The English Home July/August 2021 - US Edition

ENGLISH HOME The

Celebrating the essence of English style

SAVOURING SUMMER

Step inside five homes dressed beautifully for the season DESIGN ROYALTY India Hicks on the art of entertaining

EXPERT GUIDES • Blissful bedrooms • Decorating with paint,tiles & textiles

SOOTHING INTERIORS Calm tones & textures to create a gentle mood

GLORIOUS GARDENS

Growing English roses & choosing a garden sculpture

August 2021

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CONTENTS AUGUST 2021

24

PHOTOGRAPHS (ABOVE LEFT) © BRENT DARBY; (TOP RIGHT) © RACHAEL SMITH; ABOVE RIGHT) © ANDREAS VON EINSIEDEL

52

34

Beautiful Buys

74 RESTFUL BEDROOMS Design ideas to create the

6

83 POINT OF VIEW Choosing a garden sculpture to add

DESIGN DISCOVERIES Set the mood for summer.

perfect sanctuary.

interest and create a focal point.

12 REGENCY ROMANCE Graceful interior pieces.

14 SUNNY OUTLOOK Chic outdoor entertaining.

English Homes 16 ELEGANT REVIVAL A 1930s seaside house in Sussex

receives a characterful transformation.

24 SENSE OF BALANCE An eighteenth-century former

schoolhouse is updated with a mix of old and new.

34 LEAP OF FAITH The sympathetic and stylish

restoration of a Jacobean house in Somerset.

44 COMING HOME A Victorian country house in Surrey

proves a welcome return to the UK for one couple.

52 FINDING THE MAGIC A nineteenth-century former

barn in Suffollk is filled with vintage treasures.

Quintessentially 89 NATURAL INSPIRATION Indulge in artistic pastimes.

90 FROM PATCH TO PLATE: MATTHEW FORT Our food

columnist on the delights of fresh herbs.

92 HOSTING A PARTY AND OTHER PERILS Hints and tips

and a sprinkling of family anecdotes from India Hicks.

100 COMING UP ROSES Its beauty and fragrance make the

rose the highlight of an English garden in summer.

108 HOUSES WITH CHARACTER Waterside properties.

111 THE ART OF ENTERTAINING IN THE GARDEN Mrs M

on planning outdoor gatherings.

114 MY DESIGN HERO Plantswoman Sarah Raven on

gardener and gardening writer Christopher Lloyd.

Style Inspiration

Regulars

61 BATHED IN BEAUTY Adorn the bathroom with florals.

4

62 THE FEELING’S NEUTRAL Create calm interiors with

natural tones and textures.

70 DECORATING PROJECTS FOR SUMMER Inspiration

from the experts on the interiors jobs to tackle.

A LETTER FROM HOME A warm welcome from

ENGLISH HOME The

Celebrating the essence of English style

SAVOURING SUMMER

Step inside five homes dressed beautifully for the season DESIGN ROYALTY India Hicks on the art of entertaining

EXPERT GUIDES • Blissful bedrooms • Decorating with paint,tiles & textiles

our Editor.

106 READER COMPETITION Win a tailor-made luxury

holiday for two in Great Britain.

113 ADDRESS BOOK Useful contact details.

SOOTHING INTERIORS Calm tones & textures to create a gentle mood

GLORIOUS GARDENS

Growing English roses & choosing a garden sculpture

TEH US AUG 21 Cover Final.indd 1

August 2021

27/04/2021 13:38

COVER IMAGE: ANDREAS VON EINSIEDEL

THE ENGLISH HOME 3

WRITE TO US AT

The English Home, Jubilee House, 2 Jubilee Place, London, SW3 3TQ, UK Tel +44 (0)333 014 3215 Email: theenglishhome@chelseamagazines.com

www.theenglishhome.co.uk EDITORIAL

A letter from home

T

here is a sense of anticipation in the air as we work on this special summer edition of The English Home. It’s a heady mix of excitement at socialising outdoors finally being on the agenda, following months of lockdown, and of the weather looking likely to permit it.

Mrs M has been preparing diligently for entertaining in the garden (p111) and amuses us with thoughts on how she will negotiate both a reluctant husband and our unpredictable climate.

In contrast, we are delighted to share insights on hosting outdoors from India Hicks – granddaughter of Earl Mountbatten of Burma and daughter of Lady Pamela Hicks and renowned interior designer the late David Hicks – who shares invaluable and surprisingly laid-back style tips for creating elegant events as well as humourous anecdotes from her own family gatherings (p92).

Gardens are, naturally, in the spotlight and we look at how to add scultpure and roses to enhance outdoor spaces. Matthew Fort also shares his tips on herbs that are easy to grow at this time of year and add flavour to so many dishes, including his simple yet delicious recipe (p90) perfect for packing in a picnic hamper (p14).

Of course, as always, we share our expertise on decorating for the season. In this issue we look at how to use a calm palette of textures and colours to create light, bright, elegant interiors (p62), and the elements required for a blissful bedroom (p74), along with expert guidance on tackling summer decorating projects (p70).

We hope that this issue will provide plenty of inspiration to make your summer a glorious one.

Samantha Scott-Jeffries, Editor Follow us on Twitter @englishhometeam Pinterest at pinterest.com/theenglishhome Facebook at facebook.com@theenglishhome Instagram at instagram.com@englishhomemag

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© The Chelsea Magazine Company Ltd 2021. All rights reserved. Text and pictures are copyright restricted and must not be reproduced without permission of the publishers. The information in The English Home has been published in good faith and every effort has been made to ensure its accuracy. However, where appropriate, you are advised to check prices, opening times and dates, etc, before making final arrangements. All liability for loss, disappointment, negligence or damage caused by reliance on the information within this publication is hereby excluded. The opinions expressed by the contributors of The English Home are not necessarily those of the publisher. www.chelseamagazines.com: Publisher of Artists & Illustrators, Baby, BRITAIN, Classic Boat, Cruise International, Discover Britain, The English Garden, Independent School Parent and associated Guides, Little London, Popshot, Racecar Engineering, Sailing Today, Scotland Magazine, Yachts & Yachting and Wedding Ideas.

PORTRAIT GRANT SCOTT

A glorious display of shrub roses by Lincolnshire Flower Company. For more about these sweetly ra ran flow rs, turn to page 100.

Editor Samantha Scott-Jeffries Managing Editor Sarah Feeley Art Editors Claire Hicks, Rebecca Stead Sub Editor Lea Tacey Decorating Editor Katy Mclean Features Editor Eve Middleton Homes & Lifestyle Editor Clair Wayman Editor-at-Large Kate Freud Editorial Assistant Nell Whitaker

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DESIGN DISCOVERIES

Creative collaborations and archival inspiration form this month’s focus

HISTORIC DESIGN Inspired by key National Trust sites, the tile collaboration between Sarsen Stone and the Trust includes hand-painted designs based on Delft tiles in the Dyrham Park dairy. A minimum of £10,000 in sales goes towards the Trust’s conservation work.

Collection from £45 a square metre, (Dyrham Dairy tiles, £90 for set of nine), Sarsen Stone x National Trust

BOTANICAL BEAUTY Inspired by the beautiful colour illustrations in Curtis’s Botanical Magazine – the world’s longest running (since 1787) botanical publication – the 16 designs that make up this tea towel and apron collection include blooms such as Aricula, Orange Lily, Heliantus and Macartney’s Rose, seen here from left to right.

Tea towels, £12.99 each; aprons (not shown), £21.99 each, all We Love Cushions

REVERSE PATTERN The cheery hues of the mimosa flower provide not only a lovely lift to spring tables in this floral print placemat, but are also captured in the yellow-andwhite stripe reverse – perfect for creating a change of mood by simply switching sides.

Mimosa quilted reversible placemat, £18, Sarah K 6 THE ENGLISH HOME

SHOPPING

ELEGANT OFFICE Part of Atkin & Thyme’s new season’s collection, this smart two-drawer console desk combines sleek lines and neat design perfect for carrying out paperwork and other home office tasks.

We particularly like the combination of warm rosewood, contrasting white marble top and elegant brass inlay.

Deco marble console desk, £449,  Atkin & Thyme



THE ENGLISH HOME 7

From Book to Bronze www.robertjamesworkshop.com +44 (0)7515 126119 | james@robertjamesworkshop.com

SHOPPING

HERITAGE HUES Featuring a specially developed velvet matt finish for walls and ceilings, alongside eggshell and a premium undercoat, the new 112-shade range from Dulux combines technical innovation with heritage hues.

Dulux Heritage, from £19.18 for 1l Velvet Matt. (For more on ways with paint, turn to page 70.)

READY-MADE RUGS

ARTISTIC LICENCE

Designed and woven in the UK, the Williamsburg 100-per-cent-wool rugs from Roger Oates sit alongside the brand’s bespoke service. In a reversible herringbone design, they can be finished with fringe or linen tape, and are available in two new colours: peach (below) and teal.

Williamsburg rug, from £365, Roger Oates

Bordallo Pinheiro’s eye-catching and vibrant ceramicware is now available at John Lewis & Partners, both online and in store. Designed and made in Portugal using fauna and flora as decorative inspiration, the colourful collection will add a distinctive quality to a table setting.

Bordallo Pinheiro ceramicware, from  £12, John Lewis & Partners

RECYCLED WEAVES The new Waves fabric collection from Kirkby is made from 100 per cent recycled polyester yarns, produced from waste plastic, and sees a percentage of profits go to the Marine Conservation Society.

Sofa, Harvest Gold; cushion, Dove, £44 a metre, Kirkby Designs

 THE ENGLISH HOME 9

SHOPPING

SWEET DREAMS Adding a touch of grandeur and creating a truly inviting space in which to rest and relax, the simple sweeping lines of this elegant four-poster bed are as pretty left unadorned as they might be if draped in romantic sheers.

Luna canopy bed, £995, Cox & Cox

Surface pattern designer Neisha Crosland and iconic American design house Schumacher have collaborated for the new Espalier collection of wallcoverings, trimmings and fabrics, including Thistle, a nature-inspired silk-linen print, seen here in Ivory.

Espalier collection, from £56 a metre, Neisha Crosland x Schumacher

TALES OF THE ORIENT Drawing inspiration from an archival document from the 1940s, this stylised wallcovering – presented in a bright, pastel palette – is part of a new wallpaper collection and features a beautiful landscape of mountains, willows and Oriental-style buildings.

Yanagi, from £146 a roll, Linwood n

10 THE ENGLISH HOME

FEATURE EVE MIDDLETON PHOTOGRAPHS P6 (SARSEN) © CHRIS SNOOK; (WE LOVE CUSHIONS) © MICHAEL LECKIE. P9 (KIRKBY) © PEER LINDGREN. P110 (LINWOOD) © JOHN BAILEY

ARTIST COLLABORATION

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SHOPPING

The Clarence white marble fireplace, £4,080, Jamb

Calisto key tassel in Fog (above), £48; Calisto single tassel tieback in Fog (right), £140, Samuel & Sons

100 Years of Royal Albert 1900 Regency Blue three-piece set, £70, Royal Albert

REGENCY ROMANCE The elegance of Regency style has long been admired by our readers, but Netflix television series Bridgerton may have piqued interest in how to bring this graceful look into all manner of homes. Add nods to the style with shapely carved furniture, gilded mirrors, and fine silks in pastel colours, or opt for contemporary twists in the form of wallpaper or a statement table.

Or simply set the scene for afternoon tea with the finest china and silverware to ensure the occasion is the talk of the ‘ton’.

Wisteria Smoke Blue fabric, £54 a metre, Jacqueline Milton

Casablanca silk pillowcase, £111, Gingerlily

Two-arm Denton wall light with medium backplate, £553, Besselink & Jones

Cameo wallpaper in Powder Pink, £120 a roll, Pearl Lowe x Woodchip & Magnolia

Tea strainer and long-handled caddy spoon set, £85, Fortnum & Mason

Ballygannon mirror in Antique Gold, £450, Oka

perch perrow xxxxxxx xxxxxxxxxxxxxxxxxxx

Regence candlestick, £85, India Jane 12 THE ENGLISH HOME

FEATURE KATY MCLEAN

Palais de Versailles Gold Chaise Longue, £1,160, The French Bedroom Co

David Bust side table, £295, Audenza

DISTINCTLY BRITISH

We welcome you to

welligogs.com +44 (0)1785 662277 Please visit us on Featured here: Romana Jacket, Phoebe Blanca Shirt & Megara Leather & Suede Boots

Curtain, Melford, £35 a metre; wallpaper, Fencott, £59 a metre, both National Trust collection, Sanderson

SHOPPING

Cortez Cobalt outdoor rug, from £330, Designers Guild Chevron Orange outdoor scatter cushion, £23, Bramblecrest Tweedmill recycled picnic rug, £45; Mario Luca Giusti melamine plates, £24 each, and all other items, Amara

Multicoloured LED solar lantern chain, £22, Ella James

SUNNY OUTLOOK As outdoor spaces will be essential for safe socialising, take the opportunity to make meeting friends and family fun-filled occasions. Whether gathering in the garden or elsewhere for a picnic, bright accessories will add a playful touch – outdoor cushions and fold-out chairs in jaunty fabrics, a striking outdoor rug, and solar lights to keep things going past dusk. Bring a cordless radio to provide ambience, garden games for everyone to join in and serve up a portable feast, lemonade, and perhaps a cocktail or two.

Collier tumbler, £63 for a set of four, Soho Home

Glass drinks dispenser, £22, Garden Trading

Roberts Revival Uno DAB/DAB+/FM digital radio with alarm, Teal Blue, £149.99, John Lewis & Partners

Jio garden lantern, from £12.95, Nkuku

Riverlands bamboo plate, £4 each, National Trust Shop

Four-person picnic hamper, £49.99, Von Haus

Wooden Director Chair, Lemons, £40, Habitat

Table Grill ’71, £199, Morsø

FEATURE KATY MCLEAN

Traditional wooden rounders set, £29.95, Rex London

14 THE ENGLISH HOME

NEW DECORATING GUIDE 1 UIDE 2 20IGN G

S DE

SITTING ROOMS

INTERIOR DESIGN CREATING THE PERFECT ENGLISH HOME

Case Study One

Serene

SITTING ROOMS Four top interior designers reveal what to consider when designing a stylish sitting room with enduring appeal

P

ersonal style and architectural considerations are priorities when considering the design and layout of a sitting room. However, function is undeniably an important factor too – where some may require a sleek, elegant space for evening drinks and entertaining, others may need a family-friendly room where different generations can come together and relax in each other’s company. How best then to blend these varying elements? We talk to leading designers to glean insights on key projects of theirs and highlight stylish and effective solutions.

PROFESSIONAL DESIGN ADVICE Kitchens Bathrooms Sitting rooms Dining rooms Home offices Dressing rooms

Louise Bradley on combining a contemporary aesthetic with a period property Interior designer Louise Bradley provides insights on fulfilling a brief to create a luxurious, contemporary setting that was sympathetic to the history of a Grade II listed property.

PLUS

Chic shortcuts & wise buys Essential resources & brilliant tips

The brief

“The main house at the estate – a 130-acre shooting and fishing estate in Surrey – is Grade II listed and was designed by Scottish architect JM Brydon in 1885 as his own home. The sitting room boasts large windows and ample natural light, and is the main space within which the family gathers and hosts their friends. The client’s brief was for a classic-contemporary aesthetic that also fitted with the history of the house.”

Past and present

“Working with a Grade II listed property sometimes has its challenges, with many existing features needing to be retained throughout the interior architecture of the building. The clients wanted an elegant yet comfortable drawing room in which they could relax and entertain family and friends, with a classic contemporary-feel decor that was also sympathetic to the history of the estate.

“We retained the original floor, the original columns and fireplace. The beautiful large bay window had amazing views over the gardens so it was important to look at a floor plan and colour scheme that made the most of the spectacular gardens; to achieve this, we opted for soft muted colours that would complement

ABOVE The bespoke ornate breakfront bookcase along the far wall is designed to complement the style and history of the property and echoes architectural elements in the room.

the different seasons. Under the bay window, we made a large comfortable window seat that offered an area to relax, dressed with a variety of bespoke cushions using different textures and patterns, perfect to recline amidst for morning coffee and papers. The comfortable contemporary sofas were upholstered in a soft chenille and again dressed with cushions in assorted traditional prints. Cushions always add an element of luxury allowing to add colour without overpowering the room.”

Creating a blend

“The choice of a coffee table with clean lines and an aged mirror top had a more contemporary feel, dressed with interesting books and accessories adding interest

to the space. A central chandelier was a must and completed the overall aesthetic. The occasional table lamps, in both metal and rock crystal, created another level of light to the room in the evenings. The large bespoke breakfront bookcase was made by one of our trusted artisan craftsmen and is designed in a traditional style with a specialist paint finish in aged black, with an antique mirror detail in the pilasters to add interest. It also allows the clients to display their books, objets d’art collected over the years on their travels and family photographs.”  RIGHT The simple design and clean lines of the coffee table create a perfect setting for a carefully curated selection of books and mementoes.

14 THE ENGLISH HOME

THE ENGLISH HOME 15

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BATHROOMS

Case Study One

Blissful

Gemma Gordon-Duff on creating a decadent en suite Interior designer Gemma Gordon-Duff, of architectural interior design practice Gordon-Duff & Linton, reveals how she created a luxurious central London master suite with decadent materials and unfussy design details to create a scheme with a difference.

BATHROOMS

Design experts reveal important considerations in balancing style and practicality to create the ideal bathroom

ORDER B OVER 30 INTERIOR DESIGNER CASE STUDIES TODAY BY FOR Nina Campbell, Joanna Wood, Jane Churchill, Paolo Moschino,

athrooms, as intimate, personal spaces, have to be functional and hard-wearing yet also provide a cocoonlike and indulgent zone where we can close the door and feel at peace. It is vitally important, therefore, to get the feel right, particularly as warmth, comfort and a sense of luxury are bound to be high on the list of priorities. So the question is how to marry the brisk efficiency necessary for the early

morning rush with the pleasure of a relaxing evening bath or a long, hot shower?

Here, our bathrooms special showcases a range of rooms by four experienced designers, each demonstrating that it is eminently possible to marry form and function and create a space which is both perfectly practical and a beautiful haven in which to refresh and unwind.

