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ENGLISH HOME The

Celebrating the essence of English style September 2020 | Issue 187 | £4.75 | UK Edition

BEST OF BRITISH e

est ra ts a s

er ta e & es

HOMES WITH HEART

otswol a or • Bath townhouse • Cornish conversion

LEADING LIGHTS

o at e & a ra te l t buys

CULTIVATING BEAUTY

WORK SMARTER

Create a glorious kitchen garden

& le er o e o es

STYLE & SUBSTANCE A guide to decorating wt

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CONTENTS SEPTEMBER 2020

46

92

76

56 Beautiful Buys 14 HOME COMFORTS This month’s

homeware edit from fine British brands.

22 NATURALLY BRITISH Designs inspired by

the beauty of nature.

24 ARTISTIC LICENCE Stylish pieces from

gallery and museum shops.

English Homes 36 TIMELESS ELEGANCE Owners and

designer collaborate to transform a Grade I listed townhouse in Bath.

46 DESIGN FOR LIFE A Cotswold manor

is the focal point for family life and a welcoming hospitality business.

8 THE ENGLISH HOME

56 NATURAL HUES An eighteenth-century

92 LIGHTING THE WAY The latest pieces

66 PERFECTLY CURATED Two adjoined

100 CREATING A CONSIDERED HOME OFFICE Expert advice for designing

farmhouse on the Kent coast is given a harmonious redesign.

Victorian properties in Cornwall are converted into a single stylish home.

Style Inspiration 75 A WORLD OF COLOUR Ways to

decorate in nature’s palette.

76 DECORATING WITH BRITISH BRANDS

Achieve British style with home-grown talents, designers and manufacturers.

83 SHARED VISIONS Leading interior

designers and the craftspeople they trust to turn their designs into reality.

showcasing the best of British design, technology, and materials.

a space in which to work from home.

108 MODERN CLASSIC The story behind

bespoke kitchen and cabinetry makers Christopher Peters.

Quintessentially 111 A BREATH OF FRESH AIR Be inspired

to walk our great British coastlines

112 FROM PATCH TO PLATE – MATTHEW FORT Our food columnist on this

month’s seasonal bounty - tomatoes.

36 114 HERITAGE TO TREASURE Key historic

100

houses and gardens to visit and support throughout the UK.

120 NURTURE A FEAST Enjoying the delights

of cultivating home-grown produce.

130 MY DESIGN HERO Designer and

antiques dealer Christopher Hodsoll on Sir John Soane.

Regulars 10 A LETTER FROM HOME A welcome

from our Editor.

27 NOTEBOOK Our monthly digest of

notable people, places and pursuits.

34 THE EDIT British-made wood-burning

stoves and fires, bathroom fittings, fabrics and wallpapers catch our eye.

35 SUBSCRIBE Treat yourself or a loved one

to a subscription to The English Home.

126 COMING NEXT MONTH A look at the

delights to come in our October issue.

66 THE ENGLISH HOME 9

A letter from home Discover how to decorate in three different – yet very British – looks, including this eyecatching Cole & Son wallpaper (page 76).

T

he English Home has championed British brands for as long as I can remember, but it feels especially important to support our home-grown talent now. With shops reopening, this is a crucial time for designers, manufacturers, and the retailers themselves. It is also a welcome opportunity to remind ourselves of the exciting diversity of design and craftsmanship we can all support by buying British for our homes. From reducing our carbon footprint to supporting our industries and prolonging traditional skills, there are many reasons to choose products made on our shores.

In this issue, we reveal an abundance of British-made, beautifully designed, high-quality products to be tempted by. Our guide to decorating (page 76) shows the breadth of designs British brands offer for a range of classic, eclectic and contemporary looks, whilst features on lighting (page 96) and craftsmanship (page 83) highlight the skills of our talented artisans and makers.

Adding to the cultural dimension are insights on supporting our architectural heritage (page 114) and home buys from museums and galleries (page 24). There truly is something for everyone interested in design this issue.

Samantha Scott-Jeffries, Editor

To make life easier, you can now buy single editions or back issues of The English Home online and have them posted directly to your home address.

