND EXPERIMENTAL MATERIALS.

>> THE GARVEY HOUSE WAS MOST PROBABLY HIS FIRST RENO COMMISSION, WITH ITS UNUSUAL FLOOR PLAN AND SHELTERING GARDENS, IT HAS BEEN DESCRIBED AS ENIGMATIC.

AS ONE PASSES BY THERE, IS LITTLE SUGGESTION OF WHAT THE HOUSEHOLDS IN STORE.

>> I THINK PAUL WILLIAMS WAS THE PERFECT PERSON TO DESIGN THIS HOUSE.

HE HAD TO FIGHT DISCRIMINATION AS AN ARCHITECT AND LEARN TO SEPARATE HIS EGO FROM HIS DESIGNS SO THAT HE COULD ACTUALLY BE FULLY CREATIVE IN HIS DESIGNS AND MEET THE DESIRES OF HIS CLIENTS.

SO IT WOULD BE PERFECTLY IN CHARACTER TO MY MIND FOR PAUL WILLIAMS TO BE ABLE TO DESIGN A HOUSE THAT WAS ENIGMATIC AND DIDN'T PRESENT THIS MAJOR FORCE ON THE STREET THAT HE WAS FINE WITH A BUILDING THAT WAS OBSCURED FROM THE ROADWAY BECAUSE HE WAS ABLE TO USE HIS ARTISTIC ABILITIES TO SATISFY HIS CLIENT AND IN ALL THE LITTLE AREAS OF THIS HOUSE -- - I MEAN, IF YOU JUST LOOK AT THE DETAILS ON THE HOUSE, YOU CAN SEE HIS ARTISTRY AND THAT WOULD BE PERFECTLY IN KEEPING WITH THE MAN WHOSE LOVE WAS IN HIS ARTISTRY MORE SO THAN IN HIS EGO.

>> AS WAS OFTEN THE CASE IN THE FREE-WHEELING RENO OF THE 1930s A TANTALIZING STORY EMERGED ABOUT THE VERY PRIVATE MS. GARVEY.

IT WAS RUMORED THAT THE GARVEY HOUSE WAS THE SETTING FOR HER DRAMATIC MURDER.

HER CHAUFFEUR WAS NAMED THE CULPRIT.

HE REPORTEDLY TOOK THE BODY AND STASHED IT WHO KNOWS WHERE.

WHAT A DELICIOUS STORY.

UNFORTUNATELY THE TRUTH APPEALS IN COMPARISON.

LUELLA GARVEY SUFFERED A STROKE WHILE VISITING HER MOTHER IN SOUTHERN CALIFORNIA.

SHE LINGERED IN A PARALYZED STATE FOR TWO WEEKS, DIED AND WAS BURIED IN FOREST LAWN CEMETERY IN FEBRUARY OF 1942.

IF YOU'D LIKE TO KNOW MORE ABOUT THE GARVEY HOUSE OR ANY OF THE HOUSES IN OUR SERIES, GO TO OUR WEBSITE, KNPB.ORG.

UNTIL NEXT TIME, PRESERVE THE ARCHITECTURE AND ENJOY THE HERITAGE OF YOUR COMMUNITY.

>> PRINCIPAL PRODUCTION FUNDING FOR "HOUSE WITH A HISTORY" HAS BEEN PROVIDED BY THE DEPARTMENT OF CULTURAL AFFAIRS, THE NEVADA STATE HISTORIC PRESERVATION OFFICE THROUGH A DEPARTMENT OF INTERIOR GRANT.

MAJOR FUNDING WAS PROVIDED BY WELLS FARGO HOME MORTGAGE.

WELLS FARGO IS PROUD TO BE PART OF THE NORTHERN NEVADA COMMUNITY FOR OVER 150 YEARS.

WELLS FARGO, THE NEXT STAGE.

ADDITIONAL FUNDING HAS BEEN GRANTED BY THE CITY OF RENO ARTS