The brief

“My client’s main residence is outside the UK and so, as this home is used intermittently, they wanted the master suite – bedroom, dressing room and bathroom – to have all the luxuries of a hotel, but with a more homely feel. They loved the decadence of a copper bath in the dressing room, and asked us to use this as the starting point for the design. The property is a handsome Georgian townhouse, with high ceilings and beautiful architectural features, and so another aim was to complement this feeling of grandeur with a suitably classic yet chic design.”

Luxury & opulence

“The perfect place for the bath was by the window in the dressing room, with a cream linen Roman blind for privacy. I chose copper because the client expressed a desire for a statement piece and, to elevate the experience (and to allow for possible water splashes), raised the bath on an Arabescato marble plinth. The room is finished with a luxurious, cut-pile velvet carpet. Next to the bath, I designed an oversized ottoman in a sage cotton velvet that allows for clothes to be laid out, or for a partner to sit and chat. I do feel that bathing in a room full of soft, luxurious fabrics is a lovely, serene and elegant way to relax and cleanse.

I designed wardrobe doors with a copper inlay to complement the bath.

The en suite has plenty of space for a shower and vanity unit. I continued the opulent theme by using the same Arabescato marble on the walls, floor and even the drawer fronts. Above the vanity, wall-mounted taps create clean lines and allow plenty of space for toiletries, and a shallow mirror-fronted storage unit has inset lighting concealed beneath. The oversized, walk-in shower with a wet-room floor ensures the room feels spacious but unfussy. The finishing touch is low-level lighting in the bathroom that is automatically triggered by movement at night. The overall effect is luxurious but also quite architectural.” 

86 THE ENGLISH HOME

OPPOSITE PAGE & ABOVE RIGHT A copper bath from Catchpole & Rye is raised to window height by being set on a marble plinth in the dressing room.

The wardrobe doors feature a copper inlay to echo the bath’s exterior; they were designed by Gordon-Duff & Linton. The silverframed bird paintings are from Oka. ABOVE LEFT The walls, floor and drawer fronts of the en-suite shower room are covered with beautifully grained Arabescato marble from Stone of London.

THE ENGLISH HOME 87

TEH UK Bookazine 2021Bathroom case studySSJamends.indd 86-87

27/10/2020 15:40

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16 THE ENGLISH HOME

Elegant REVIVAL The transformation of a characterful but tired 1930s property into a beautiful and inviting seaside home draws inspiration from its Arts and Crafts roots FEATURE CHRISTINE STOVELL PHOTOGRAPHY ALEXANDER JAMES

‘We liked the Arts and Crafts elements, the combination of natural light and materials. It’s a very relaxed and comfortable environment’ PREVIOUS PAGE In the dining room, a chandelier from Stuart Interiors hangs above the Marlowe table from Antiques

by Design. The chairs from The Dining Chair Company are covered in Robert Kime’s Mughal Flower fabric.

T

here is a soothing sense of permanence about Kathleen and Scott Simpson’s Sussex home, emanating, perhaps, from its Arts and Crafts influences, a regard for the calibre of craftsmanship and materials which resonate in today’s world. It is also a reflection of the couple’s simple yearning to find a country house to call their own after many years of renting second properties.

The couple have a townhouse in London, where Scott, a lawyer, is based, and were renting a house in Ludlow. When the lease for the rental property came to its conclusion, Kathleen and Scott welcomed the opportunity to move closer to the sea, where they and their family could pursue the leisure activities they

18 THE ENGLISH HOME

love. “We have three grown-up children who spend as much time as possible on or near the water, and my husband is part fish,” Kathleen says. “He’s a keen surfer, he sails and we both love paddle-boarding and beach walks with the dogs.”

Kathleen and Scott had become familiar with the picturesque villages of west Sussex through visiting friends in the area, and were drawn both by the coastal location and good links to London. Although this ideal combination would allow them to make the most of their weekends and holidays, it also created a high demand for rental properties, putting prices at a premium. “We’d always been aware of the limitations of renting a second home, but this cemented our thinking,” Kathleen explains.

The couple were charmed by the character and cosiness of a 1930s detached house set close to the sea, in a pretty village with strong yachting associations. “We liked the Arts and Crafts elements, the combination of natural light and materials. It’s a very relaxed and comfortable environment,” says Kathleen.

For all its allure, the house was in need of substantial renovation and whilst Kathleen and Scott could see how lovely the property could be, bringing it back to life was far from plain sailing. The Simpsons took the decision to move in and live with the imperfections for six months until they were sure of what they wanted for their home. “Our focus was on restoring the house to a good structural condition and modernising the interior without losing any of its character and comfort,” explains Kathleen. “We were keen to avoid any planning issues, so kept the room layout as it was with just a few minor adjustments.”

They began by employing a local builder, Nick Becker, of Tidal Bespoke, to renovate a detached annexe that was part 

LEFT A symmetrical balance of decorative elements epitomises the take on Arts and Crafts that Louise Jones has created for the interiors.

ABOVE Natural materials imbue the hall with a sense of calm. For a similar trolley, try Alfred Newall at The New Craftsmen.

RIGHT New wood panelling coupled with an antique settle from John Howkins Antiques adds period charm and character.

OPPOSITE PAGE In the drawing room, a Chinese laquer coffee table from Guinevere Antiques sits between Lawson Wood Alexander sofas.

Curtains in Begum

by Penny Morrison complete the look.

THE ENGLISH HOME 19

ABOVE The cabinets in the kitchen are by Sylvarna Kitchen Design, with Verde Italia granite work surfaces and travertine flooring from Gerald Culliford.

The Tiber pendant lights above the island are by Hector Finch, whilst the glass dome pendants are from Holloways of Ludlow.

LEFT The 1930s Arts and Crafts home stands in extensive gardens. As part of the renovation project, the roof tiles were relaid and handmade wooden windows installed.

The couple lived in the annexe in the background during the renovations.

20 THE ENGLISH HOME

‘Our focus was on restoring the house and modernising the interior without losing any of its character and comfort’ of the property so they could live comfortably on site whilst work progressed on the main house. “The only problem was that the annexe didn’t have a kitchen, so we had a lot of barbecues,” Kathleen adds, laughing.

The renovation spanned a period of 10 months, during which time the house was partially underpinned, the rising damp was cured, the roof tiles were relaid and the services were upgraded. Handmade bespoke wooden windows and doors replaced PVCu fittings, and engineered-oak floors were laid on the ground floor with solid oak upstairs.

Kathleen wanted to create a relaxed, comfortable home, a place where family, friends and work colleagues could enjoy time out. To help her achieve this, she turned to interior designer, Louise Jones, who is renowned for creating elegant and luxurious interiors. “Louise helped us with our home in London and has an excellent understanding of

our taste. We trust her completely,” says Kathleen.

“We wanted to incorporate some key pieces of furniture – pieces handed down through the family and other favourite items that have been with us for years – but we also asked Louise to find things that suited the house and our lifestyle.”

Kathleen and Louise have a shared philosophy of decorating according to the age and style of a property. “Kathleen and Scott’s London townhouse is traditionally elegant and formal, whereas their Sussex home has a relaxed, holiday feel,” Louise explains. “It’s a fresh take on Arts and Crafts, with fun, uplifting but welcoming interiors. One of the aspects of Arts and Crafts design that is especially enjoyable is that there are so many lovely wallpapers, fabrics and tiles to choose from. It was a fascinating period to research.”

Architectural details, designed by Louise, many handcrafted in the true spirit of the Arts and Crafts 

ABOVE Pineapples are traditionally associated with hospitality, so the 1930s antique light fitting is perfectly placed in this cosy kitchen alcove. The bespoke table and chairs are by Titchmarsh & Goodwin and the handmade cupboards are by Sylvarna Kitchen Design.

Farrow & Ball Lichen paint was used for the walls.

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ABOVE Louise Jones created a quietly luxurious scheme for the master bedroom.

The walls are in custom-mixed paint

by Papers and Paints and the antique lamps are from Brigitte Garnier. Visit louisejonesinteriors. com to see more of Louise’s work.

LEFT The walls are in Bisque TC45 by Papers and Paints, the fabric canopy is in Algiers by Robert Kime and the antique light fitting is from Brownrigg Antiques.

22 THE ENGLISH HOME

movement, provide the backbone to the scheme, with new panelling in the hall and drawing room – where there is also a new stone fireplace – and in the period styling of the new bathrooms. Colours and patterns are drawn from the natural world, and by incorporating so many family pieces in a clever fusion of objects and styles, there is a deeply personal feel and a sense of the rooms evolving over many years.

“So many of our belongings, books and furniture have finally found a home here,” Kathleen observes with quiet satisfaction. “The Welsh dresser in the dining room, the chests of drawers which belonged to my Irish grandmother, the repainted Dragons [of Walton Street] nursery furniture in my daughter’s room. Even the rosewood bed which my parents accidentally bought at auction has finally come into its own.”

The leap of faith Kathleen and Scott took when they were beguiled by their sleeping beauty of a

‘So many of our belongings, books and furniture have finally found a home here’ holiday home has repaid them handsomely. Their commitment to making the property structurally sound and their devotion to reawakening its period feel has provided them with a sanctuary from city living and a seaside home at the heart of their family.

“We spend as much time as we can here,” says Kathleen. “We love our home in London, but this is the place we escape to for weekends and holidays.

In summer, we enjoy the garden room or being outside, as well as the cosy feel of the drawing room and being able to curl up inside. But what we truly love about this place is the sense of permanence after so many years of renting. We really feel we’re enjoying the best of both worlds.” n

ABOVE & RIGHT Satin Coutances Positif Vert fabric by Pierre Frey enfolds the guest bedroom.

Among the key pieces the family wanted to retain are the repainted bedroom drawers by Dragons of Walton Street, which furnished their youngest daughter’s bedroom when she was small.

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Sense of BALANCE Interior designer Emma Sims-Hilditch has harmoniously combined old and new to transform an eighteenth-century former schoolhouse into a much-loved family home FEATURE & STYLING CLAIR WAYMAN PHOTOGRAPHY RACHAEL SMITH

24 THE ENGLISH HOME

Emma loves to prop artwork against walls to create a balanced display that can be changed at whim. The landscapes seen here are by Emma’s daughter, artist Daisy Sims-Hilditch, whilst the portrait is by Rachel Personett.

OPPOSITE Curved lime plaster walls and an original 200-year-old beam bring character to the inner hall. The oak bench is bespoke and based on an antique.

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ABOVE The garden room is newly constructed on the site of a derelict old shed. Rather than creating a traditional conservatory with a fully glazed roof, Emma and John opted for a solid roof and a slice of glass above that washes the room in soft light.

Try Neptune’s Cranbrook rough boarding for a similar look on the walls.

H

aving both grown up in the countryside, Emma and John Sims-Hilditch always knew they wanted to bring up their family in a rural setting. So in 1990, newly-wed and living in London, they began searching for a country property in Wiltshire. A trio of dilapidated Grade II listed cottages that had once been a village school soon caught their eye. “We were both really excited about the idea,” says Emma. “For the same money, we would have been able to buy a refurbished two-up-two-down terraced house in a village, so it was either that or take a gamble and go for something like this, which needed a full conversion. I remember family friends advising us not to take it on because they thought it was far too big a project, but we were very gung-ho and thought ‘we can do this’.”

It is perhaps not surprising the couple, despite being in their early twenties, were not daunted by taking on such a challenging renovation, as Emma went on to set up a successful interior design practice, Sims Hilditch, and John co-founded well-known kitchen, furniture and homeware brand Neptune.

26 THE ENGLISH HOME

However, before buying the property, they discovered there was an unusual clause in the contract involving an elderly gentleman called Cyril, who was the original school caretaker and still living in one of the cottages. “The school closed in 1979 and Cyril managed to stay on as a sort of sitting tenant,” explains Emma. “When we bought the cottages, he paid us a peppercorn rent and was there until he passed away 10 years later. We loved Cyril, he was a real ‘salt of the earth’ old boy who had lived in the village all his life and had so many stories to tell.”

Dating back to 1790, the three cottages were originally built by the local landowner for his farm workers to live in. He later bequeathed the cottages to the village church to be used as a school. One front entrance led into the school room, whilst the one to the right led into the headmistress’s living quarters.

When Emma and John first acquired the neglected cottages, they converted the old school room into accommodation for themselves and their growing family. (The couple have three children, Daisy, Betty and Billy, who are now all in their twenties.)

The kitchen is updated regularly with fresh colourways and the island is currently painted in Olive from Neptune.

The Carrara marble worktops are from Anything Stone.

‘Our whole ethos was to retain as much of the original character of the building as we could’ The property, which dates from the 1790s, was originally three farmworkers’ cottages, then a schoolhouse to the left and headmistress’s living quarters to the right.

ABOVE Emma sits in her favourite spot on one of a pair of George Smith armchairs. For a similar widestriped fabric try Rayure Gatsby No2 from Nobilis.

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For spring, Emma has freshened up the look in the sitting room with a mix of soft pink and green cushions from Fermoie and Neptune. The dependable Jøtul wood-burning stove adds to the farmhouse charm. The barn doors are painted in French Gray by Farrow & Ball.

28 THE ENGLISH HOME

The original kitchen is used mainly during the winter months, when the oil-fired Aga keeps the room warm. Art in the form of a toucan by master ceramicist John Chipperfield, founder of the Suffolk Craft Society, sits on the shelf above. The farmhouse table is contrasted by a pair of early Ikea metal chairs with seats painted in Willow Tree by Dulux.

ABOVE The staircase leading to the inner hall was inspired by a trip to Provence and built using breeze blocks and a bespoke iron handrail. Blond Barr French limestone from Artisans of Devizes covers the steps and floor.

‘As well as getting the architectural detailing right, we wanted a balance between formality and informality’ After Cyril passed away, the couple started on the second stage, turning the cottages into one home.

Then, in 2007, they acquired the ramshackle barn next door and connected it to the main property, converting it into an open-plan sitting room and kitchen, with a master bedroom above. “Originally the barn just had a basic corrugated-iron roof and no windows or doors,” says Emma. “As it’s on a slope, we had to dig out the kitchen to get the head height, with steps up into the sitting room area. It was quite an architectural and mathematical conundrum, but John is very good at layouts and space planning, so he enjoyed working closely with the architect.”

The whole property is Grade II listed, so Emma and John carefully worked within the existing footprint, without compromising on style. “Our whole ethos was to try and retain as much of the original character of the building as we could. We also wanted to create layers of texture throughout the house and bring character to the new spaces with rough pine boarding and tactile lime plaster.”

Old has been blended with new and curved archways eliminate the need for doors downstairs, creating an open, informal feel. Wood boards painted in a light wash cover walls and ceilings, creating a  cocooning effect, whilst textural French limestone

ABOVE LEFT The floating bookcase above the sitting room is made using versatile Pembroke fitted shelves from Neptune.

ABOVE The barn conversion containing the sitting room, kitchen and master bedroom above is joined to the original cottages.

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‘We wanted to create layers of texture throughout and bring character to the new spaces with rough pine boarding and tactile lime plaster’ ABOVE LEFT “I really wanted a bathtub in our bedroom and it’s strategically placed to make the most of the gorgeous view up the valley,” says Emma. The reclaimed bath is painted in Pigeon by Farrow & Ball.

ABOVE RIGHT A partition behind the bed in the master bedroom leads to a shower on one side and a bathroom on the other. Neptune’s Chichester counterop washstand provides practical storage. The pebble floor tiles are

by Mandarin Stone.

blends with the original stone, evoking a rustic Provençal farmhouse feel, whilst the high ceilings and pale beams create a sense of openness and light.

“We’ve used a water and emulsion paint mix to create a lovely, pale, weathered look on both the Douglas Fir beams and the basic builders’ merchant pine boards, so it feels like these spaces have been here for a long time, rather than newly added.”

During the renovation, Emma and John went on an inspirational trip to Belgium to soak up the atmosphere. “I’m very influenced by Belgian designers and love their rustic farmhouse aesthetic,” Emma says. The result is a dramatic limestone fireplace for the sitting room, designed with the help of Alex Puddy from Architectural Heritage. They gleaned more ideas from La Bastide de Marie hotel in Provence, installing a pair of staircases with bespoke iron handrails made by a local blacksmith. “I wanted quite an aged, artisan feel, so I asked the blacksmith to hammer and dent the metal to create a rustic effect,” explains Emma.

30 THE ENGLISH HOME

Deciding to keep half the barn full height, Emma and John created a huge bookcase overlooking the lofty sitting room. “I was keen to create a sense of drama in this room and we needed somewhere to store all our lovely books,” says Emma. “As we were building this wall from scratch, I thought we should make it deep enough for a bookcase, otherwise, it would have just been a plain, painted plaster wall.” Whilst the majority of the sitting room has been newly constructed, the barn’s original Cotswold stone wall has been repointed and rebuilt in certain areas, so it all blends seamlessly.

Emma is a big believer in sustainability and loves to mix treasured antiques with good-quality newer pieces that are made to last. This means the interiors have stood the test of time and Emma’s motto of buying once and buying well holds true. Choosing a neutral backdrop of colours has meant that she can change accessories seasonally to freshen up the look. “I’m quite proud of the fact that pretty much everything in  the house is nearly 15 years old and I haven’t really

The bathroom walls are painted in Farrow & Ball’s Elephant’s Breath and the bath is painted in Dragon’s Blood by Fired Earth whilst the needlework panel was a gift from a friend.

“Our whippet Lily is loved by all who meet her,” Lynn says.

The spacious master bedroom which sits above the kitchen in the barn conversion maintains a light, lofty feel with a pitched roof, skylights and pale wood. The sheer curtain panels hanging from the bespoke fourposter bed are from a French antiques market.

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Original features have been harmoniously combined with new, natural elements and a gentle palette of colours to create calm, restful spaces changed anything since we converted the barn,” she says. “The other lovely thing is we’ve managed to recycle our original Neptune kitchen from its previous location in the house.” Over the years this house has been a test bed for quite a few Neptune designs and as the kitchen is made up of individual freestanding cabinets, it could be moved quite easily. Converting the barn into an open-plan living space has made it the heart of the home and really transformed the house for the whole family.