To order your copy, please visit

chelseamagazines.com/shop 10 THE ENGLISH HOME

PORTRAIT GRANT SCOTT

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ENGLISH HOME The

Celebrating the e ence of Engli h t le September 2020 | Issue 187 | £4.75 | UK Edition

BEST OF BRITISH e

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CULTIVATING BEAUTY

STYLE & SUBSTANCE A guide to decorating wt

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Take inspiration from Britain’s finest with our selection of buys this month Sleeping soundly This delightfully crisp, organic-cotton bed linen from Devon-based brand Naturalmat offers a luxurious 500 thread count and peace of mind; the company has recently won a Queen’s Award for Enterprise for Sustainable Development thanks to its clear sustainability leadership and ethos.

Organic bedlinen, from £22 for a pair of standard pillowcases, Naturalmat

14 THE ENGLISH HOME

CLOCKWISE FROM LEFT Splash of colour Refined forms and classical lines need not always be paired with pale shades. Two new colourways from cabinetry specialist Tom Howley offer an equally sophisticated feel.

Its verdant Serpentine offers a calm, green hue, and Dusky Pink (shown here on the island) imparts a soft yet impactful colour.

Kitchens from £20,000, Tom Howley New classic Combining a traditional trellis design and a stylised pomegranate print, this newly launched wallpaper from London-based interiors brand Ceraudo is printed in the UK and is available in four colourways.

Pome! wallpaper shown in Moss, £140 a roll, Ceraudo In the pink Inspired by Victorian fireside chairs, the classic shape and button-back detailing of this new design are offset with soft pink velvet for a modern take on tradition.

Sorrel Chair in House Velvet Petal, from £467, Sofa Workshop



CLOCKWISE FROM TOP LEFT Nature’s beauty Faded flowers and bamboo shoots sit against the gentle shades of tomato, lichen green and muted aqua in this charming print from Colefax and Fowler’s latest collection.

Oleander, Red, £85 a metre, Colefax and Fowler Nostalgic design In addition to her known Romantic vase designs, ceramicist and illustrator Polly Fern’s most recent work features tin-glazed ceramics with drawings inspired by childhood nostalgia.

Tin-glazed ceramics (top shelf), from £85 for a small dish; Romantic vases (bottom shelf), from £480, all Polly Fern Historic hue Recalling the serene calm of nature, this deep forest green from Mylands was drawn from the company’s archive and is named after the Fulham and Chelsea address the paint was originally supplied to.

Brompton Road No 205, from £26 for 1l Marble Matt, Mylands Fresh feel Introduced this year as a new range from Brockway Carpets, whose products are all Britishmade in Kidderminster, the calm grey-greens and warming mid beige tones of this design lend a chic look whilst providing softness underfoot look.

Lingdale in Grassington, £28 a square metre, Brockway Carpets



16 THE ENGLISH HOME

ARTISAN ABODE Designed and curated by an interior design team with an amazing book of contacts – brands, makers, artists and craftspeople – honed over decades in design.

Five furnishings collections, accessories, home fragrance and thoughtful gifting.

See the new Autumn Winter 20/21 Capsule Collection now online.

artisanabode.co.uk hello@artisanabode.co.uk | 01626 834705 |

@artisanabode.co.uk

FEATURE EVE MIDDLETON PHOTOGRAPHS P16 (BROCKWAY CARPETS) © DOMINIC BLACKMORE

CLOCKWISE FROM ABOVE Artisan inspiration The playful colours and prints of this collaboration between design studios A Rum Fellow and George Spencer Designs, encompassing five designs in co-ordinating colourways, are inspired by the former’s work with artisan communities around the world.

Cushions (from back): Anusi, Verde, £118 a metre; Pumori, Verde, £140 a metre; Pumori, Mulberry, £140 a metre; bench: Nikal, Verde, £118 a metre, all from the Kindred collection by A Rum Fellow for George Spencer Designs Kitchen update The new blue colourway from Everhot sees the brand’s smart range cookers impart a timeless and tranquil feel to the heart of the home.

Everhot 100 in Dusky Blue, £7,925, Everhot Sitting pretty Style and function combine in this chic and practical sofa topper, designed to protect cherished pieces and offer a resting place to four-legged friends.

Luxury velvet sofa topper in Grey, from £170, The Lounging Hound n

18 THE ENGLISH HOME

For further inspiration on creating a quintessentially English home, visit our website

AN ALBION BATH TAKES A LITTLE LONGER

Apollo bath - 2 sizes manufactured

theenglishhome.co.uk

Including...

Room-by-room decorating advice Interviews with top interior designers Behind-the-scenes insights Invaluable buyers’ guides

Stay warmer in an Albion bath as our Iso-Enamel material will keep your water hotter for longer - and at less than half the weight of cast iron, an Albion bath is easier to locate and install.

With a range of free standing baths from 1200mm - 2000mm long, we’ve got all sizes of bathroom covered.

Made by hand in our Essex factory, all Albion baths are manufactured to order - so in both ways, an Albion bath takes a little longer.

tubs, taps and sanitaryware items.

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ALBION BAT H C O MPA N Y HAND MADE IN ENGLAND

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PHOTOGRAPH © RACHAEL SMITH

Request your brochure of our range of over 50 free standing bath

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

Bird cushion cover, £95, Abigail Edwards

Daffodils & Bluebells fabric, £288

NATURALLY BRITISH

Quirky B Liberty Fabrics Strawberry Meadow Acanthus patterned carpet, £149 a square metre, Alternative Flooring

p Pure Matt, Fenwick & Tilbrook

T3-031 Small Tea Caddy table lamp, hand-painted or decoupage, £357, Besselink & Jones

FEATURE SUZANNA LE GROVE PHOTOGRAPH (SANDERSON) © ANDY GORE

Bronze Vine Root side table in polished bronze with warm gilt lacquer base and marble top, £11,280, Cox London

Bring a refined touch to elegant schemes with pretty yet sophisticated designs inspired by nature. Seek out soft colourways to instil a gentle mood or, for a more contemporary setting, neutrals or shades of grey lend a fresh feel to country themes, whilst layering print on print creates a timeless country style. Within a more polished scheme, look to furnishings or details with hand-painted motifs or that capture natural shapes in classic materials, such as marble, wood and metal.

Toulouse bath, from

Children’s Lucian bed, from £2,644, Leporello

22 THE ENGLISH HOME

Durbar chest of drawers, £1,895, Oka

Badger and Crow wall hanging, £85, Sam Wilson Studio

EST. 1986

A range of traditional and contemporary fires, fireplaces and stoves, exclusively from Charlton & Jenrick.

T: 0845 519 5991 www.charltonandjenrick.co.uk Charlton & Jenrick brands:

Woman Portrait canvas print, framed £55, Abstract House

Grayson Perry ‘Map of Days’ mug, £25, National Portrait Gallery

Museum Butterflies tea towel, £8, Natural History Museum

16,4 hand-woven framed artwork, £2,940, Margo Selby

British museums and galleries are not just wonderful to visit, their gift shops – on-site and online – provide a treasure trove of artisan pieces to discover.

From bespoke creations and collaborations with renowned designers to limited editions from rising stars, many pieces lend a sense of provenance or allude to classical art, history and literature to enrich interiors with culture.

Pink and white tapestry blanket, from £180 (single), Museum Wales

Country tweed dog bed, £75, Historic Environment Scotland

Buttermilk Yellow ceramic plate, from £14.40, Tate Shop Custom prints, from £7.99, painting seen here Summer Fields by Joan Eardley, on loan, bequeathed by Mr R R Scott Hay and presented by Mrs M E B Scott Hay 1984, National Galleries Scotland Shop

The Rake’s Progress Drop Curtain director’s chair

by David Hockney, £240, Glyndebourne 24 THE ENGLISH HOME

Grace tray by Cressida Bell for Charleston, £20, Charleston

FEATURE SUZANNA LE GROVE PHOTOGRAPHS (NATIONAL GALLERIES SCOTLAND) ESTATE OF JOAN EARDLEY. ALL RIGHTS RESERVED. DACS, LONDON 2019. PHOTOGRAPHED BY ANTONIA REEVE; (ABSTRACT HOUSE) © FOLLOW THE FLOW