This property has evolved almost unrecognisably from its humble beginnings. Original features have been harmoniously combined with new, natural elements. Rustic Cotswold stone, warm wood and a gentle palette of colours all converge to create calm, restful spaces. “As well as getting the architectural detailing right, we wanted a balance between formality and informality,” Emma says. “I think we achieved that by just keeping things simple.”

Emma and John have put so much of themselves into this remarkable renovation, spanning 30 years, and the end result is a truly unique family home. n

32 THE ENGLISH HOME

ABOVE The guest bedroom feels more spacious now the pitch of the roof has been opened up.

Larsson chests from Neptune provide ample storage.

For similar lamps try Vaughan.

LEFT The couple decided to keep this original stone mullion window. “All the other windows were replaced, but we decided to keep this one because you can see it’s got the history of the house in it,” says Emma.

A pretty pink cushion from Fermoie sits on a Gustavian chair from Chelsea Textiles.

EMMA SIMS–HILDITCH

CHARACTER STUDY

FEATURE CLAIR WAYMAN PHOTOGRAPHS © RACHAEL SMITH WATERCOLOURS IN TOP RIGHT IMAGE DAISY SIMS-HILDITCH

The interior designer has combined some clever ideas to create a relaxed, harmonious and characterful home

What are easy ways to keep interiors feeling fresh and interesting?

Nothing is very static in our house – there are always things going on. I think that’s part of the fun of decorating. You can seasonally change accessories, such as cushions and throws, to make your home feel very different in summer and winter.

I like to create interesting ‘tablescapes’ on various surfaces throughout the house with books, photos, art and favourite pieces that mean something to me (page 23). Every area in the house needs to have things to look at as you walk through it, and it’s wonderful to have collections of things picked up over the years arranged in a creative way.

How would you avoid a conversion looking brand new?

When we were converting our barn, we told our builders we didn’t want any sharp edges on the walls and made sure they rounded everything off so the spaces felt old, which made such a difference.

Builders often use those metal right-angle trims on every corner and plaster over them, making the room feel like a modern box. We also incorporated a lot of rough boarding and lime plaster. It’s all about creating layers of character and texture, rather than making everything perfect – that’s what makes a home come alive and

feel special. When carrying out building work, it’s important to try and retain as much as possible of the originality of the building. We have the most wonderful 200-year-old beam with incredible patina in our inner hallway (page 22), so have made it into a real focal point.

When composing a scheme, what is one of the main things you consider?

I make sure I have a strong statement piece in every room, something that stands out and draws the eye, whether it’s a pair of big lamps or an antique piece of furniture, a large mirror or chandelier. I like to go big and bold, avoiding everything feeling too little or fiddly. It’s all about scale. An example of this is the huge eye-catching wooden bauble lamp on the table in our sitting room (page 26).

Why would you say it is important to mix old and new in a home?

I think antiques and fine art are essential to create a home that feels like it’s evolved over time. Without a little bit of antique furniture or something you might have inherited from your granny, a house can feel quite lifeless, like a show house. A home should be a little bit eclectic, with collections showing your personality and belongings that have been handed down.

How do you use colour to create a calm, cohesive interior?

I start with a colour palette and thread it through the house so there’s a sense of flow. I often draw inspiration from nature and like to use soft colours that sit next to each other on the colour wheel. They are naturally complementary and blend together, creating the most beautiful, gentle atmosphere. I look at all the colour schemes in the house as a harmonious and holistic whole, rather than individual rooms. I limit the number of paint colours I use because keeping the palette a little bit restrained definitely makes a house feel bigger and more cohesive.

How do you create informal spaces?

I love leaning mirrors and art on walls to create an informal feel. I also like to play with symmetry and asymmetry. Sometimes asymmetry is more pleasing and makes a space feel more relaxed. The tall grandfather clock in our hall (above), for example, offsets the umbrella stand on the other side of the door. I love the balance, or weight of one piece against another. The main thing is to create a sense of balance, similar to a painter composing a painting.

To see Emma’s interior design projects visit simshilditch.com n THE ENGLISH HOME 33

Leap of FAITH The sympathetic restoration of a Jacobean house in Somerset has been a challenging yet deeply satisfying labour of love for Alison and Daren Hall FEATURE & STYLING JANET MCMEEKIN PHOTOGRAPHY ANDREAS VON EINSIEDEL

34 THE ENGLISH HOME

For convenience, the dining area has a dishwasher, coffee machine, sink, wine fridge and storage for glasses and crockery concealed within the floor-to-ceiling cabinetry.

The walls are painted in Pink Ground and the cabinetry is in Railings, both by Farrow & Ball.

The bee photograph is

by Gerrard Gethings.

ABOVE The bespoke kitchen and adjacent dining area beyond were designed by Joel Bugg Furniture & Spaces. “Joel Bugg designed every detail in the kitchen and dining area, right down to the ironmongery,” says Alison. A pair of Artek lights from The Conran Shop add a contemporary touch.

The lights were designed in 1952 by Alvar Aalto for the Finnish Engineers’ Association.

W

hen a neglected Jacobean house has been languishing on the market for more than two years, it is obvious it needs someone with vision, passion and drive to embark on what will no doubt be a major renovation project to bring it back to life. Fortunately for this property in Somerset, Alison and Daren Hall were beguiled by its attributes from the moment they saw it and decided to throw caution to the wind to become its next custodians. “As it is Grade II* listed, we didn’t know whether planning permission would actually be granted to make the changes that we felt were desperately needed,” Alison says. “However, unlike other house-hunters, we refused to walk away. It was a huge gamble, but we felt it would be well worth the risk.”

The London-based couple’s journey to finding this gem began in 2014, when, keen to buy a house in the country, they began scouring the UK for a suitable area. “As Daren is originally from South Wales, we wanted to find somewhere fairly close to the the M4,” Alison, a nutritional therapist, explains. “During our search we fell in love with Somerset. It’s an authentic

36 THE ENGLISH HOME

county, with a host of villages that are enticing and attractive without being too twee and ‘chocolate-boxy’.

We’ve both always liked Bath, which has a rich cultural offering, and felt that somewhere within striking distance of this charming, lively city would be perfect for us and our daughters – Lilybet, 13, Clementine, 11 and Constance, nine.”

After many hours spent perusing the Internet, Daren, who works in fixed income sales, spotted a neglected three-storey abode located right in the heart of Beckington, a sought after, vibrant village. His curiousity piqued by the property’s wealth of period features – which included original stone mullioned windows, capacious stone fireplaces and magnificent gardens – he immediately arranged a viewing.

“We discovered that behind the front door of this house lay a spectacular property with a labyrinth of rooms steeped in character and history,” Alison recalls. “At the rear it felt as though we were stepping out into a scene from The Secret Garden. The secluded grounds with a walled garden, rambling orchard and swimming pool were simply idyllic. Safe to say, we were totally enchanted.”

The family’s Italian Spinone, Sid, is very much at home in this rural retreat. The tongue-and-groove panelling in the boot room has been painted in Farrow & Ball’s Inchyra Blue.

THE ENGLISH HOME 37

EXTERIOR IMAGE BY PHOTOGRAPHER MARK WATTS FOR UNIQUE HOME STAYS

ABOVE Zizi Durrance Interiors sourced Romo’s Papias fabric in Grey Seal for the bespoke ottoman, pulling the scheme together. A mix of cushions have been made using Lewis & Wood’s Royal Oak as well as Ian Sanderson’s Pasha Embroidery and Pomeroy Paisley. The artwork is by Jessica Albarn. The flowers are from Floristry at Poplars Farmhouse.

RIGHT The gardens have been lovingly restored to their former glory by Sarah Wilkinson of SJW Garden Design. Wool Merchant’s House is available to book for holidays through uniquehomestays.com

Built in 1653 for a successful wool merchant named John Horsman, the stone property was extended on the north side in the nineteenth century, and then altered in subsequent years, particularly during the 1970s. “At that time, pillars and cornicing, which apparently came from Salisbury Cathedral, were fitted in the hallway – something we felt wasn’t particularly in keeping with the rest of the house,” Alison says.

Mindful that any changes they made needed to preserve the integrity of the building, the Halls were thrilled when highly regarded architect Simon MorrayJones agreed to come on board. “When we clinched the deal in 2015, Wool Merchant’s House felt rather higgledy-piggledy and didn’t flow well,” explains Alison. “Many viewers had been put off by the fact that, rather than a spacious kitchen-diner, there was a small galley kitchen and a utility room that felt cramped and in the wrong place.”

After careful consideration and many detailed conversations with Simon and his colleague Helen

ABOVE “When Joa Studholme of Farrow & Ball visited, she recommended using Pigeon in the study to complement the French Gray that was chosen for the walls in the adjacent bathroom,” says Alison. The rug is from Weaver Green.

LEFT Alison in the hallway, where wooden panelling has replaced the ornate pillars and cornicing added in the 1970s.

THE ENGLISH HOME 39

ABOVE A velvet headboard, quilt and cushions create a sumptuous feel in this elegant guest bedroom. Walls have been painted in Farrow & Ball’s Setting Plaster and a pretty crystal wall sconce from Fritz Fryer adds to the feminine look. The quilt is from The White Company and cushions are from Cox & Cox. RIGHT The new guest bathroom has been painted in Farrow & Ball’s French Gray and features a freestanding bath from The Cast Iron Bath Company, nickel taps from Holloways of Ludlow and a ceiling light from Fritz Fryer.

Carey, plans were drawn up to remove a stud wall to combine these two small rooms and create a spacious dining area with double doors leading out to the garden. Meanwhile a beautiful kitchen designed by Joel Bugg Furniture & Spaces would be installed in the former dining room on the other side of a wall separating this space from the former dining room.

Then upstairs, on the first floor, a Jack-and-Jill bathroom would be repurposed to be a study, with a new rooflight to make it feel more airy. One of the bedrooms would be turned into a spacious, elegant bathroom, and the attic would be transformed into a magical, cosy twin bedroom.

“Simon and Helen are experts in listed buildings and were brilliant at guiding us through the process.

Once planning permission was finally granted, building work began in the autumn of 2016,” Alison says. “Initially we’d decided not to listen to friends who had visited in the early stages and asked whether we had bitten off more than we could chew. However, when we discovered that there were virtually no foundations in the proposed new dining area and that the whole room would need to be tanked, we did momentarily wonder whether they were right.”

When it came to choosing colours, Alison gleaned inspiration from some old wallpaper she and Daren discovered in the house. “I felt the muted palette of blues, greens with splashes of pink in the wallpaper 

40 THE ENGLISH HOME



This cosy attic bedroom is full of whimsical charm with its ancient beams and characterful brickwork.

Splashes of pink have been added with a Roman blind in Ada & Ina’s Azig Cherry fabric, whilst the cushions are in Deer Damask and Pineapple fabric by Barneby Gates.

THE ENGLISH HOME 41

‘I felt the muted palette of blues and greens with splashes of pink would work beautifully and pay homage to the house’s past’ ABOVE The starting point for the scheme in the master bedroom was the Damascus fabric in Verdigris by Lewis & Wood, used to upholster the armchair. The curtains and Roman blinds were made by Victoria Clark Interiors.

we found would work beautifully here and pay homage to the house’s past,” Alison reveals. To ensure that the choices she was considering would be harmonious, Alison invited Joa Studholme, Farrow & Ball’s colour curator, to visit. “Joa was brilliant, lovely and her expert advice definitely helped to crystallise my thoughts.”

With a range of atmospheric paint colours selected, Alison approached Victoria Clark Interiors to help create a cohesive scheme for the rest of the interiors. “Victoria was excellent and extremely conscientious,” Alison explains. “She came up with a raft of wonderful ideas for gorgeous fabrics and also made all the curtains, blinds and soft furnishings beautifully. Victoria’s upholsterer worked wonders on the armchairs that we sourced.”

Unfortunately, just as the decorators finished, the Halls encountered an unexpected setback. During

42 THE ENGLISH HOME

the winter of 2017, snow got under the roof tiles, expanded and melted, causing the whole of the top floor to flood. “We were so upset as we had to rip everything up on that floor, including all the new carpets and furniture on that storey, and start all over again,” says Alison.

Despite the complications, the end result is a breathtaking home designed for modern-day living, whilst still retaining echoes of the past and a definite feeling of timelessness and escapism.

Alison has started renting Wool Merchant’s House out for short-term holiday lets and it gives her immense satisfaction to know that guests are enjoying their house. “It was a real passion project,” Alison says.

“Daren and I really enjoyed trawling antique and vintage shops to seek out beautiful pieces of furniture and loved the whole process of breathing new life into the house, which is now truly magical.” n

To make use of every inch of space in the attic, the couple installed another bathroom. The floor tiles are from Bert & May, whilst the bath is from the Cast Iron Bath Company.

THE ENGLISH HOME 43

Designed by Surtees Furniture, in collaboration with interior designer Laura Passey, the bespoke kitchen is painted in Lichen by Farrow & Ball. The Buscot limestone flooring is from Artisans of Devizes, whilst the glass Tim pendants are from Hector Finch. The stylish bar stools from Ateliers London have seats covered in Jane Churchill’s Sherborne fabric.

Coming HOME Feeling an instant connection with a tired Victorian country house in Surrey, Tracy Verrier knew she had made the right choice to return home FEATURE CLAIR WAYMAN

PHOTOGRAPHY ASTRID TEMPLIER

THE ENGLISH HOME 45

ABOVE A Lattice globe light from Jamb hangs above the bespoke table

by Titchmarsh & Goodwin which also features a lattice motif around the edge. The George Smith Fairhill sofa, covered in the dramatic Roi Soleil blue brocade from Rubelli, accentuates the richness of the original Victorian oak panelling and parquet flooring.

H

aving spent almost 20 years living happily in America, English couple Tracy and James Verrier started to yearn for their homeland. “We were living in Michigan, and the original plan was to retire to South Carolina, but the more we came back to the UK for visits, the more we started to appreciate being home again,” says Tracy.

So, in August 2016, Tracy and James flew over for an initial whistle-stop tour of potential properties.

On the second day of the search, an estate agent told them about an impressive Victorian residence about to go on the market in the heart of the Surrey countryside. “We fell in love as soon as we saw it, with its strong symmetry and imposing facade,” Tracy explains. “We honestly weren’t expecting it

46 THE ENGLISH HOME

all to happen so quickly, but we didn’t want to let it go, so we put in an offer.”

Built in 1898, the house was full of character but very dated, so Tracy enlisted the help of interior designer Laura Passey to breathe new life into it. “It felt like the house was a person that needed to be taken care of,” Laura says. “The fact that we were redesigning the whole house just added to the specialness of this project. I’ve got a musical background so I tend to think of the comparisons between design and music, with different elements weaving together. As the property is quite grand, I felt I could do something on a symphonic scale, introducing various themes and considering how they would play off each other throughout the house.”

The Ropley chandeliers by Vaughan were the starting point for the scheme in the dining room, which includes hand-painted and embroidered Paradiso wallcovering

by Fromental. The bespoke walnut dining table, designed by Surtees Furniture, in collaboration with Laura Passey, has been finished to match the Klint dining chairs by Julian Chichester, which are covered in Pelham velvet by Fox Linton.

‘As the property is quite grand, I felt I could do something on a symphonic scale’ LEFT A magnificent magnolia tree festoons the front of the house.

When designing the interiors Laura took inspiration from the plants and flowers found in the three-acre garden.

RIGHT The burr walnut cabinet was made by Titchmarsh & Goodwin and offers a place to display favourite china and glassware.

THE ENGLISH HOME 47

‘I like to pull all the senses into the design process – the poetry of words, visuals, music, memories and historical references’ ABOVE This side of the double drawing room features George Smith sofas, covered in Radiance Parsnip

by Jason D’Souza and a George Smith ottoman covered in Lewis & Wood’s Stockholm Stitch.

A Chrysanthemum table lamp by Richard Taylor Designs sits on a nest of Salvatore side tables from Porta Romana.

In a previous era, the house had servants’ quarters, back stairs and servants’ bells, which Laura used as a springboard for her design inspiration. “I had television programmes like Downton Abbey and Upstairs, Downstairs in mind, contrasting a pared-back, earthy ‘Victorian housekeeper’ theme with a lavish, noble style which I called ‘painter’s garden’,” she explains.

Laura was guided by the style of the house and the couple’s taste. “I like to pull all the senses into the design process – the poetry of words, visuals, music, memories and historical references,” she explains.

“Tracy wanted something really fabulous and beautiful.

She was quite brave and bold about it all.” They all decided on a smart-casual country look that would feel relaxed and gentle. “I knew I wanted to embrace

48 THE ENGLISH HOME

a warm, cosy look that was also smart, but not twee or stuffy,” says Tracy.

The builders started work in September 2017, and throughout much of the renovation Tracy was still living in America, making trips to inspect the progress.

Laura collaborated with and guided Tracy along the way, taking her to showrooms and furniture workshops. “I loved being involved in the whole process, from choosing furniture to fabrics, even down to the tiebacks and trimmings,” says Tracy. “Working with Laura was fun. We bounced ideas off each other, and if either of us didn’t like something, we weren’t shy to speak up.”

One of Tracy’s requests was for a pink drawing room, so Laura chose a delicate, warm pastel scheme

with elegant floral touches to tie in with her ‘painter’s garden’ theme. “As this is a very pink room and quite a strong statement already, I let the colour do the talking by keeping the styling relatively simple, so the space can breathe,” says Laura. The dining room also received an opulent redesign, with a mix of luxurious bespoke, hand-painted chinoiserie wallpaper, blue velvet dining chairs and decadent chandeliers.

Meanwhile, upstairs was completely reconfigured and a sumptuous master suite created in a restrained palette of warm, champagne neutrals. Tracy also gained a dedicated sewing room by knocking through two tiny bedrooms which would have been servants’ quarters in times gone by. Working with a trusted team meant that Laura could reassure Tracy when she had moments of uncertainty. “At times it was distressing to see the house being pulled apart,” says Tracy, “but I knew it had to be done, because everything needed updating.”

Feeling very protective of the house, Tracy was keen  to preserve as much of its character as possible. “We

ABOVE & RIGHT Two Kingcome sofas in Lelièvre’s Paros fabric, topped with cushions in Evesham linen by Colefax and Fowler continue the understated elegance on this side of the double drawing room. Cabana Weave wallpaper from Phillip Jeffries adds subtle texture.