ARTISTIC LICENCE

THE ENGLISH HOME

NOTEBOOK

Our monthly digest of inside information on people, places and pursuits

by Managing Editor Sarah Feeley

Good Reads PLAIN SIMPLE USEFUL TE R E N C E C O N R A N

TH E E S S E N C E O F C O N R A N ST YLE

Plain Simple Useful: The Essence of Conran Style

by Sir Terence Conran (Conran Octopus, £27)

PHOTOGRAPH © SUSSIE BELL/NARRATIVES

An undisputed design giant, Sir Terence Conran revolutionised decor, retail and the way we live. This enhanced reissue offers another chance to own his seminal book, in which he explains his belief that objects and surroundings that are plain, simple and useful are the key to easy living. Following this discerning approach results in interiors that are effortlessly stylish, confident and timeless, with plenty of room for the expression of personal taste. It has a new chapter on plain, simple, useful style outdoors, with elegant, contemporary ideas for eating and relaxing spaces outside.

Sissinghurst: The Dream Garden

by Tim Richardson (Frances Lincoln, £30)

PURSUITS Delicious Abundance Hedgerows and trees are festooned with ripe fruits and nuts in September, ready to be picked. Sloes, blackberries, elderberries, rowan berries, rosehips, hawthorn berries, beech nuts and wild varieties of strawberries and raspberries are just some of the wild treats in store.

The Woodland Trust is an expert source of advice for safe and responsible foraging (woodlandtrust.org.uk) and suggests using reference books to correctly identify any woodland finds in case they are poisonous or rare and protected. The Trust also advises picking

only what will be consumed and leaving plenty behind for the wildlife that relies on nature’s bounty to survive.

Food For Free (Collins, £4.99) is a helpful pocket-sized guide with a useful A-to-Z format, a calendar of what is in season, and colour photographs and illustrations to aid identification.

As well as jams and jellies, sloes can be used to make sloe gin, rosehips (said to stave off colds) can be made into syrup for cordial or pouring onto pancakes or ice cream, and beech nuts can be sprinkled on salads and risottos.

Sissinghurst Castle Garden in Kent is one of the most famous gardens in England and influential worldwide.

With 200,000 visitors every year, it is one of the National Trust’s most visited sites.

Bought and transformed by Bloomsbury Group writer Vita Sackville-West and diplomat Harold Nicholson in the 1930s, this garden of ‘rooms’ was revolutionary, and its instinctive design and exuberant planting continue to influence gardens today. This beautifully illustrated book tells the inspirational story behind this iconic garden, offering inspiration and ideas. THE ENGLISH HOME 27

PEOPLE

Bernard Leach

Founded in Cornwall in 1920 by Bernard Leach and his friend Shoji Hamada, and celebrating its centenary this year, Leach Pottery is amongst the most respected and influential studio potteries in the world.

Regarded by many as having forged the shape of studio pottery in the UK and beyond over the past 100 years, today the pottery is run by a charity and trains the next generation of potters, who handmake the iconic Leach Standard Ware.

Courses and activities are run to bring enjoyment, inspiration, new skills and increased well-being to peoples’ lives through working with clay. leachpottery.com

Tori Murphy

Fabric & homeware designer Proudly supporting English manufacturing, Tori Murphy’s fabric and homeware is made by weavers in Lancashire, machinists in Nottingham and finishers in Yorkshire.

Graduating from the Royal College of Art with a master’s degree in textiles, Tori worked in Milan designing prints for DKNY, Fendi and Dior, where she gained a love and understanding of textile production.

She started her own company in 2012 to create home items with character and integrity, all woven and made in England.

Her range includes cushions, throws, footstools, baskets, tablecloths, placemats, napkins, aprons, oven gloves, tea towels, bags, scarves and fabrics. torimurphy.com

Jeanette Aurdal

The Oak & Rope Company When a photograph taken by Her Royal Highness The Duchess of Cambridge of His Royal Highness The Duke of Cambridge and their children on an engraved swing went viral around the world, it gave the swing’s maker – The Oak & Rope Company in Kent – a significant boost to its business.

Jeanette Aurdal founded the firm in 2009 after a personalised swing she made for a friend’s birthday sparked an enthusiastic reaction. Carving every letter herself in the company’s first year, she now has a team of craftspeople to handmake and personalise each item in the huge range, from benches to dog bowls. theoakandropecompany.co.uk  28 THE ENGLISH HOME

PHOTOGRAPHS BERNARD LEACH: (PORTRAIT) KINDLY PROVIDED BY THE CRAFTS STUDY CENTRE, UNIVERSITY FOR THE CREATIVE ARTS; (TEAPOT & LEACH STANDARD WARE) © MATTHEW TYAS. TORI MURPHY: (PORTRAIT) © ALUN CALLENDER; (CUSHION) © JACK NEVILLE; (OTHER) © CHARLOTTE BLAND. JEANETTE AURDAL PORTRAIT © YOLANDE DE VRIES

Founder of Leach Pottery

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PEOPLE

David Collinge

Chairman of Ian Mankin & John Spencer Textiles Tenacity, innovation, attention to detail, lateral thinking, reinvention – this is why English textile manufacturer John Spencer Textiles is still thriving after 159 years.

Chairman David Collinge is the sixth generation to run the business started by his great-great-great-grandfather in 1861.

The company was once one of 190 weaving mills in Burnley, Lancashire, in what became known as The Weavers’ Triangle with over 100,000 looms at its peak.John Spencer Textiles has survived a devastating fire, changing market demands and fierce foreign competition to remain the last traditional cotton weaver in Burnley.

Not wanting to join the family firm when he left school, David trained and worked as a press photographer. But when his father announced he was selling the business and had a buyer, David decided to give it a go.

The company originally wove cotton basecloths used for printing womenswear, but cheap foreign imports prompted it to diversify. Today, interiors brand Ian Mankin

30 THE ENGLISH HOME

(which is owned by John Spencer Textiles) represents 15 per cent of its production, 15 per cent is making furnishing fabrics for other brands, 50 per cent is industrial fabrics and 20 per cent is things like throws, baby slings, blankets, luggage and artists’ canvas.

The firm weaves cotton, polyester, silk, acrylic, viscose, nylon and even Teflon, which is woven into low-friction bearings for fins on nuclear submarines.

“To be the last traditional weaving business left in the town is sad for the industry, but something to be proud of for my family, our employees and the local community,” says David. “We continue to keep alive the craft skills of generations of weavers and aspire to train the next generation to sustain the business for many years to come. It’s our passion for the craft that has helped us survive as well as changing our technologies with the times and retaining an agile business to adapt to the changing environment in which we operate.” johnspencer.com; ianmankin.co.uk 

PLACES

PHOTOGRAPHS (PORTRAIT & WORKSHOP) © CHARLES BIRCHMORE; (POTTER’S WHEEL) © LIZ EDDISON

Whichford Pottery Back in 1976, Jim and Dominique Keeling founded Whichford Pottery in rural Warwickshire with just two apprentices.

Today, 44 years later, this thriving business is still run by the same family, now with a team of 30, exporting its handmade frostproof flowerpots all over the world.

Quality is key. Using clay dug from three different quarries, the firm has developed a recipe through meticulous testing to achieve its frostproof terracotta clay blend, enabling it to offer a 10-year frostproof guarantee.

Its craftspeople use traditional methods of hand-throwing and hand-pressing to make flowerpots of all sizes, from tiny Longtoms to giant Baroque urns. The full range of flowerpots is on display at the pottery, which welcomes visitors who love to watch the artisans carefully crafting and decorating pots. whichfordpottery.com

Garden Trading Nestled in the Oxfordshire countryside is an Aladdin’s cave filled with tempting items, large and small, for home and garden.

Garden Trading was launched in 1994

by Jon Holloway, who says he spotted a gap in the market for high-quality outdoor products combining simple yet eye-catching designs that would stand the test of time.