The Figeac chandelier and customised Brockton coffee table are both by Vaughan, and the Louis Philippe mirror with laurel leaf moulding is from Overmantels.

THE ENGLISH HOME 49

‘Everything I love has been brought together under one roof and I wouldn’t want to be anywhere else’ ABOVE The paredback look in this bathroom ties in with the ‘woodland walk’ and ‘Victorian housekeeper’ theme.

The marble-topped vanity by Surtees Furniture is painted in The Botanist by Paint & Paper Library. The weathered-brass bath from Catchpole & Rye plays on the utilitarian feel, along with The Water Monopoly aged-brass Rockwell mirrors and Original BTC York wall lights.

had the original oak panelling and the bannisters in the hall French polished, but I didn’t want the imperfections taken out,” she explains. “I wanted to retain as much of the quirkiness of the building as I could and wouldn’t let the builders straighten everything up, which is why the upstairs landing still slopes. She’s crooked and that’s fine. She’s over 100 years old.”

When it came to the decoration of the central hall, Laura let the Victorian oak panelling lead her. “This space feels quite grand, as well as cocooning and warm, so I played to that by choosing opulent gold furniture and a dramatic, rich blue brocade for the sofa,” she says. “Then the lighter, brighter rooms spill out from either side, with the vibrant blue chairs in the dining room echoing the blue in the hall.”

The biggest transformation in the house has been the kitchen. This was previously a series of smaller rooms, including a cramped galley kitchen, which, once these were opened up, became a vast, light-filled space with views onto the garden and

50 THE ENGLISH HOME

the magnificent Californian Redwood tree. With a focus on practicality, the smart but relatively restrained kitchen design was inspired by Laura’s ‘Victorian housekeeper’ theme and overlaps with her ‘woodland walk’ theme. A peaceful, muted green was chosen for the cabinets and Laura encouraged Tracy to have all the window frames and doors painted in the same green to create a cocooning effect. “That scared me a bit,” says Tracy, “but as soon as it was done, I knew it was a brilliant idea because it links so beautifully with the garden.”

Tracy and James moved into their beautifully updated, much-loved home in the summer of 2018 and now revel in every aspect of it. “It’s hard to pick one room that’s my favourite,” Tracy says. “I love it all. Sometimes I walk into the drawing room in the evening, with the candles lit, and I just feel a sense of complete contentment. Everything I love has been brought together under one roof and I wouldn’t want to be anywhere else. Our family walk in and they can see it’s our house – it’s us. I’m very proud of it all.” n

ABOVE Fromental handpainted chinoiserie wall panels create a luxurious feel in the master bedroom. The bed from Savoir Beds is covered in Basmati Jasmine on the headboard, with a silk velvet on the bed base, both from Holly Hunt. The Murano glass table lamps from Bella

Figura sit on bedside tables

by Surtees Furniture.

BELOW Seraphina wallpaper

by Colefax and Fowler takes centre stage in this pretty guest bedroom. Laura Passey designed the bed which features Lucia Claro linen by Elitis from Abbott & Boyd. Sybil table lamps from

Porta Romana sit on Ebury side tables from The Odd Chair Company. The bespoke ottoman is covered in Monceau Ivoire from Manuel Canovas. The round mirror above the fireplace is from Overmantels. To see more of Laura’s interior design work visit laurapassey.com

ABOVE The oak Sooma dressing table from William Yeoward is teamed with a round button stool from Porta Romana covered in Lewis & Wood’s Rooksmoor velvet in Sea Holly.

THE ENGLISH HOME 51

Finding THE MAGIC A nineteenth-century former barn and cart shed in Suffolk is transformed into a warm and welcoming family home filled with vintage treasures FEATURE & STYLING NAOMI JONES PHOTOGRAPHY BRENT DARBY

52 THE ENGLISH HOME

Several walls were knocked down to create an inviting kitchen-diner.

The dresser is painted in Downpipe

by Farrow & Ball and the rise-andfall pendant light is from Holloways of Ludlow. For a similar rustic bench try Sustainable Furniture.

THE ENGLISH HOME 53

ABOVE The secluded weatherboard house is surrounded by a rambling garden full of majestic trees and beautiful flowering shrubs. Having peaceful garden views from every window, Claire enjoys watching the changing seasons.

RIGHT Claire leaning against the giant Alder that is at the heart of the family’s magical miniwoodland garden.

“O

ne of my favourite things about living in this beautiful tucked away spot is that I can witness the seasons transition from almost every window of our home,” says nature-loving Claire Rogers, whose home is situated at the end of a private lane in a very quiet Suffolk village. “It’s so quiet and calm as it’s not on the way to anywhere, yet the coast is just a short drive away.”

The house was originally an outbuilding serving the neighbouring cottage, with parts dating to the 1800s.

“The sitting room was once a barn and cart shed, open to the elements, with a hayloft above that is now our daughter Trulie’s room,” Claire explains. “The building had been extended again and again over the centuries, but without much thought to its use as a family home. So, since we moved in four years ago

The kitchen-diner leads into the cosy snug where the kitchen was originally housed when the family moved in.

The kitchen cabinetry is painted in Purbeck Stone by Farrow & Ball.

[2017], my husband Matt and I have tried to make sense of the higgledy-piggledy layout to establish a sense of flow, and added a proper staircase to replace what felt more like a ladder than a set of stairs.”

Before attending to the house, however, the couple gave the “swamp-like” swimming pool a thorough clean and service so Trulie could use it whilst they threw themselves into the 12-month-long renovations. They also tended to the charming yet slightly overgrown garden to reveal a far prettier space that has improved the view from the house, as well as providing a much more family and dog-friendly area for them and their two energetic lurchers, Woody and Jake. “We get the best view from the kitchen-diner,” Claire says, “although this wasn’t fully appreciated until we’d sorted out the ground-floor issues and made sure the house lived up to its true potential.” 

‘It’s so quiet and calm, yet the coast is just a short drive away’ LEFT The part of the building with the chimneystack was originally an old cart shed with a hayloft above. The property has been extended over the centuries and Matt built the oak porch.

THE ENGLISH HOME 55

In the pared-back, rustic sitting room, the brick fireplace and original beam bring character to the space, whilst Farrow & Ball’s Charleston Gray creates a warm neutral background colour.

 56 THE ENGLISH HOME

‘I much prefer reusing and recycling … all these objects with age and history add feeling to the home’ “The previous owner had installed the swimming pool pump as well as the utility room right at the heart of the house,” Claire continues, “and the kitchen was tucked behind in an area that we’ve since divided in two to move the utility into a more discreet location, and to create a cosy snug, with the addition of a wood-burning stove to make full use of the fireplace that was already there.” With those areas dealt with, the couple could then design a spacious, light-filled, kitchen-diner that would be perfect for cooking, eating, and relaxing whilst enjoying their lovely garden view.

Upstairs, even more work was needed to transform this warren-like property. Claire and Matt decided to sacrifice a bedroom to create a master suite with a dressing room and an en-suite shower room. “We didn’t really need four bedrooms as there are only three of us,” says Claire, “plus, it felt a bit odd that the smallest bedroom was the one with its own bathroom.

We love our more grown-up space now.”

The hands-on pair also freshened up the decor throughout with neutral Farrow & Ball shades, along

with a dark blue Dulux hue in the snug, transforming what was a dated Nineties interior, with yellow walls and Royal blue carpets, into a timeless home befitting its rural location.

“Matt and I have done most of the work,” explains Claire, “including the plastering, once the builders had knocked down various walls. We also did all the painting, and Matt built the front porch and an oak balcony off our bedroom – I made a tiny model of my vision and he upscaled it somewhat! We are both very handy as we’ve renovated five houses together. If we can’t afford to pay tradespeople, we learn how to do the job ourselves, with the exception of the specialist trades that need proper sign off.”

The couple also saved money by giving pieces brought from previous homes a fresh coat of paint. “I used to have a furniture shop in my garden years ago,” says Claire, “and what’s here are all the bits that didn’t sell.

When you have children and animals running around the house you can’t be too precious, so solid furniture that can be touched up with paint is the best idea.”

ABOVE LEFT Vintage books, jars and stones found on beach walks, create a charming vignette on an upcycled desk in the snug. Claire has transformed a second-hand chair with a cheerful yellow paint. For a similar shade try Yellow Pink

by Little Greene.

ABOVE RIGHT Woody the lurcher enjoys some relaxing in the cosy snug.

A collection of whimsical one-off treasures are grouped on a wall painted in a deep blue called Denim Drift by Dulux.

THE ENGLISH HOME 57

‘The power of paint is incredible for giving something a new look, as well as making pieces work in harmony’ ABOVE Claire and Matt transformed a dilapidated log cabin into a poolhouse.

“We took out the window at the side and the entire front section,” says Claire.

“Matt put on the cedar shingle roof and we painted the entire thing in Farrow & Ball’s Charleston Gray exterior paint.”

ABOVE RIGHT Claire herself plastered and redecorated this new dressing area, which leads to the master ensuite. The rug is from Snape Maltings.

Even the hand-built kitchen was picked up for a song and given a makeover. “‘We were amazed that someone was getting rid of this lovely kitchen,” says Claire of the couple’s Gumtree find. “We only had to travel to Norfolk to collect it and Matt did a great job of fitting it in our little space. Then I painted the units to blend in with the rest of our furniture. The power of paint is really quite incredible for giving something a new look, as well as tying odd pieces together to make them work in harmony.

I much prefer reusing and recycling than buying new, so I love visiting car boot sales and junk shops, and I have a few bits and pieces that I’ve inherited from my mother and grandmother; all these objects with age and history add to the feeling of a home.

“It’s such a warm and cosy house now, too,” she adds, “thanks to underfloor heating beneath all the stone flooring we laid downstairs; and as we’ve reconfigured the layout it’s no longer a series of small rooms – it feels light and bright and very welcoming, which is why from May to September we usually have a constant flow of family and friends coming to stay, especially those with children who enjoy the pool. But even when our visitors head home, this place doesn’t feel too large for our little family, it is really magical.” n

58 THE ENGLISH HOME

Yellow accents enliven this pretty guest bedroom, where neutral hues throughout convey a natural feeling of calm. For pendants with a similar feel try Rose & Grey.

French windows open onto the oak balcony Matt built off the master bedroom so the couple can enjoy the views with their morning coffee.

THE ENGLISH HOME 59

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Discover the secret of Hartley Botanic by calling 781 933 1993 or visit www.hartley-botanic.com

HANDMADE IN ENGLAND CHERISHED IN AMERICA The only aluminium Glasshouses and Greenhouses endorsed by the RHS © The Royal Horticultural Society 2021. Endorsed by the Royal Horticultural Society. Registered Charity No 222879/SC038262. rhs.org.uk

STYLE INSPIRATION

Our special section dedicated to design and decorating inspiration begins here

BATHED IN BEAUTY

FEATURE KATY MCLEAN PHOTOGRAPH FRANCOIS HALARD

Often, bathrooms are decorated with practical concerns in mind, rarely straying from sleek, easy-to-clean surfaces. Here elements usually seen in living rooms have been brought together to create a decorative, indulgent bathroom. Largescale floral fabric covers the walls and ceiling, providing a delightful pattern to look at whilst luxuriating in the bath.

A repurposed antique console creates a bespoke, luxurious vanity, lighting choices and framed pictures add another layer of comfort and decadence, whilst a rug offers warmth and pattern underfoot.

Still perfectly practical, yet utterly enticing.

Indian Arbre fabric, £210 a metre, Schumacher

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neutral THE FEELING’S Soft, calm, gentle interiors infused with a palette of natural tones and textures will soothe the soul with a relaxing, comforting mood

DECORATING

N

eutrals are an ever-popular presence in interiors and, whilst there is a lot to be said for colour confidence, a wellconsidered, curated and harmonised selection of natural tones can also be interesting as well as soothing. Layers of subtle hues such as stone, sand and earthy browns can be lifted with smudgy, gentle pinks, blues and greens to bestow natural highlights to a room.

NATURAL TOUCH Textures are an essential factor in all decorating choices but are particularly important when part of a pared-back neutral palette as they provide interest and character, and amplify the calm, relaxed and pure feeling. Consider textiles such as linen, cotton and wool in interesting weaves and hues produced by natural plant dyes. Hard surfaces and furniture in wood, and natural flooring in jute, sisal, coir or stone will all coexist happily with this aesthetic.

OPPOSITE Combine plaster walls (or paint with an earthy plaster pink) with bare wood beams, and clean, creamy painted cabinetry for a rustic yet smart kitchen.

Splashback and units painted in Flint, £73.50 for 2.5l Intelligent Satinwood, Little Greene LEFT Chunky linen/ wool mix weaves bring a natural tactility to upholstery.

Himalaya (from top) Sage, Snow, Ebony and Ice Blue, all £195 a metre, Larsen

ABOVE A tactile wool/linen mix makes an understated, elegant stement.

Chair upholstered in Kingsley, Ivory, £149 a metre, Colefax & Fowler PAINT SWATCHES For a warm and welcoming neutral palette, select plaster pink or a creamy buff.

From top: Cuisse de Nymphe Emue; Buff, both £49.50 for 2.5l Emulsion, Edward Bulmer Natural Paint

THE ENGLISH HOME 63

LEFT These large wall tiles have delicate, cool colouring and offer just a touch of pretty organic pattern and combine well with rustic wood and woven seagrass for a bathroom.

Malmo Fawn wall tiles, £79.95 a square metre, Original Style BELOW LEFT Woven grasscloth papers make for a textural wallcovering and can subtly introduce a

touch of colour too.

Wallcoverings (from left): Stablewood, Black, £216 a roll; Adriatic, Taupe Red, £270 a roll; Regatta Raffia, Tan/Navy, £270 a roll, all Thibaut BELOW A soft sage-grey-green retains a gentle, neutral feel thanks to its natural undertones.

Woodwork painted in Intrigue, from £28 for 0.94 litres of Aura Matte, Benjamin Moore

DECORATING

A harmony of textures creates a tempting bedroom scene with an upholstered bed, relaxed linens and a chunky-knit blanket.

Lexington Ottoman double bed in Oatmeal fabric, £449.99, Furniture And Choice

Seeking natural textures, such as linen, cotton, wood, jute and stone will amplify the calm, relaxed and pure feeling PAINT SWATCHES Soft greens and a pinkish-brown-grey can be used to add a gentle enrichment to neutral schemes, bringing warmth and just a subtle wash of colour.

Paints (from top): Mizzle and Dove Tale, both £47.95 for 2.5l Esate Emulsion, Farrow & Ball LEFT A semi-sheer linen-look ecofriendly recycled fabric adds softness in a chic bathroom.

Whisp, £54 a metre, Prestigious Textiles

When it comes to lighting, ceramic lampbases with an artisanal aesthetic, tactile details, and attractive glazes look more at home in a calm, neutral scheme.

Paper lampshades, too, have a naive charm that works well with this look. Avoiding highly glossy, metallic and sparkly finishes is key – textures such as silk, velvet and crystal might feel out of place amongst natural finishes of this type.

Carved details and rustic finishes on wood furniture and accessories allow its natural beauty to shine – think natural wax and treatments such as liming or smoking, rather than polished wood. Meanwhile, wood painted in matt or low-sheen eggshell paints allows for layers of colour to be introduced. Choose decorative accessories that echo other natural, crafted choices – assorted jugs, vases and bowls in handmade ceramics or wood will chime perfectly. For naturally shinier surfaces like mirrors, look to antiqued finishes that add patina and minimise gleam.  THE ENGLISH HOME 65

PATTERN & COLOUR Neutral need not mean plain. Adding pattern in the form of textiles and wallpapers is a wonderful way to enrich a neutral-hued scheme. Simple tone-on-tone patterns in a weave or embroidery add an element of decoration as well as texture, with botanical motifs being well-suited to this natural mood, their flowing, organic forms bringing softness and a direct connection to the outside world.

A hint of colour, though not too vibrant, can be introduced in the form of patterns rather than block colours. Take as an example the creation of a subtle, natural look with make-up – a delicate hint of blush or a soft sweep of eyeshadow that enhances but does not overpower. Consider peachy pinks or oranges or look to set-plaster pinks to combine with earthier browns. If seeking a cooler neutral look, opt for greys, blues and whites. Green obviously has a deeply natural connotation, but avoid zesty, bright tones – mellow sage greens and smudgier tones with undercurrents of grey will achieve a milder, demure effect.  66 THE ENGLISH HOME

DECORATING

FAR LEFT Neutrals can be light, fresh and feminine with soft off-whites teamed with a pale peachy pink.

Wall painted in (from left): Up Up and Away and Peach Baby, both £45 for 2.5l Claypaint, Earthborn LEFT Classic lines on these arm chairs and turned wood detailing keep this cool grey look from being too modern.

Alderney armchairs in (from left): Stepping Stone and Dove Tale, £540 each, Sofa.com BELOW LEFT A large-scale botanical pattern brings prettiness, and is in keeping with the natural mood. Greys and a strong reddish-brown marry well together, too.

Wallpaper, Kajsa, Sand, £25 a square metre, Sandberg RIGHT Panelling adds gravitas to a smart bedroom scheme.

A calm, restful feel has been created with greys, blues and light sandy-stone hues. Dried seed heads, a glazed ceramic table lamp and rustic bedside table complete this pictureperfect vignette.

Headboard in Melford Stripe, £39 a metre, and wallpaper, paints and fabrics, all Sanderson PAINT SWATCHES Browngreys add warm, earthy notes, whilst deeper-hued slate-blues offer a cooler depth.

Paints (from top): Double Mouse Grey and Ede, both £51 for 2.5l Emulsion, Atelier Ellis

THE ENGLISH HOME 67

DEEP CONNECTION Sticking to a neutral scheme throughout the home using different but harmonious tones in various rooms provides a natural connection. Keeping to a single colour for woodwork creates a cohesive flow around the home, even with walls painted in different colours or enriched with pattern. If keeping to a similar palette throughout the house, remember to play with textures, perhaps using a paper-backed grass cloth instead of paint on walls in one or more rooms. Use hand-finished or moulded tiles in kitchens and bathrooms to add texture, colour and pattern. Soft flooring performs a similar function, with carpets and rugs adding another dimension as well as warmth and comfort.