What began as a garden-focused business, rapidly expanded into homeware, indoor furniture, kitchenware and lighting.

32 THE ENGLISH HOME

Its curated collections of practical items embrace an uncluttered lifestyle with an aesthetic of clean lines, combining classic materials with innovative designs.

Every product is inspired by the English countryside, and designed and developed by Garden Trading in Oxfordshire. Jon and his product development team travel the globe in search of inventive new materials and skilled partners who can bring the firm’s designs to life. gardentrading.co.uk n

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THE ENGLISH HOME

THE EDIT Luxury bathroom fittings, fabric and wallpaper designs, and wood-burning stoves catch our eye this month SAMUEL HEATH

L

uxury brassware manufacturer Samuel Heath’s rich heritage stretches back over two centuries to 1820. It began as a traditional brass founder and has produced a vast array of products over the years, from bedsteads to high-quality giftware and fireside accessories. Today however, its reputation is as a designer and manufacturer of bathroom accessories, taps, showers and door and window furniture of distinctive style, quality and performance.

Having built a reputation for craftsmanship that combines traditional and state-of-the-art manufacturing methods, Samuel Heath offers a beautiful range of collections. From industrial to art deco to sleek modern and more classic aesthetics, the brand has styles and designs to satisfy all tastes. samuel-heath.com

MEG MORTON

M

aggie Baxter and her daughter Vicky founded their countryinspired fabric and wallpaper brand Meg Morton – named after Maggie’s mother – as an outlet for their creativity. The mother-and-daughter team, who also design home accessories, recently discovered that their love for colour, pattern and textiles runs in the family: Maggie’s great-grandfather’s brother, Alexander Morton was a textile weaver producing fabrics for the great William Morris, amongst others. A long line of Scottish textile manufacturers, carpet weavers, designers and innovators also feature in their family tree.

Based in the picturesque Dorset countryside, the duo are inspired by the natural beauty around them, both rural and coastal, capturing ideas in hand-painted and digitally printed designs. There are new collections in production to be launched later in the year and Maggie and Vicky hope to work on pieces that reflect their rich design heritage, too. megmorton.co.uk

34 THE ENGLISH HOME

STOVAX HEATING GROUP

E

stablished nearly 40 years ago, Stovax designs and engineers wood-burning and multi-fuel stoves and fireside accessories at its headquarters in Exeter. Sister company Gasco provides electric and gas ranges, and both brands cater for traditional aesthetics as well as more contemporary tastes.

Both Stovax and Gasco strive to deliver British craftsmanship in all they do and to be as environmentally conscious as possible.

Looking to the future, the Stovax Heating Group is researching and developing alternative technologies to produce sustainable heating. Its focus is on designing energy-saving features in its electric and gas stoves to ensure they run as cleanly as possible. It also has a large offering of low-emission, Ecodesign-ready woodburning stoves and fires, whose cutting-edge designs make them some of today’s cleanest-burning fires. stovax.com n

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Driftwood paint by Neptune was chosen for the luxurious yet inviting drawing room. The George Smith sofas are upholstered in Fife Dove

by Colefax and Fowler. In addition to reflecting the abundant light, the bespoke mirror above the fireplace conceals the television. The fender is by Acres Farm Fenders and the Brissac chandelier is by Vaughan.

36 THE ENGLISH HOME

s ELEGANCE ow pu gen

FEATURE CHRISTINE STOVELL PHOTOGRAPHY BRENT DARBY

ABOVE The calm feel of the house is continued with a streamlined Bulthaup kitchen leading onto a terrace with widereaching views. The lanterns above the island are by Vaughan.

LEFT The entrance hall has been restored to its full grandeur. The balustrade painted in Neptune’s Smoke is teamed with a stair runner from Higher Ground. Pink glass lights by Besselink & Jones sit atop a console table by William Yeoward.

T

he elegant city of Bath is renowned for its cultural and historic significance, the loveliness of its setting, and the beauty of its iconic Regency terraces, colonnades and crescents, all of which make it an enduringly desirable place to live. However, when retired investment banker Rupert Lamb and his wife Dotty, a retired television executive, decided to make Bath their home, it might have felt as if their property specifications were unlikely to be matched by the usual conventions of period architecture. “We’d been used to living in a spacious modern penthouse apartment with lots of light,” Rupert explains. “The layout of a Georgian townhouse set over several floors wouldn’t have worked for us, so we were prepared to wait for the right property.”

The couple’s patience was rewarded when they learned about the restoration of a redundant Grade I listed building in the heart of Bath. Plans were in place to convert five Regency townhouses into lateral  apartments which would offer the Lambs the extensive,

A mirrored wall and glass-topped dining table suffuse the dining area with light. Try Looking Glass of Bath for similar glass panels. The Ball and Claw table is by Richard Taylor.

Fabric by GP & J Baker and Turnell & Gigon was used to upholster the Nantes chairs

by William Yeoward.

THE ENGLISH HOME 39

light-filled space they’d been hoping to find. “When we first walked around the site, it was practically derelict,” says Rupert. “The building had been hacked around with over the years, so modern alterations, like the suspended ceilings and internal partitions were being removed. Seeing it gutted and exposed, however, gave us a real sense of its potential.”

Serendipitously, the developers’ plans were flexible enough to allow for a double apartment to be built to the Lambs’ specifications. A grand entrance hall and reception room now lead to a spacious drawing room which was, in a former incarnation, a ballroom. There is a library which Dotty uses as her study and a separate study for Rupert. A second floor includes bedrooms, two of which have dressing rooms, a large living/ dining room and a sleek modern kitchen leading to an al fresco dining area with extensive views of the beautiful countryside beyond.

Whilst the developers continued to work with the relevant authorities towards the sensitive refurbishment of the building, Rupert and Dotty

gave consideration to its design and how to combine modern living with the provenance of such a historic property and location. “We had appointed interior designers on our previous homes for their professional input and creativity,” Rupert explains. “There’s a happy medium to be found between a designer with very strong opinions and one who is, perhaps, too anxious to please. We were looking for an empathetic designer who would also stretch our imaginations.”

The couple were delighted to engage Emma SimsHilditch, the founder and creative director of Sims Hilditch, whose design practice offers a comprehensive range of services and expertise. “Emma presented us with a strong, interesting concept that really worked for us and the way we wanted to use the space,’’ says Rupert. “We knew she was the right person to guide us through the project.”

“The design process is like going on a journey,” Emma agrees. “You can detour from the path but a good designer will always help maintain the flow and harmony.”

ABOVE Bespoke bookcases, painted in Neptune’s Grey Oak, complement and highlight the inherent splendour of the period features in Dotty’s study. The twin fauteuil chairs are by George Smith.

OPPOSITE In Rupert’s north-facing study, the bold blue for the bespoke shelves and walls is lifted by soft furnishings in accent colours. The Brockton coffee table is

by Vaughan.

THE ENGLISH HOME 41

Interior designer Emma Sims-Hilditch designed the headboard and used Mark Alexander’s Retro fabric from Romo to cover it. A false wall was built behind the bed to create Rupert’s dressing area. The bedside cabinets are from Chelsea Textiles, with lamps by Vaughan and the bedspread is from The White Company.

‘The design process is like going on a journey. You can detour from the path yet maintain the flow and harmony’ Drawing inspiration from the rich history of the house, Emma created a scheme for the Lambs which would help them enhance the natural beauty and inherent grandeur of their home, whilst still ensuring a relaxed, comfortable atmosphere. With fewer structural changes to be made, given the property’s Grade I listing, many design decisions were centred on general decoration, lighting and colour choices to maintain a fluid connection between the spacious rooms.

A clue to her clients’ colour preferences came in the form of an early correspondence. “I loved that Rupert had written it in pink ink,” says Emma. “We incorporated Rupert and Dotty’s favourite colour

palette of pink and grey, but dialled up the drama in Rupert’s north-west facing study with Smoke paint by Neptune. The concept is reversed for the south-east facing drawing room that’s flooded with natural light.”