A peachy-coral pink acts as a gentle swathe of highlight in this elegant brown-grey hallway. Cotton fabrics also na ral r Assortment of fabrics from the Kemble collection, all £35 a metre, Romo THE ENGLISH HOME 68

DECORATING

ALL IN THE DETAIL The beauty of neutral schemes frequently lies in the addition of subtle details. Finishing upholstery, cushions and curtains with neat, simple passementerie tapes and braids for instance, or adding panelling to plain walls to bring further depth and interest as well as a touch of grandeur. Consider different paint finishes to add variation – chalky paints offer a supremely matt finish, whilst a gentle eggshell provides a gentle sheen. Of course, a final and important finishing touch is the introduction of plants and flowers. From dried, sculptural stems to a fresh display, bringing a truly natural element in will complete a deliciously neutral room perfectly. n

ABOVE Textural linens for added interest.

Clockwise from top left: Scribe, £167 a metre; Polo, £110 a metre; Kente, £145 a metre, all Mark Alexander PAINT SWATCHES Set a cooler tone with pale greys and soft blues.

Paints (from top): Marble IV; Tablecloth, both £50 for 2.5l Pure Flat Emulsion, Paint & Paper Library RIGHT Undulating and n s d l s add texture and character.

Winchester Residence Fabrique Picot tiles, Soft Taupe, £3.99 each, Original Style LEFT A selection of linen/wool fabrics in cool, soft hues.

Aspen, £185 a metre, Larsen

FOR 69 THE WHERE TO BUYHOME SEE ADDRESS BOOK ENGLISH

THE ENGLISH HOME 69

for summer

DECORATING PROJECTS

The warmer months of the year, with their longer days and better quality of light, provide the perfect opportunity to redecorate. From paint and wallpaper to carpet and tiles, we glean advice from the experts on how to refresh the home with colour, pattern and texture ABOVE Using warm, eye-catching colours r fl s rol o the kitchen as the ar o o Ochre 2151-30, £23 for 0.94l Regal Select, Benjamin Moore

THE POWER OF PAINT If seeking to completely reinvigorate, refresh and revitalise a room, paint is a relatively inexpensive, quick and powerful way to do so and inject a gladdening sense of renewed appeal.

For maximum impact, try painting a whole room in a new palette that is uplifting or calm depending on how the particular space is used and the desired mood (from a soothing bedroom to an energising study). The light in the room, style and colours of the furniture and objects are key to consider from the outset. Pinning sheets of paper painted using sample pots to the walls will help visualise the final effect before washing the entire room in colour.

Smaller projects can also have a big impact. For instance, highlighting certain elements of a scheme, such as alcoves or window recesses in contrasting paint colours or simply painting a small area in just the right hue, will transform a space.

70 THE ENGLISH HOME

PAM GRUHN, FOUNDER OF FRENCHIC FURNITURE PAINT

“Now is the perfect time of year to upgrade your outside area, and a lick of paint can make a world of difference.

Do not be afraid of using dark colours outside, as painting a fence or garden wall black or dark grey can help frame the space and create a contemporary feel. Darker hues also contrast brilliantly with lighter elements such as stone paving and bright flowers, showcasing their colours rather than blending them in.”

EXPERT ADVICE

HELEN SHAW, DIRECTOR OF BENJAMIN MOORE UK

JOA STUDHOLME, COLOUR CURATOR FOR FARROW & BALL

“As the kitchen tends to be the busy and bustling heart of the home – rather than a serene space – bright, warm, eye-catching wall colours can work perfectly. Alternatively, smaller pops of brighter shades also add depth and personality to a neutral kitchen space. Using paint to add a splash of colour to a cabinet front, bar stool or shelving unit allows for a unique burst of personality to be injected with ease.”

“During the summer months, why not try and bring a bit of the outside indoors – especially in your hall? Use a rich green to echo the hues of the garden or a deep charcoal to pick up on the vernacular of the city. You can take this one step further by using the same colour on your front door, something which will make your hall feel bigger when you enter the house.”

ANNIE SLOAN, FOUNDER OF ANNIE SLOAN

“Tables are by their nature rather formal pieces of furniture; lots of straight lines and flat surfaces. Paradoxically, they’re often the hub of the most fun: family mealtimes, dinner parties and Christmas lunches all happen around the humble table. Encourage more playfulness and show this hard-working piece of furniture some love with colourful stencils.

Abstract patterns along the edges, overlapping folk designs on the surface, and freehand patterns in between – or just one of these touches – will elevate your four-legged friend from workhorse to show pony. Painting the legs of a table a different colour to the top is a wonderful thing to do if you’ve got a lovely old wooden table which has seen better days.

You can even leave the top unpainted whilst disappearing scuff marks and other signs of wear and tear on the stems with a pop of colour. At my home in Oxford, splashes of Chalk Paint in Antibes Green highlight the table legs beautifully whilst a wash of Old White gives a lovely limewashed look to the top.” 

ABOVE LEFT Choose from a palette of olo rs o r fl desired feeling to create in the home.

Wall paint, from £51 for 2.5l Matt Emulsion, Ellis Paint ABOVE RIGHT Make the table the centre of attention with clever paint detailing and finishes.

Table top in a wash of Old White, table legs in Scandinavian Pink, both from £5.95 for 120ml Chalk Paint; table legs finished in White Chalk Paint Wax, from £5.95 for 120ml, all Annie Sloan

THE ENGLISH HOME 71

PRETTY WITH PATTERN Add instant decorative interest by introducing pattern to an interior with wallpaper, textiles or accessories, thereby layering print, texture and colour. For summer, floral prints, pastel shades and cool linens bring a sense of the season indoors. A failsafe technique is to use the base colour of the room as a cue to add complementary designs that contain the same tone within part of their illustrative design in fabric for window dressings, cushions or lampshades. Accessories can also be changed for richer textiles like wools, velvets or those with deeper tones in their designs for the winter months.

Do not be afraid to introduce more than one pattern to one room – a mix of complementary designs in different scales can create a relaxed scheme with a sense of polish. Many designers anticipate this demand in their collections, providing options that are designed to layer perfectly for an evolved look.

Use wallpapers to transform a room or highlight details on cupboards or shelving. Play with scale, too, particularly in small rooms, as these can be wonderfully dramatic when enveloped in a large-scale or bold-coloured print.

FRIEDA GORMLEY, DIRECTOR AND FOUNDER OF HOUSE OF HACKNEY

“All it takes to transform a space is just three rolls of wallpaper.

Whether it’s on the back of bookshelves or kitchen cabinets, across the ceiling or even in a small cupboard, a flourish of painterly print and colour does so much to add beauty and joy to corners of the home where you wouldn’t usually expect to find it.”

SARAH HARDAKER, DESIGN DIRECTOR AT SARAH HARDAKER

“Summer is a great time to get inspiration from the outdoors for your interior scheme. As the roses and peonies bloom, I am always drawn to adding them to my home in whichever way possible. Our Chinoiserie, Florence and Faded Roses fabrics were all inspired by my own garden and all include big joyful, colourful, blowsy blooms to bring the garden inside.”  ABOVE LEFT Disparate but delicate patterns work in harmony to create a pretty, welcoming bedroom.

Pink Chicken Feet quilt, from £195; Pleated Paper Pink Animal Print lampshade, £72, all The Mews Furnishings LEFT Contrasting cushions shown with borders and trims designed jointly by Charlotte Gaisford and Ichel Francis from Troynorth.

Borders and trims (from top cushion): Ottoman in Peony Splash, Georgie Girl in Storm in a Teacup and Champagne Pom Pom in Shade; Georgie Girl in Storm in a Teacup; Ottoman in Peony Splash and Georgie Girl in Misty Morning; Georgie Girl in Peony Splash, an n y n n an a a n nR n f £ a , f £7 0 a ,a a Gaisford for Troynorth 72 THE ENGLISH HOME

EXPERT ADVICE FOCUS ON FLOORING The summer months are the most practical time to replace and update floors, making changes to create a seamless flow from inside to out. Move furniture, children and pets to outside spaces whilst installers work on clear rooms that can be well ventilated afterwards. A whole new floor may not be necessary. Jamie Cherrington, director of Lapicida says, “Cleaning, regrouting and resealing an existing floor can give it a new lease of life.” Planning ahead for the autumn now will pay dividends.

PETER KEANE, DIRECTOR OF THE NATURAL WOOD FLOOR COMPANY

“Laying engineered wooden flooring is a good job to get done when the weather is warm and dry, as it involves installers in and out of the home during the fitting process. Once down, the floor needs time to settle and acclimatise, something that is best done with low humidity and pleasant temperatures, whilst being able to have windows open will help rid your home of the smell of any sealers and polish quickly.”

LORNA HAIGH, CREATIVE & MARKETING DIRECTOR OF ALTERNATIVE FLOORING

FEATURE KATY MCLEAN PHOTOGRAPHS P70 © JOHN BESSLER; P71 (LEFT) © KALINA KRAWCZYK; P72 (TOP) © ALEX REYTO

r a ar on and d n space within the home with a carefully selected rug.

Wool Barefoot Bikram Janu with Cotton Ochre Border from £481.59, from the Make Me A Rug Service

by Alternative Flooring

TRANSFORMATIVE TILES With their links to the Meditteranean, the summer feels an appropriate time to consider how tiles can be used to uplift and bring a different mood to kitchens and bathrooms. As tiling can be a dusty job, now is the perfect time to invite tile fitters into the home as doors and windows can be flung open.

For a quick, fuss-free update, new taps and handles can quickly and instantly give existing schemes a facelift with a minimum amount of disruption.

“Rugs are a great, easy way to decorate as you can change them as the mood or season suits, and in doing so completely change the personality of the room. Used creatively, they can create harmony and define spaces within a home. Summer especially is a good time to consider light layering. Try using a few rugs in the same room and use different patterns, but link them by keeping to the same colour palette. Later on in the season – when we come in from outside and look at our living space with new eyes and think about home comforts – adding a beautiful, textured wool rug is a great way to be cosy.”

Update the kitchen with handcrafted natural clay tiles and a rn d floor l s Wall, Zellige Ecru handmade Moroccan tiles, £153.60 a square metre; Floor, Pera encaustic cement tiles £151.44 a square metre, all Otto Tiles

DAMLA TURGUT, FOUNDER OF OTTO TILES & DESIGN

“The kitchen is the heart of the home, so it’s so important that it’s an expression of your personality. If you aren’t able to re-tile your walls or floor, a great idea is to revamp your kitchen splashback.

As a small to medium-sized project to tackle, it can have a big impact on a space, add colour and pattern.”

CHRIS BROOKE, FOUNDER OF MAITLAND & POATE

“Reflect light and open out smaller spaces with the use of paler shades – when combined with differing materials and textures this allows for an uncluttered, fresh scheme. Practicality-wise, be sure to always order a few more tiles than you have measured and calculated for, especially when using antique, reclaimed tiles, as they are only available in limited numbers.” n THE ENGLISH HOME 73

bedrooms RESTFUL

As important at the beginning of the day as at the end of the day, a bedroom requires careful planning and design to create a perfect sanctuary

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BUYER’S GUIDE

W

hilst the primary purpose of a bedroom is to provide a place for an undisturbed night’s sleep, it is also where we start the day and a retreat for a spot of quiet contemplation or to indulge in a good book. It is therefore an important space to plan and design carefully, taking into consideration everything from what size of bed will suit the room to storage that fits with its architectural features. Whether a master suite, a guest bedroom, or a multipurpose space, we look at ways of maximising its character and allure.

DESIGN DETAILS To begin the process, assess what the room will be mostly used or needed for – this will be a starting point for the layout and design. Determining the main function of a bedroom will help with planning its general layout. For instance, is it the master suite for everday use or is it an occasionally used guest bedroom? If the latter, will it double up as a home office or somewhere to retreat to for hobbies or crafts?

Is it a compact room that requires furniture to fulfil several purposes? Consider, too, any architectural features that need to be worked with, such as elaborate cornicing if planning floor-to-ceiling wardrobes.

ABOVE The key to a successful bedroom layout for interior design company Kitesgrove is that it not be overfurnished and to ensure every piece of furniture has form and function.

RIGHT Calm hues and a considered scheme combine for a soothing feel in this sophisticated bedroom by Todhunter Earle.

OPPOSITE Elegant tones and luxurious fabrics create characterful charm.

Rockefeller headboard, £6,140; curtains, Audrey Couture Fabric, from £2,350 a metre, all Beaumont & Fletcher

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As the main focus for the bedroom, choosing the right bed to suit sleeping preferences and aesthetic tastes is of paramount importance.

Gloucester bed, £2,650 (double with slatted base), The Cornish Bed Company

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BUYER’S GUIDE

The master bedroom is more often than not the largest of all the bedrooms, making it easier to plan and furnish to maintain a sense of calm. “A haven in which to relax and sleep at night, the master bedroom is also where you wake up, get up and start to get ready for the day,” says Simon Taylor of Simon Taylor Furniture. “Therefore, the space has to serve a number of functions, and whilst the bed is always going to be the main focus of the room, storage and lighting are also important considerations.

“Depending on the size of the room and any architectural contours, we always recommend a combination of floor-to-ceiling fitted wardrobes with freestanding bedside tables to complement. Storage seating can be installed within a bay or a window recess, making the area more appealing during the day when natural light flows in. Meanwhile, strategically placed and adjustable LED spotlights in the ceiling can be installed to make a feature of specific areas in the evening.

“We always suggest a neutral colour palette for the furniture, with colour accents provided by curtains, blinds and throws.”

CREATING CHARACTER Alongside logistical considerations, the character of the room plays an important role. Will it, for instance,

ABOVE Kelling Designs always makes the bed the focal point in any bedroom. White linen creates a fresh look, whilst a side table provides the perfect place for essentials.

Plum Blossom handpainted wallpaper, de Gournay; bedding, The White Company; side table, Oka. A similar bedroom design would cost from £8,000, Kelling Designs RIGHT When space is limited, look for practical, smaller storage. This neat French wardrobe has hanging space and shelving as well as a wide drawer.

Portland small wardrobe, £595, The Dormy House

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be a space with a calm, cocooning effect, perfect for sleep, or will there be scope for bolder design choices?

For Emma Deterding of Kelling Designs, the master bedroom should always be of the utmost comfort and reflect personal tastes. “We always make the most of the bed,” she says. “The more expensive the bed, generally the more comfortable and certainly the better made it will be. At Kelling, the bed is always the star of the show and we match it with a bedspread, throw and cushions. We tend to use white linen, which makes it a fresh and inviting place to be.

“When considering the side tables, I would suggest that you make them as large as the room allows and as high as the top of the mattress. Never have downlights or hanging lights above a bed. There is nothing more distracting than a blast of direct light as you lie in bed.

Keep lights to the perimeter. For curtains, try to use blackout lining and make sure they are on a lath and fascia if you are a light sleeper, as this will keep out much of the light for those early summer mornings.”

When planning for a guest room, Deterding suggests a bold approach. “Guests are likely to only stay for a few nights,” she says, “so for them it should be a comfortable and exciting experience – they want to be more, or at least as, comfortable than they would be in their own home. Go for a big, bold statement headboard, embrace colour and choose fresh, crisp bed linen, great pillows, and duvets that suit the season. Storage is important, but if the room is too small to house a wardrobe, a beautiful set of hooks with gorgeous coat hangers will work just as well.”

KEY PIECES The bed needs to be the right size and style for the bedroom. Measure the room carefully to ensure there will be ample space to walk around the bed. When it comes to bed sizes, a standard single is 90cm x 190cm, perfect for children’s rooms or guest rooms. Small doubles are usually 120cm x 190cm, whilst a standard double is 135cm x 190cm. King-size beds typically measure 150cm x 200cm, and super-king-size beds – the ultimate in luxury – are 180cm x 200cm. TOP LEFT Bold design choices add character to the bedroom. Samson headboard in Linwood Kami velvet, from £449 (single), The Headboard Workshop LEFT Ensuring there is plenty of room around the bed ra allows or s a and flow Camelia king-size bed frame, from £895, Button & Sprung OPPOSITE, CLOCKWISE FROM TOP Be sure to take comfort and style into equal consideration.

Maple Natural Superb mattress with deep divan base and headboard, from £3,097 (king-size set), Hypnos Bold shapes and strong pattern add interest and charm.

Konig headboard, from £2,235, Rita Konig x Ensemblier Add layers and textures for interest and a seasonal update.

Pink Sprig standard pillowcase, £18; Pink Matilda Oxford pillowcase, £26; Green scalloped-edge Oxford pillowcase, £26; Mini Elephant quilt, £150; Paisley throw, £145, Sarah K

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BUYER’S GUIDE

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ABOVE Set the mood with bed linen to complement the colour scheme. Raspberry Bed Linen, from £36, Piglet ABOVE, RIGHT Natural linen has a luxurious feel and texture as well as being easy to care for. Still White duvet cover set, £159 for a double, Chalk Pink Linen Company

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Dress to impress When it comes to bedding and bed linen, it is a good idea to buy for the season as well as for style.

• Duvets are measured in togs, with 1 being the coolest and 15 being the warmest. For summer, a 1-7 tog is advised, whereas 10.5 or above is recommended for winter.

Natural fillings such as feather or down are softer and allow skin to breathe more easily than synthetics, whilst silk is a good option for allergy sufferers.

• Pillows come in a choice of materials and fillings in low, medium and high profiles. For those who sleep on their stomach, a lower, soft profile is perfect, whilst a firmer one is better for side or back sleepers. Head and neck alignment is key for the muscles to relax enough for a comfortable night’s sleep.

• Choose bedlinen in a choice of fabrics and materials to suit the household’s different needs and desires. For hotel-quality sheets, consider high-thread-count cotton for its naturally breathable qualities which help regulate temperature and moisture levels.

Pure linen is another good choice, as it acts as a heat regulator, allowing air to circulate around the body. In addition to this, linen is hypo-allergenic, has antibacterial properties and a natural pH balance.

• When dressing the bed, set the mood for the whole room by choosing a colour palette to complement or contrast with the colour scheme. Layer the bed with textures – bedspreads, blankets, throws and cushions can all be added to or taken away as the seasons change.

FEATURE HAYLEY GILBERT PHOTOGRAPHS P75 (TODHUNTER EARLE) © ANDREW BEASLEY. P76 © JON DAY. P79 (HYPNOS) © DOMINIC BLACKMORE; (SARAH K) © MATILDA DELVES; (ENSEMBLIER) © JAMES MERRELL

Mark Tremlett, CEO of The Cornish Bed Company, advises always choosing the biggest bed that can fit in the room, and to take comfort into the equation too. “Where possible, try before you buy and be sure to explore the different mattress options available,” he counsels.

Consider, too, whether the bed needs to provide storage space for clothes, spare bedding, blankets and pillows, in which case an ottoman divan is the perfect choice. Alternatively, opting for a bed frame that shows the floor space beneath will help to create a feeling of light and space in a dark or small space.

Think about the different bed bases too, and the benefits of each. Slats offer good support and can adapt well to different weights, as well as providing good levels of ventilation to circulate air around the mattress. A sprung divan meanwhile often enhances the life of a mattress, and provides a softer surface and another support layer to sleep on.

If the room is to function as a guest room or multipurpose space, look for day or sofa beds, or trundle styles that free up valuable floor space

BUYER’S GUIDE

DIRECTORY Resources for a beautiful bedroom BEDS & MATTRESSES And So To Bed Tel 0808 144 4343 andsotobed.co.uk Beaudesert Tel 0845 838 8720 beaudesert.co.uk The Cornish Bed Co Tel 01726 825182 cornishbeds.co.uk The English Bed Co Tel 0161 925 8503 theenglishbedcompany.co.uk The French Bedroom Co Tel 01444 415430 frenchbedroomcompany.co.uk Harrison Spinks Tel 0113 205 5200 harrisonspinks.co.uk Hastens Tel 020 7313 9888 hastens.com The Headboard Workshop Tel 01291 628216 theheadboardworkshop.co.uk Hypnos Tel 01844 348200 hypnosbeds.com Naturalmat Tel 01392 877247 naturalmat.co.uk

when not in use.

Headboards can be a great way of transforming the look of a bedroom – particularly larger, bolder styles. “With the rise of the boutique hotel and its look being emulated in residential design,” says Martin Waller of Andrew Martin, “the headboard has become a brilliant focal point in bedroom decor. Look to the Firmdale Hotels group for inspiration on using brave colour and pattern, and have fun co-ordinating headboards with a wallpaper or throw. Don’t be afraid to choose a more outlandish style as this only adds more character. See it as art above your bed.”

For storage, let the available space guide you.

Fully fitted furniture makes the most of every inch, whilst freestanding wardrobes, chests and armoires can be moved into different positions or rooms when a change of style is required. n LEFT Rich textures and ornate prints provide colourful interest against plain backgrounds.

Headboard and lampshade, Chinese Garden, Ochre, £55 a metre; headboard trim, Downham, Russet, £65 a metre; cushions (front to back): Downham, Juniper, £65 a metre; Cusco, Spice, £70 a metre, all Warner House ABOVE Save space in a compact room with a wallmounted clothes rail that also works as a shelf.

Skagerak Cutter wardrobe in Oak, £462, Blomster Designs

The Natural Bed Co Tel 0144 272 1984 naturalbedcompany.co.uk The Original Bed Co Tel 0800 464 0875 obc-uk.net Savoir Beds Tel 020 8838 4838 savoirbeds.com The Woolroom Tel 01780 461217 thewoolroom.com The Wrought Iron & Brass Bed Co Tel 01485 542516 wroughtironandbrassbed.co.uk BEDLINEN Chalk Pink Linen Co Tel 01872 492192 chalkpinklinencompany.co.uk Christy christy.co.uk Gingerlily Tel 020 8877 9905 gingerlilylondon.com Heirloom Linens Tel 01243 820 252 heirloom-linens.com Peter Reed Tel 01282 616069 peterreed.com

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DESIGN ADVICE David Harber’s large, contemporary sculpture Portal is made from an amalgam of oxidised steel and mirrorpolished stainless steel to create a striking focal point.

Prices from £33,000 including installation.

Point OF VIEW

Whether making a statement or providing a focal point, in reflective metallics or ancient stone, sculptural forms make an important contribution to the garden THE ENGLISH HOME 83

ABOVE Created in 2019, this Bronze Roe Standing, £22,000, by Hamish Mackie would look naturally at home in a country garden or woodland. Limited edition of 12.

TOP RIGHT Andrew Kay most often sculpts the forms of animals native to Britain, such as his steel River Heron, £1,270, poised on the water’s edge and ready to strike with its formidable beak.

ABOVE RIGHT Sculptor Alison Crowther works almost exclusively in English oak, with her pieces being sold around the world.

Outer Sphere is in a private UK collection.

L

ike the accessories that add the finishing touches to a room in the house, a piece of sculpture for the garden is the perfect way to enhance an outdoor space. Prices vary considerably, depending on whether the piece is bespoke or bought off the peg, but a beautiful garden highlight is within the reach of every gardener.

“When you’re choosing sculpture, there is normally one of two scenarios,” says Polly Bielecka, gallery director at Pangolin London Sculpture Gallery.

“You either fall in love with a sculpture and find a way to make it work, or you have a spot in the garden for which you then go out and look for something.

How you choose the sculpture would change depending on which scenario you have, but my first and foremost advice is that you have to love it. The pleasure of sculpture is surely the fact that you’re looking at it every day, in different light, different weather conditions, and if you do not ultimately love it, you are missing out. It shouldn’t simply be seen as a decorative object or an ornament.”

There are countless styles of sculpture to choose between, from sleek and contemporary to abstract modern art, classical statuary or informal rustic pieces. Sculpture that mimics nature often sits well

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in gardens. Consider Ruth Moilliet’s giant metal allium flowerheads, or Tom Hare’s towering willow sculptures of seeds at Kew. Animals rarely look out of place in a garden, either, whether as a classical stone stag on a plinth or a charming gaggle of geese crossing a lawn in a more informal setting. Abstract sculptures work well in gardens, contrasting with the plants around them, often because emphasis is placed on material rather than form. Human sculptures such as figures, busts and heads can also be used to create interesting scenes, but these can divide opinion – some gardeners find them eerie, or are startled by them, easily done when they are glimpsed out of the corner of the eye.

PRACTICAL CONSIDERATIONS Wide, open spaces are the most difficult places to site a sculpture, according to Bielecka. “Open horizons dwarf anything other than monumental sculptures,” she says. “Figurative sculpture works in intimate spaces and bold abstract pieces work better in bigger spaces because they can hold the space.” In a garden with a strong architectural design or bold planting scheme, choose something that will complement it in form, colour and texture.

DESIGN ADVICE

ABOVE A Georgianera gardener takes a moment to rest on his spade in this classic cast stone statue by Haddonstone, £749, which is based on an original eighteenthcentury statue at Burton Agnes in Yorkshire.

LEFT Journey is a powerful new sculpture in bronze

by Nadine Collinson, inspired by the voyage of the a flow r and ship’s intrepid Atlantic crossing. It can be seen on display at The Garden Gallery in Hampshire.

RIGHT Custom-made brass armillary (80cm) on Tudor plinth £5,175, Border Sundials

SUNDIALS AND SPHERES These classic pieces have been used to bring a reflective mood to gardens for centuries Not quite a sculpture, but capable of creating a focal point in traditional or contemporary styles, sundials are a historic piece of garden furniture. They also make a thoughtful present, especially if the dial is engraved.

Sundials need careful positioning to work accurately – their site should be sunny and not overshadowed by trees or neighbouring buildings. They also need to be exactly horizontal, and lined up with true north,

as opposed to magnetic north, but most suppliers should be able to advise on correct positioning.

Armillary spheres have a more eye-catching, sculptural look, as do the more contemporary takes on them.

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Selecting materials

DESIGN ADVICE

Whilst choice of material for a sculpture is often a matter of taste, each option has its own merits “Choosing a sculpture is very subjective. It depends on what kind of style and material you like,” says Andrew Illingworth of online sculpture supplier FiveTwo Designs (fiv uk). “The big factor is cost, whilst the other is weight. Some people want sculptures that can be put in position and left there forever, others might want a piece that can be moved around the garden.”

STONE Hand-carved stone makes for a long-lasting piece of sculpture. “If you have a piece of sculpture made from stone that has actually been quarried from deep down, you know it is millions of years old,” says Illingworth.

“On the other hand, stones such as sandstone are very heavy, so they’re d l o wor w and nd o expensive, even for small pieces.”

MANUFACTURED STONE Cast stone is made from natural stone aggregates, mixed with a cement-like binding material and is moulded to resemble stone, which it matches in appearance. “It would be snobbish to say ‘Don’t have cast stone’. It is still stone,” says Illingworth. Stone resin is formed from stone that is ground to a powder then put in a suspension with resin. “It gives the artist the opportunity to create a sculpture using a mould so they can produce more than one edition,” continues Illingworth.

BRONZE Metals such as copper and iron, or metal alloys such as bronze, are popular materials for sculptures.

Sculptures and statuary cast from solid metals will be heavy and come with a high price tag, but they will

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also make the best investment pieces long term. “Some will rust and develop a patination to give an aged look,” says Illingworth.

BRONZE RESIN Also known as ‘cold cast bronze’, bronze powder is mixed with a resin and poured into a mould. “The look of resin is just as good as the real thing and it does keep the prices down a little bit,” says Illingworth.

“It’s a very nice material and it’s lighter. It feels like bronze and sounds metallic when tapped.”

GLASS Often lightweight, glass pieces can be easily moved to ring the changes in the garden or take advantage of the sun. They can bounce light to throw spotlights onto shaded areas, whilst mirrored-glass s r fl the plants around them.

STAINLESS STEEL n and r fl , s a nl ss s l gives a strong contemporary look.

“Sculptures made from stainless steel won’t rust,” advises Illingworth.

Before buying, check carefully for cracks and breaks, dents or scratches.

ALUMINIUM “Aluminium pieces can come in very vibrant colours,” says Illingworth.

“Again they’re light, rust-free and it’s a relatively cheap material to make from.”

WOOD AND WILLOW Wood sculptures naturally sit well in gardens. Commissioning work made from a fallen tree is a lovely way to preserve a much-missed feature. o n w llow s also n , al o not long-lasting.

ABOVE Rupert Till’s distinctive animal and bird sculptures are crafted from malleable wire. Cock a Hoop with Pheasant is one of his best-selling sculptures.

BELOW LEFT Life-like animal forms bring intrigue to outdoor spaces – from a distance it may be hard to tell if they are real. Emma Stothard makes horses, such as Mare and Foal shown here, as well as hounds and hares.

“It is worth investing a bit more to get the quality,” says Bielecka. “There are a lot of sculptures out there that are made of bronze resin and won’t last as long, year on year. For investment potential, it is worth spending a little more to support a younger artist working in better quality materials. Many galleries selling sculpture are used to taking payment in instalments. Always check the edition, because, like prints, the higher the edition the lower the price. Do not assume you’re buying a unique sculpture when it could be one of an edition of four or six or more, depending on its size.”

Among the practicalities to consider, as well as the artist’s background and what the sculpture is made of, are access, whether or not it will require a plinth and how it will be secured. “Access is really important, especially for heavy works,” Bielecka says. “Any steps, no matter how small, can pose problems so bear that in mind. For high-value works, it is highly recommended you use professional art movers to install the sculpture.”

Bielecka recommends that anything in bronze should be bolted to a base, not only for security but also for safety. “Wind can be catastrophic. You don’t want a sculpture blowing over and damaging you, the garden or the piece itself. Bolt it to a plinth or a solid

FEATURE VIVIENNE HAMBLY PHOTOGRAPHS P83 © CLIVE NICHOLS. P84 (HERON) © STEVE ROGERS; (OAK SPHERE) © JACQUI HURST; P86 (MARE & FOAL) © TONY BARTHOLOMEW; P87 (SLATE SPHERE) © RUSSELL SMITH

DESIGN ADVICE

grounding, which you can then turf over if you want to integrate it with the garden. Be especially careful if the garden can be accessed by large vehicles. There are tracking devices for large, high-value objects. It is quite new technology – as soon as the sculpture is tilted or moved in any way, an alarm sensor goes off.”

Bielecka describes plinths as very similar to picture frames – they can make or break a piece of sculpture.

“Plinths bring to mind monumental pieces of sculpture, but having a plinth gives you the opportunity to raise a small, less costly piece but still make it look monumental, increasing its volume, height and width,” she says. “I don’t have a rule of thumb when it comes to plinth size, but I do think very carefully about the way it will fit with the sculpture – there is a huge range of finishes and different materials.”

POSITIONING SCULPTURE The obvious way to use a sculpture is to create a focal point. Positioned at the end of an allée or vista, particularly with symmetry on either side, it will pull the eye along and focus attention. Think about views from the house when deciding where to position the sculpture – a focal point that is in line with a view

from a window will give a pleasing scene that can be enjoyed from the house all year round. “Sculpture is wonderful at adding a focal point or leading the eye to a part of the garden you want to emphasise or lift. It can lift a dull area but also complement a busy one,” says Polly.

Simply positioning the piece on a plain expanse of lawn will guarantee undivided attention, but certain sculptures can be enhanced with some considered planting. This can be formal – a square or circular bed, perhaps edged by box with the sculpture in the centre – or informal, by positioning it in a border so it rises on its plinth from a sea of flowers. Be careful when using delicate pieces this way, because they can get lost in the crowd. Meanwhile a smaller work on a low plinth could look great in winter but be completely consumed by plants in summer. “Think about it in all seasons; it might just benefit from being on a taller plinth,” Polly says.

“Draw a few sketches of the possible location,” advises Polly. “It is a good mental exercise in thinking about relative scale.” If you do not like drawing, print out photos and draw on top of them using tracing paper to get a good idea of how the sculpture will look in position. n

CLOCKWISE FROM TOP LEFT Joe Smith has been sculpting large-scale slate forms since the 1990s and continues to do so with his daughter Jenny.

Clients include HRH The Prince of Wales at Highgrove.

This bronze Alice in Wonderland sculpture from Robert James or s o r fl s studio’s inspiration – literary characters. fl on s principal component in William Pye’s Tavola, Italian for ‘table’. Water enters the bronze vessel from underneath and pours out through spouts at each corner.

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QUINTESSENTIALLY

Inspiration for seasonal pastimes and making the most of life at home starts here

NATURAL INSPIRATION

FEATURE KATY MCLEAN

Each design in Elizabeth Ockford’s new Floral wallpaper collection is named after inspiring women – from Gertrude Jekyll to Kamala Harris. The inspiration behind ‘Marianne’ (shown here) is Victorian botanical artist Marianne North, whose work is displayed at Kew Gardens. We think it provides the perfect excuse to indulge in an artistic endeavour, whether sketching, painting, photography or simply pressing flowers for sweet mementoes of the season. Take the time to appreciate the natural beauty of flowers, leaves, grasses and trees as a creative outlet that will soothe the soul.

Wallpaper, Marianne, Noir, £145 a roll, Elizabeth Ockford

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MY ENGLISH HOME

Matthew Fort FROM PATCH TO PLATE

S

ummer – the ‘sweet season’, as Henry Howard, Earl of Surrey called it – brings with it sunshine, warmth, the smell of cut grass, and long drawn-out days. It’s the time of salads, peas and broad beans, when the air is suffused with the perfume of herbs: tarragon, parsley, thyme, mint, rosemary, savory, marjoram, basil and so on.

Herbs are a marvel. They’re such amiable, agreeable companions; easy to grow inside or out, and transformative in the kitchen. Just a handful of seeds in a pot, adequate (but not excessive) watering, and light, and you have sources of flavour and delight for months on end. They’re like colours on an artist’s palette, capable of producing almost infinite effects when it comes to cooking.

Herbs have been at the heart of English cookery since the dawn of time. Well, at least since the Romans, who introduced a good many of the herbs we now see as part of our own culinary culture. Think of rosemary and lamb; tarragon and chicken; savory and broad beans; basil and tomatoes; and parsley and just about anything. They even make it into popular song. ‘Parsley, sage, rosemary and thyme,’ carolled Simon & Garfunkel in the refrain of Scarborough Fair way back in 1968 in the soundtrack to The Graduate. Actually, the origins of ‘Scarborough Fair’ go back much

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further than that, to the nineteenth century and beyond, and parsley, sage, rosemary and thyme weren’t even in the original line up of herbs. That was savory, sage, rosemary and thyme, although some scholars claim that that should be ‘savoury sage, rosemary and thyme’, which makes no sense at all.

Within those individual species are hidden a multiplicity of variants. Take mint: there’s peppermint, cat’s mint, apple mint, Moroccan mint, water mint and pennyroyal. Or thyme – golden thyme, creeping thyme, lemon thyme, Lorna Doone thyme and so on and so on. Even parsley has two distinct versions, curly and flat-leaf, with different tastes and textures, and don’t get me started on basils. There are dozens of basils, each with a particular part to play in the making of flavours.

Over the years I’ve learned to treat herbs with affection and respect. I add them to salads, make custards out of them (a dainty first course), infuse vinegars with them, build sauces around them, sprinkle them on scrambled eggs, spike fish with them, and turn to them to transform disaster into triumph.

Quite possibly the most useful thing I’ve learned about herbs is when to add them when cooking. The general rule is the later the better. Herbs are sensitive, delicate creatures. In their raw state, they’re light

and lively, precise and pointed. But apply too much heat and the delicate volatile oils that produce the flavours evaporate and you wonder what happened to the parsley, sage, rosemary and thyme.

If you want your sauce, soup, stew, whatever, to actually taste the way you think it should, add the herbs in generous quantities at the end, as the dish cools slightly. At this point, I plunge in a hefty bouquet of parsley, sage, rosemary or thyme (or savory, basil, marjoram or mint, come to that), and leave them to steep for 10 minutes or so. The result? The sauce, gravy, jus or juice is suffused with the ethereal odours and flavours of the herb in question.

Herbs can be easily grown from seed, but if you can’t be bothered to do this, buy pots of herbs at a supermarket. These invariably have too many plants in them for good health, so break them up into individual plants or clumps and transplant them to other pots or into the herb bed outside, where they’ll be decorative as well as delicious.

About Matthew Best known as a judge on BBC2’s Great British Menu, Matthew is an award-winning food writer and critic.

He was the Food & Drink Editor of The Guardian for 15 years and is the author of four books.

PORTRAIT GRANT SCOTT ILLUSTRATION OLIGA / SHUTTERSTOCK. PHOTOGRAPH © STOCKFOOD / KAREN THOMAS

The food writer and critic tells of his passion for growing fresh, fragrant herbs in the garden and how for relatively little effort they reap abundant rewards in flavour

FOOD

COUSCOUS, CUCUMBER, TOMATO, RED ONION & HERB SALAD Many years past I used to make lunch boxes for my daughter to take to school. That’s when I learned about the versatility of couscous and how it made a splendid base for a scrumptious summer salad. Well, I thought it was scrumptious – fresh and fabulous and simple to put together. And the herbs make it sing. Of course you can change the herbs according to supply and demand.

Serves 4

INGREDIENTS 250g couscous ½ cucumber 1 small red onion 3 very ripe tomatoes 1 pomegranate 1 tbsp chopped flat-leaf parsley 1 tbsp chopped chives 1 tbsp chopped mint 250ml yoghurt 100ml sour cream

METHOD • Put the couscous into a bowl and pour 225ml boiling water (or vegetable stock) over it. Cover and leave for 15 minutes then pour in a tablespoon of vegetable oil and fluff up with a fork.

Leave to cool.

• Cut the cucumber and tomatoes into small chunks (peel them if you like, but I’m too lazy, and I think the flavour is better), and

finely chop the red onion.

• Stir almost all the herbs into the couscous. Do the same with the red onion. Gently add the cucumber and tomato. Sprinkle with pomegranate seeds and the remaining herbs.

• Mix the yoghurt and sour cream in a separate bowl.

When you help yourself to the salad plop a spoonful of the yoghurt and sour cream mixture on top. n

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Hosting a party & OTHER PERILS India Hicks – granddaughter of Earl Mountbatten of Burma and daughter of interior designer the late David Hicks – like her mother, Lady Pamela Hicks, loves to entertain. Here she shares her laid-back style tips interwoven with humorous family anecdotes

ABOVE & RIGHT “My father built a house in the Bahamas by mixing sand from the beach with rough cement,” says India. “Just after he completed it, he decided that sand was an annoyance and got into everything. He never returned to the house of sand but the rest of the family did, and we found ways to avoid sandy sandwiches on beach picnics by bringing a folding table and stools or creating a makeshift table from old pallets.”

ENTERTAINING

M

y grandparents were always entertaining, as were my parents, as am I. It must be in our blood. I always enjoy our parties. I have fun setting the table in various ways, moving locations, and thinking up new decorations. Whether a simple supper, lively lunch, or formal black-tie gala, every celebration should always feel, in my opinion, like a family

affair. I recruit as many of my children as I can to help, however they can, both in the setting up and, I am afraid, the taking down. Or even just covering a cake in roses. One trick I’ve picked up over the years is to incorporate something specific from my surroundings to give the occasion a native flair. At home in the Bahamas, for example, it’s a table sprinkled with lucky nuts we have collected from the beach,

or towering vases with palm fronds, or a simple assortment of shells mixed with votive candles. When I’m in England, it’s small posies of English roses or setting the dinnerware I inherited from my mother, given to her on her wedding day. Of course, there are tears when a side plate or saucer has met an untimely end, and what was once a handsome complete collection is then reduced to a few orphans.  THE ENGLISH HOME 93

‘Cream tea means you can expect scones with clotted cream; if there’s no clotted cream, then it’s a fake’ Afternoon tea My parents once invited the king of Tonga for afternoon tea. He was exceptionally large, and their London house was quite small. Going down the narrow entrance hallway, he had to turn sideways in order for his vast belly to be accommodated. My mother had bought a substantial chocolate cake from Fortnum & Mason for the occasion. She cut a slice of the cake and offered it to His Majesty, who, without batting an eyelid, took the entire cake, leaving only the tiny slice behind.

Afternoon tea, cream tea, high tea. It can be confusing. Afternoon tea brings the expectation of at least a biscuit or two, even if the cake’s been eaten by a king, with a cup, saucer, teapot, and cozy. Cream tea means you can expect scones with clotted cream; if there’s no clotted cream, then it’s a fake. And high tea is something else altogether. It normally involves something hot, like spaghetti hoops on toast, and tends to happen in the early evening; during my childhood, it took place hidden away in a nursery with a nanny.

Teatime is also a time for trivial conversation or polite pleasantries – or not-so-polite ones. I had been invited to speak at an event in North Carolina. They thought because I was English, it would be fun to serve tea for the audience before I spoke. I was seated at a table with several of the committee ladies. A more elderly one leaned across to her neighbour and whispered loudly, “Who is this India Hicks?” There was an awkward silence. 94 THE ENGLISH HOME

ABOVE My mother’s tea setup, complete with tea strainer and chuckleberry jam. Apparently, the chuckleberry is fast becoming the berry of the moment. Ah, the avant-garde world of jam making.

RIGHT This is a tea tent we erected in my mother’s garden. More than 50 American women I worked with came to explore a proper English tea. It was proper in that it was drizzling with rain, and there were Victoria sponge cakes, cucumber sandwiches, and cream scones; it was not proper in that there were jars of Licorice Allsorts and Dolly Mixture – that’s not proper at all. That’s just mad.

XXXXXXXXXXX ENTERTAINING

THE ENGLISH HOME 95

I turned to my own neighbour and said, “Oh, dear, I do hope she’s not too disappointed.” “Well, we were expecting Martha Stewart,” my neighbour told me, just as the lights went down and the podium lit up. It reminded me of the time my grandfather was invited to tea with a grand English hostess and seated next to a young chap who only seemed interested in motorcycles. After tea, the hostess called my grandfather over to see if he had been amused by his companion, and my grandfather confessed, “Not much.”

“Oh, my dear boy,” continued the hostess.

“How unfortunate, because that was Lawrence of Arabia.”

96 THE ENGLISH HOME

The culinary idiot

‘Even I can produce a platter. Trays laden with edible displays are on-trend for a reason’ ABOVE “Surely there must be enough choice here to navigate the increasing and confusing dietary requirements of the modern man and woman,” India says. “If you can’t find something on this platter to munch on, I give up.”

How much you like your guests coming over for drinks depends on how far you go [in feeding them]. Perhaps a troublesome neighbour is not offered even a peanut, but a potential investor or a new mother-in-law needs some seducing.

It seems that trays and platters laden with edible displays are on-trend for a reason. First, even an unskilled culinary idiot like me can gather together some inventive ingredients and lay them out temptingly; think black rice sticks or local honeycomb, exotic dates and fruity

ENTERTAINING

salami, seasonable figs and stinky cheeses.

And second, with all this choice, we can navigate the increasing and confusing dietary requirements of the modern man and woman.

We are blessed to live between the Bahamas and Britain, and we take full advantage of both climates. We have drinks by a roaring fire on a Sunday morning in England or drinks on a floating dock in the Bahamas in the evening. If a floating dock is not available, I would encourage you to still think imaginatively about where you could possibly have a few friends over for a drink: a tree house in the garden, under the shade of a shed in the yard, or around an unusual table inside the home.

We once had Mick Jagger round for a drink, oh you know, as you do. We didn’t really know each other. In fact, when he called the first time after a friend put us in touch, my other half, David, answered the phone, said “Hello”, and heard a raspy, vaguely familiar voice. “Who is this?” said David. “It’s Mick Jagger,” said Mick Jagger.

“Very funny,” said David, and he hung up, knowing it was a prank. There was a terrible storm when Mick and his kid came over, so we ended up cross-legged on the floor around a short table in our sitting room, drinking and playing Jenga and eating from a platter of random delights I had managed to pull together.

ABOVE RIGHT “It appears here that we only packed Orangina in the basket,” says India of this particular picnic hamper, “but cushions and a sun hat are nearly as essential.” India considers china tableware and metal or wooden cutlery (rather than plastic) not only sustainable, but also an enhancement to eating food outdoors.

Picnicking As a small child, I asked my father to write in my little autograph book. In his distinctive hand, he left the phrase ‘Good taste and design are by no means dependent upon money’. I had no idea what that meant. Always the discerning tastemaker, aged eight years old, my father called the local tailor to his parents’ house and commissioned a dinner jacket. The only problem was, he had nowhere to wear the little dinner jacket. He was truly an individual. A room with too many

small objects was considered restless, and bright blue swimming pools were vulgar.

(Ours was painted black.) He ran over the daffodils that grew outside his library window because they were the wrong shade of yellow. He would rearrange the furniture in the guest room of the surprised friends he was staying with.

And he was never, ever afraid to speak his mind: “I loathe the colour used on modern buildings. Red dogs are hideous.

I hate satin, I hate wrought iron, and  THE ENGLISH HOME 97

ENTERTAINING

RIGHT: English summer lunches are always held under the threat of rain, so we set this table in the shade of our oak tree hoping it would also act as an umbrella. Possibly more interesting are the roses and peonies arranged in teacups on the saucers down the middle of the table.

‘I have fun setting the table in various ways, moving locations and thinking up new decorations’

I hate picnics.” My mother, on the other hand, loved them – picnics, that is.

We enjoyed a great deal of time holidaying in the summer between Ireland and Scotland. Not with my father, obviously, but with my aunt, uncle, and a herd of cousins. An inordinate amount of time was spent on the edges of rivers, whisking away mosquitoes, in drizzling rain waiting for a salmon to bite. We would each have made up our own little picnic to sustain us through the day, often wrapped in a tea towel and ever so slightly tasting of peat. n 98 THE ENGLISH HOME

DISCOVER MORE For further irreverent hints and tips on entertaining – starting with cocktails and finishing with brea fast – and a sprinkling of Hicks family anecdotes, see An Entertaining Story b ndia ic s, with a foreword b roo e hields i oli, .

CJ_English_Home_Ad_3.26.21.qxp_Layout 7 3/26/21 4:04 PM Page 1

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www.kentchurchbutlers.co.uk THE ENGLISH HOME 99

Coming up

ROSES

With a wealth of beguiling colours, shapes and captivating scents to choose from, there is a perfect rose for every garden

GARDENING

S

ynonymous with English country gardens, roses have long been cherished by gardeners, interior designers, florists and perfumiers alike. With flowers coming in myriad forms, from plump buds of endless, unfurling petals to the simple, wide-eyed charm of the hedgerow beauty, they are undeniably the highlight of an English garden in summer.

Originating from Asia, roses have a rich and colourful backstory, as described by John Wood, head gardener at National Trust property Hinton Ampner in Hampshire: “Cultivated by ancient civilisations across continents, worn into battles and symbolic of love and peace, roses have been a part of our lives for centuries.”

Much of the rose’s everlasting appeal is due to the vast number of varieties commercially available. “Apart from being England’s national flower, roses are also one of the easiest and most versatile of all garden plants to grow, whether you’re looking to add structure and perfume to a mixed border or add a blaze of colour to a paved or patio area,” says Simon White, rosarian at Peter Beales Roses.

AN ENDLESS ARRAY “With their heady scent and blowsy appearance, English garden roses have an old-fashioned charm about them,” says florist Hannah-Victoria Taylor of Ixia Botanicals. Perhaps it is this sense of romance and nostalgia that appeals to so many, whilst for others it could be the poignancy of a named variety, a particular colour or flower shape or the role they perform in the garden. “Last year we saw an upsurge for more climbing and rambling roses, with customers looking to brighten up walls, fencing and outbuildings as well as adding height to their gardens with arches and obelisks,” White says.

In addition to their visual appeal, these beautiful flowers can create memorable, uplifting experiences.

Imagine training climbing roses to reach up to an open bedroom window and waking up to an exquisitely fragranced room on a perfect summer morning. Or perhaps, as Jan Howard from Room In The Garden suggests, “Stepping out into the perfumed paradise of a bespoke dining pavilion.” The combination of heady scent, sublime colour and delicacy makes roses an unrivalled garden gem. 

ABOVE Connect different areas of the garden with beautifully fragrant rose-covered tunnels or arches. Shown here is the rose garden in June at Mottisfont, Hampshire. For hardy, robust steel tunnels and arches try Muntons Traditional Plant Supports.

OPPOSITE Close-up of the pink white rose, Rosa ‘Little White Pet’ in the rose garden at Mottisfont in Hampshire.

THE ENGLISH HOME 101

‘Apart from being England’s national flower, roses are also one of the easiest and most versatile of all garden plants to grow’ ABOVE LEFT Create a feast for the senses with a bespoke ironwork pavilion such as this one by Room In The Garden, which is supporting an abundance of perfumed roses.

ABOVE RIGHT Accentuate a dreamy mix of pink shrub roses, catmint and salvias with wooden, white-painted obelisks from The Wooden Garden Obelisk Company.

“Roses aren’t just a pretty face,” says Henry White of Trevor White Roses. “Their variations and permutations provide for virtually every situation or use – ramblers can smother walls; species or rugosas yield large fruit for wildlife in winter; and centifolias and damasks are the embodiment of fragrance. The list goes on.”

CUT BLOOMS TO SAVOUR Cutting garden flowers to enjoy indoors is a simple and satisfying pleasure. Whilst some cultivars are marketed specifically for this purpose, many florists consider this unnecessary. “I think all roses are good for cutting,” Rosie Newbery from Somerset’s Common Farm Flowers says. “The challenge is to find roses with fewer thorns for cutting so that you can cut them quickly. I cut roses which climb the walls, climb through trees, in tight bud, already blown... it’s worth having a few different repeat-flowerers in the garden.”

With a vast colour spectrum of roses to choose from, it is worth nurturing those that complement the decor of individual rooms. Pale blush and cream roses such as David Austin’s ‘Desdemona’ and ‘Claire Austin’

102 THE ENGLISH HOME

possess a timeless elegance whether displayed on their own or mixed with other garden favourites.

Take a few simple steps to ensure roses have a long vase life. Hannah-Victoria Taylor from Cumbria’s flower studio and cutting garden Ixia Botanicals explains: “Roses can be cut in tighter bud. As long as the protective green foliage around the bud has opened, the petals will open.” Cutting roses on a cool morning and placing the stems straight into water also helps them last.

CHOOSING WISELY There are two ways to buy rose plants: as a ‘bare root’ plant or as ‘potted’ or ‘containerised’.

Bare root roses are dug fresh and sent from the nursery field between November and April, the plant’s dormant growth period. Supplied with no soil, they must be planted immediately, avoiding waterlogged and frozen ground, so their roots can establish in time for summer flowering.

Potted or containerised roses are harvested from crop fields at the same time but are grown on in nursery pots so their roots can continue to grow 

GARDENING

and establish. These plants are sold all year round, often in bud or bloom, and tend to cost more than bare root plants.

CARE AND CHERISH Roses are tough plants that aim to thrive, but for best results choose varieties suited to the available planting position. Most require good ventilation, nutrient-rich soil and sun (ideally four hours a day minimum), but a few varieties such as alba roses and other ground-cover roses can tolerate shade and poorer soils.

If good planting spots are limited, container planting is always an option. “Climbing roses – including one of my favourites, Rosa ‘The Simple Life’ – are great for planting in container pots,” says plantswoman Sarah Raven. “Make sure you use a 50cm-plus diameter pot, with very good quality compost, and make sure it is kept fed and watered.”

Nurturing roses is often seen as time-consuming and complex, but in reality just a few, simple tips need to be followed. “Before planting, prepare the ground

really well using plenty of well-rotted organic matter like manure or soil improver,” says Michael Marriott, chief rosarian at David Austin Roses. “Keep plants well watered as this is one of the best ways of encouraging speedy repeat blooming. In the first year, when the rose is building up strength, it is best to not cut any blooms at all, or only short stems, so as not to weaken it.”

Regular feeding is also key to strong and healthy plants, as Chris Styles from Styles Roses notes: “Roses are heavy feeders. Feed late spring and mid-summer every year with a specific granular rose feed. Failing to feed your roses will weaken them and lead to disease issues.” Blackspot and mildew are both unsightly conditions that call for prompt action. Although chemical treatments are available, the best method is to snip off damaged foliage and dispose of it with household rubbish rather than in a compost bin.

Established and mature rose plants should be pruned – essentially a matter of cutting out weaker stems and creating space for air to circulate. “Use sharp secateurs to cut out any diseased or deadwood,

ABOVE LEFT Planting roses alongside plants such as salvias can deter pests and prevent diseases.

Princess Anne shrub rose from David Austin Roses.

TOP RIGHT Climbing roses need an elegant and sturdy support. This Gothic Screen in galvanised steel adds a light contrast. Available from Agriframes.

ABOVE RIGHT Sophisticated shades, as seen in Sarah Raven’s beguiling Copper and Crimson Rose Collection, are certain to broaden this flower’s appeal.

THE ENGLISH HOME 103

GARDENING

Noteworthy Roses

ABOVE Pale stone paving and matt, black ironwork highlight the vibrant modern roses in the Queen Mother’s Rose Garden at RHS Rosemoor in Devon.

including any crossing stems,” says Taylor, “and don’t worry too much about cutting above a bud or at an angle. They will come back just fine.”

Snipping off – or ‘deadheading’ – spent flowers encourages further blooms, but do leave some to form bright, juicy hips for autumn and winter interest, and to feed wildlife.

SMART BEDFELLOWS Roses were once confined to dedicated rose gardens, but today they mingle happily with other shrubs and blooms, often for good reason.

There are many herbaceous plants that complement and extend a rose’s season of interest, and they can often help deter harmful garden pests too.

Strongly scented favourites such as alliums, thyme and mint will help keep aphids and blackfly away, whilst geraniums and marigolds both repel rose beetle.

Some flowers such as yarrow and catnip attract helpful pollinators, as well creating a beautiful foil for the roses themselves. n

104 THE ENGLISH HOME

YEAR-ROUND INTEREST: ROSA GLAUCA

FLORISTS’ FAVOURITE: ROSA ‘TIMELESS CREAM’

Magenta-tipped blooms set against bronze-purple foliage. Bright red hips appear in autumn and last throughout winter.

Large, full blooms in soft shades of cream and long, straight stems make this hybrid tea rose ideal for arranging.

PROLIFIC CLIMBER: ROSA ‘SCHOOLGIRL’

BESTSELLER: ROSA ‘MACMILLAN NURSE’

Laden with masses of fragrant, apricot-hued blooms and reaching up to three metres. Perfect for walls and arches.

One of Peter Beales Roses’ most popular, this shrub rose has white rosette-style blooms flushed with peach, is a repeat-flowerer and will thrive in most conditions.

BI-COLOUR BLOOMS: ROSA GALLICA ‘VERSICOLOR’

FOOD FOR WILDLIFE: ROSA ‘FRU DAGMAR HASTRUP’

Striped in palest pink and magenta, this eye-catching rose is a valuable source of nectar and is highly fragrant.

Good for pollinators and birds, this rugosa rose has simple pink open flowers in summer and large, juicy hips in winter.

FEATURE JILL MORGAN PHOTOGRAPHS P100 © NATIONAL TRUST/CLIVE NICHOLS. P101 © NATIONAL TRUST/CLIVE NICHOLS. P102 (RIGHT) © THE WOODEN GARDEN OBELISK COMPANY. P103 (ABOVE LEFT & ABOVE RIGHT) © JONATHAN BUCKLEY; SARAHRAVEN.COM. P104 (TOP LEFT) © JERRY HARPUR/RHS. (NOTEWORTHY ROSES, CLOCKWISE FROM TOP LEFT) © THOMPSON & MORGAN; © SUTTONS/GAVIN SHAW; © PETER BEALES ROSES; © BURNCOOSE NURSERIES; © RHS/JASON INGRAM; © WAITROSE GARDEN

With over 150 species and 30,000 varieties, finding the perfect plant can take time. Here are a few of most appealing in their category.

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THE ENGLISH HOME 105

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WIN A GREAT BRITISH HOLIDAY

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YOUR ONCE-IN-A-LIFETIME TRIP INCLUDES: international ights if applicable • ne night ondon sta wo night sta in dinburgh • isit to dinburgh astle ic ets to lenheim alace • night in a otswolds hotel • est nd tic ets with dinner

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Enter our competition for your chance to win a holiday in Britain for two worth up to £5,000, including free international flights What would your dream holiday to Britain include? A five-star stay in London and tickets to a West End show? A trip to historic Edinburgh?

How about a stay in the Cotswolds, including a visit to one of Britain’s finest stately homes? Well, with our Great British Holiday competition, you can win all of this and more.

LONDON LUXURY Starting with free flights (for overseas entrants), the winner and their guest will travel to London for a luxury one-night stay at the Athenaeum, a five-star hotel in the heart of Mayfair – just a short stroll from Buckingham Palace, Piccadilly Circus and the Royal Parks.

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THE CHARMING COTSWOLDS To conclude your trip, it’s time to escape to the countryside to visit one of Britain’s finest stately homes and the birthplace of Winston Churchill: Blenheim Palace.

Accommodation for the night will be at Minster Mill, a glamorous and luxurious hotel on the banks of the River Windrush in the historic village of Minster Lovell.

After a full English breakfast, you can take advantage of the hotel’s top-class facilities – from its spa to its croquet lawn – or explore your surroundings: the idyllic Oxfordshire Cotswolds are home to some of England’s most beautiful villages.

COMPETITION

Two annual tickets to Blenheim Palace, one of the countr s finest stately homes and the birthplace of Winston Churchill. www.blenheimpalace. com

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One-night stay for two at Minster Mill, a luxurious Cotswolds hotel near Blenheim Palace.

Includes breakfast. www.minstermill.co.uk

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PHOTOGRAPH DAVID IONUT/SHUTTERSTOCK

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My answer: Name: Address: Postcode: Tel no: Email: Terms and conditions apply. For full details go to www.chelseamagazines.com/ GBH2021 Please tick here if you subscribe to The English Home Please tick if you are happy to receive relevant information about new products or services from our competition partners via email , post , or phone , and/or The Chelsea Magazine Company via email , post , or phone

PROPERTIES FOR SALE

HOUSES WITH CHARACTER This month, our selection of properties boasting an idyllic waterside setting

1

POOL RESOURCES First recorded as a mill in the Domesday Book in 1086, The Mill House is an attractive residence on the edge of the pretty Wiltshire village of Wylye. The current building is believed to date from 1872, and features large, bright reception rooms that include a dining hall and a conservatory on the ground floor, as well as a first-floor drawing room with a smaller snug library.

108 THE ENGLISH HOME

Five bedrooms and a games room add to the ample accommodation. To the rear of the property is a terrace with wonderful views over the Mill Stream and River Wylye, which run through the garden. Look out for the Wylye Boy, a statue of a sea sprite, erected on the riverbed by the Earl of Pembroke in the eighteenth century.

The Mill House, Wiltshire, £1,750,000, Savills

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2

OUTSIDE FAVOURITE Ensconced on the edge of the village green in Brockham in the Surrey Hills, The Meadows is a substantial Edwardian residence boasting six bedrooms and a self-contained annexe.

The main reception rooms have open fireplaces, excellent proportions and good ceiling heights, typical of houses of this particular period. The welcoming kitchen opens out to the rear garden, which is an outstanding feature of the property. This has been landscaped with planted beds and borders, areas of lawn, a pond and a water feature, as well as terraces to provide the perfect sun trap.

Beyond the garden is a private meadow which leads down to the banks of the River Mole, offering extensive opportunities for private fishing.

The Meadows, Surrey, £2,250,000, Hamptons

3

LAKESIDE RETREAT Dating from the 1800s, Fell Foot Cottage in The Lake District is built of Lakeland stone and retains a wealth of period detail. Step through the reclaimed portico entrance into a charming interior in which restored sash bay windows provide light and tranquil views, and woodburners in the reception rooms offer cosy nooks to curl up with a book. An original wooden staircase leads up to the split-level first floor, where there are four bedrooms, each with their own decorative features such as cast-iron and stone fireplaces. The formal gardens extend to woodland around the property, which also benefits from a converted bothy, now a summer house.

Nearby are the shores of Lake Windermere, with its water sports and scenic walks.

Fell Foot Cottage, Cumbria, £1,000,000, Fine & Country  THE ENGLISH HOME 109

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A RIVER RUNS THROUGH IT With an idyllic position beside the River Redlake in the Shropshire Hills, The Old School House dates back to the seventeenth century, and is believed to have been the school for Bucknell village until the present one was opened in 1865.

Oozing character from the era in which it was built, the Grade II listed residence has a classic timber-framed and rendered facade. The timber features continue into the interior, with beams throughout and a wood-panelled reception hall. Other period details include flagstone flooring and stone-built inglenookfireplaces in both the drawing room and the dining room. There are three bedrooms on the first floor, which take in views of the riverside gardens, accessible by a footbridge. There is also a detached barn that is Grade II listed.

The Old School House, Shropshire, £850,000, Strutt & Parker 110 THE ENGLISH HOME

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6

COASTAL SPLENDOUR Seawood House is perched high above the villages of Lynton and Lynmouth on cliffs of the North Devon coast with spectacular views out to sea. Built in 1824, there is even more to this Grade II listed villa than its magnificent seaside location.

The grand entrance hall opens onto three well-proportioned reception rooms that each have high ceilings and period fireplaces. A Georgian staircase leads to nine bedrooms on the upper two floors, whilst a self-contained annexe on the lower ground floor offers additional accommodation. The wrap-around terrace is an ideal spot for al fresco entertaining, spanning the length of the house with views of the beach and steps down to the popular North Walk, which is part of the South West Coast Path.

Seawood House, Devon, £1,500,000, Knight Frank

6

STILL WATERS Located in Hampshire’s Test Valley, Grade II listed Lockerley Mill dates back to the eighteenth century and has an enchanting waterside setting. The River Dun flows through the grounds into the mill pond and the stream below the house, and tributary channels of the Salisbury to Southampton canal run across the garden.

The former mill has plenty of original features, including a weather-boarded gable that would have been used for hoisting materials onto carts and boats, and remnants of the mill wheel in the reception hall, which also features a viewing window to the mill race. Picturesque vistas abound from rooms on the first floor, as well as on the second floor. Further accommodation is offered in the adjoining Victorian farm house and two cottages on the property.

Lockerley Mill, Hampshire, £2,500,000, Jackson-Stops n

FEATURE JANINE JORGENSEN PHOTOGRAPH (2) DOM JONES

5

Mrs Minerva writes...

The art of

ENTERTAINING IN THE GARDEN Passionate about quintessential English customs, our incognito columnist reminds us to do the best things in life in the most elegant fashion, always with a twinkle in her eye

I

Add colour to garden gatherings with these pretty plates.

Tropical Jungle Picnic Side Plates, £15 for a set of four, Marks & Spencer

t is all change again in England. Having spent many months in lockdown, we are now allowed to be sociable again, albeit by entertaining in our gardens. As I write, I am not sure when we will be allowed to have guests inside. As Mr M rather wisely put it the other day, “The only people who can cross the threshold are those we are paying to do so.”

We can have all the plumbers we want in the laundry room, but sadly none of the ladies from my book group in the drawing room. I wonder if we could ask the vicar to tea? After I managed to get a word in edgeways, we could discuss the proposed bring-and-buy sale and he would – technically – be working.

Of course, we are keen to do our bit in stopping the spread of the horrid virus and have been diligently following the rules, but it has not been easy and lockdown fatigue has most definitely set in. We are, however, amongst the lucky ones; we have moved house and therefore still feel a little like we are on holiday.

We have also had some exciting family news. The nursery at Minerva Towers will once again have a resident – our eldest son is about to become a father. Even Mr M is excited and is wandering around with the sort of grin on his face most usually saved for when a litter of spaniels is imminent. I, too, am thrilled, although it has taken a little while to come to terms with being called Granny. I do not feel nearly old enough.

As we are rather desperate to see other people – not least so we can share the happy news – I have been investigating how best to entertain in the garden given our rather unpredictable climate. Over our last bank holiday weekend, in the course of a few hours we had snow and then sunshine warm enough to sit outside in. “Four seasons in a day,” Mr M called it and, for once, he was spot on in his observation.

As soon as the announcement came that we would be able to gather in groups of up to six people or two

households in the garden, Mr M began muttering about rain and gazebos. I even found him on Amazon looking at a rather tacky fake sail to suspend from goodness knows where. I, too, am keen on a structure to provide some cover, but it needs to be done properly or the ever watchful, sometimes inquisitive and sometimes rather interfering ‘neighbourhood watch’ may well be tempted to report a temporary (and rather tasteless) breach in planning regulations. This is why I have commissioned George, the local carpenter, to build something.

He came by last week and we sat in the rain under two golfing umbrellas whilst he unveiled his plans.

Mr M wandered by on his way to the potting shed and said: “Crikey, are you trying to recreate the Taj Mahal?”

George looked a little wounded and was only placated when Mr M provided him with a mug of coffee with “a tot of something warming”.

It is not the Taj Mahal I am trying to create, but I draw the line at some stripy nylon thing likely to fly off at the merest hint of a breeze. Imagine the ignominy of having to fish it out of the garden at the Lamb & Flag. Too shaming for words.

I would much rather a rustic, French-style, wooden canopy, painted in a muted shade that ages well and fits in with the landscape. Mr M, obviously, baulked at the cost. “You cannot put a price on good taste,” I said, thinking that would be the end of it. “Well George certainly did, darling, and it seems to be the price of a small family car,” was his unhelpful response.

After some wheedling on my part, and some sighing on Mr M’s, we came to an accommodation and George is out in the garden constructing a ‘modest’ structure that meets Mr M’s need for parsimony and mine for French-inspired beauty. “This beautiful construction,” I said to George, “represents not simply much-needed shelter for guests in inclement weather, but a symbol of marital entente cordiale.” He said nothing and went back to his hammering. THE ENGLISH HOME 111

Mrs Minerva Writes...

LEFT There is something rather gratifying (and fashionable) about serving a meal made with fresh produce plucked only hours previously from one’s own vegetable patch.

112 THE ENGLISH HOME

SERVING IN STYLE Mrs M shares her favourite new discoveries to assist in outdoor entertaining this summer LIGHT UP MY LIFE

I have been on the lookout for some beautiful garden lighting for a while and stumbled across these traditional-style and Moroccan-inspired hanging lanterns from The White Company when I was on its website looking for new bedding. They are perfect for creating a lit pathway if put on the hanging crooks, which are sold separately. The lanterns hold a tealight and will create a warm glow without being glaring on a table. Hanging lanterns, from £25 each; hanging crooks, from £25 for two, thewhitecompany.com

BROUGHT TO BOOK

PHOTOGRAPHS (TOMATOES) © ELISANTH/SHUTTERSTOCK

I did not tell Mr M about the linen tablecloth I bought, or the gorgeous patterned plates I intend to keep for outdoor use. Or the colourful glasses and pitcher. I also did not mention the vases or the order of cut flowers. In marriage I find information best traded on a ‘need to know basis’ and Mr M most definitely rarely needs to know anything.

It is not as if he does not have secrets of his own.

Only last night I discovered he had commissioned George for a project of his own. In one corner of the garden is an old shed, which Mr M has decided to turn into a beer kiosk. When I confronted him, he declared it was so we would be the biggest attraction during open garden weekends. I am not entirely sure this was his main motivation.

I intend to create the most heavenly riot of colour as soon as our entertaining begins. It has been a bleak and dreary winter of our government-mandated walks, trips to the supermarket, and endless cooking and loading of the dishwasher. I am tired of it and wish to waft through the garden holding a tray of drinks to meet my guests. I am longing to hold an al fresco book group meeting, although keeping to six will no doubt cause huge dramas. We may need to do it in two sittings to avoid squabbles.

I am also longing to have the family over. I have even sketched out the table, which will be based around mix-and-match tableware and small vases of informal flowers. I daydream too about the food. After a year of Mr M demanding steak and kidney pudding or shepherd’s pie, I long to cook fragrant rice, crisp, clean vegetables and dishes with heavenly spices. My outdoor gatherings will have a Moroccan flavour (or perhaps French). I could pop a couple of chickens in the oven drenched in butter and tarragon and serve them with asparagus and perhaps a lemon tart for pudding.

Another exciting development is my kitchen garden.

I have been planning it since we moved in and now the raised beds are in, I am looking forward to being able to plant things. I will be growing herbs, tomatoes, lettuce, peas and all sorts of delicious ingredients.

Mr M is not taking me very seriously and keeps muttering something about The Good Life and piglets that I cannot quite understand. If this year has taught me anything, it is that the simple things matter more than one would imagine, and that selective hearing is a virtue one can cultivate. I am never happier than when digging over a bed in the garden whilst simultaneously ignoring Mr M. n

Mr M and I have decided we will not be taking a foreign trip this year. Apart from the fact that it is totally unclear as to whether travel will or will not be allowed, we would rather err on the side of caution and stay in England. However, this has not stopped me longing for a pool to lounge by or a quaint little town to have dinner in.

That is why I have decided to bring our holiday to us in the shape of food. I literally cannot wait to begin cooking from Ben Tish’s new book Sicilia: A Love Letter to the Food of Sicily. It is packed full of vibrant flavours and colours, and Ben expertly unlocks the secrets of Sicily’s culture and food, covering its diverse tapestry of cultural influences. My first outdoor dinner party will include the Saffron Arancini and the Limoncello Semifreddo; I just need to decide on the main course. Sicilia: A Love Letter to the Food of Sicily (Bloomsbury, £26)

ON THE TABLE

I adore the Conisbrough Furniture Collection by Oka (top). The premise of the range is to bring the comfort of indoor furniture outside. It is totally different to the flimsy or slightly makeshift feel some garden furniture has. I am longing to buy the large dining table, which has the added advantage of being perfect for indoor use too. I think I’ll pop it on the terrace for sunny days and then during the autumn and winter move it to the orangery.

Conisbrough Dining Table, £2,895, oka.com

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THE ENGLISH HOME 113

design MY

HERO

“A

bout 25 years ago, I was working as a doctor and had a young child. I realised that combining hospital medicine with family life was, for me, a no-go, so I decided to act upon a lifelong interest in plants and volunteer at Christopher Lloyd’s renowned garden, Great Dixter, which was near where I lived. It was the beginning of a complete change of career for me.

Christo was not just a brilliant and creative gardener, he was also a great communicator and teacher – even though he could be quite impatient. I loved his iconoclasm, the fact that he challenged British plant snobbery and championed certain plants such as zinnias and dahlias because they were incredible performers, judging them on their merits alone. He was incredibly inspiring, and the main thing he taught me about gardening was to keep an open mind. One thing I particularly loved doing with him was going out into the garden at night to shine a torch through canna leaves to revel in their extraordinary colours and markings.

Christo genuinely played with plants and their colour combinations, no holds barred, and that was very liberating. Sometimes things didn’t work and looked ugly together, but sometimes he made combinations of great glory and joy. Through his journalism and writing, and now through the incredible learning centre that is Great Dixter, he was one of the great garden gurus – and continues to be so, well after his death.”

Go to sarahraven.com, or call 0345 092 0283, for details of Sarah Raven new podcast, ‘Grow, Cook, Eat, Arrange’ and latest book, ‘A Year Full of Flowers’, with photography by Jonathan Buckley (Bloomsbury, £25) n 114 THE ENGLISH HOME

CLOCKWISE FROM ABOVE Christopher Hamilton Lloyd OBE (1921–2006).

Read more about Lloyd in Great Dixter: Then & Now (Pimpernel Press, £12.99), a photographic record of the gardens at Great Dixter, past and present.

A display of potted plants at Great Dixter, used as a teaching tool for students to become comfortable with plant combinations, and to examine and trial new varieties.

The Long Border at Great Dixter.

The Oast Garden at Perch Hill, Raven’s farm in East Sussex.

A carnival of dahlias, a speciality of Sarah Raven’s, at Perch Hill, where she rigorously trials all the seeds and plants sold by her company for productivity and longevity.

FEATURE KATHERINE SORRELL PHOTOGRAPHS (PORTRAIT OF SARAH RAVEN) © JONATHAN BUCKLEY; (CHRISTOPHER LLOYD) © GREAT DIXTER HOUSE; (IMAGES OF CHRISTOPHER LLOYD AND GREAT DIXTER) © CAROL CASSELDEN, FROM GREAT DIXTER: THEN & NOW; (IMAGES OF PERCH HILL) © JONATHAN BUCKLEY FROM A YEAR FULL OF FLOWERS

Plantswoman Sarah Raven on gardener and gardening writer Christopher Lloyd

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