The staircase was a prized feature of the Regency home and has been given fitting gravitas here, where it also introduces the tone for rest of the house.

Architectural details, such as the ornate metalwork balustrade and plaster mouldings have been beautifully highlighted and the grand proportions of every room are allowed to speak for themselves.

Sparing splashes of sumptuous de Gournay wallpaper, a range of antique pieces and brown-toned 

ABOVE LEFT The claw-foot bath from Lefroy Brooks adds to the period feel in the en-suite bathroom. The Roman blind fabric is by de Le Cuona.

ABOVE RIGHT Elegant curtains and wallpaper by de Gournay connect the two bedrooms whilst providing each space with its own identity.

THE ENGLISH HOME 43

ABOVE A palette of dusky blue and stone grey creates a timeless and calming aesthetic in Dotty’s bedroom. The Bosky Blue Yonder wallpaper from Lewis & Wood adds to the serene atmosphere.

The bedside tables are by Chelsea Textiles and the throw is by Oyuna.

RIGHT The Stingray screen print is by Dotty’s friend, London-based artist, Catherine Pring. The desk is by William Yeoward and the lamp is Porta Romana. For more on Sims Hilditch projects, visit simshilditch.com

44 THE ENGLISH HOME

furniture typical of the period are contrasted with clever, contemporary touches and an eclectic collection of art in an elegant combination of old and new.

“We take on each project with a fresh eye with the aim of creating a home that is perfectly suited to our clients,” says Emma. “A key part of our service is bespoke joinery, and one of the joys of working with Rupert and Dotty was providing them with bespoke bookcases and dressing rooms with made-to-measure storage space. From the claw-foot bathtub to the swathes of fabric that drape across the door frame, we feel this house is the epitome of timeless luxury and perfectly in keeping with its Regency surroundings.”

There is one small aspect of their home about which the couple were initially unsure. “Before they were blended into the scheme, the bright colours of the stained-glass windows were not ones we would have chosen,” Rupert admits with a smile. “But we couldn’t be happier with our home. We love its convenience, the light-suffused spacious rooms and the views from the garden terrace – we love everything about it.” n

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The wood-panelled drawing room is one of the most spacious and inviting rooms in the house. The sofas either side of the fireplace are bespoke designs by George Smith, whilst the coffee table is from Lorfords Antiques.

RIGHT The Hibbert’s manor house is surrounded by private gardens.

46 THE ENGLISH HOME

es FOR LIFE otsw use as a ca yn Hi lge in e and establish a burgeoning family business FEATURE DOMINIC BRADBURY PHOTOGRAPHY RACHAEL SMITH

Caryn with two of her dogs, Daphne and Angelica.

THE ENGLISH HOME 47

ABOVE Caryn and Jerry Hibbert opened up the kitchen to create a more fluid family space, with a hard working kitchen at one end, featuring an Aga and custom made kitchen units, plus island.

ABOVE RIGHT Sitting alongside the kitchen, the snug is a favoured retreat for the whole family.

OPPOSITE PAGE Through the new stone archway, the breakfast area features a familysized table from Brownrigg Antiques and dining chairs from Lorfords Antiques.

D

iscovering and renovating a new family home is always going to be a big adventure, however, for Caryn and Jerry Hibbert and their three (now grown-up) children – Tom, Camilla and Charlie – it proved to be a 15-year project. Their decision to move out of London and buy a run-down Cotswolds manor house, set on the edge of a quiet village in Gloucestershire, has resulted in the transformation not only of the family home, but also of the surrounding gardens and farmstead.

Whilst for many, such a huge undertaking would be a daunting prospect, for Caryn the natural beauty of this rural setting proved impossible to resist. “We were living in London, first in Putney, then Kingston Hill and then Richmond Park,” says Caryn, whose first career was in medicine. “But I’m really a country person and I love being outdoors. I was brought up always loving the countryside, growing vegetables and appreciating nature and the land. So for me, being in London full time felt quite claustrophobic. And then we found this house.”

48 THE ENGLISH HOME

Dating back to the fourteenth century, but extended and reworked during the nineteenth and early twentieth centuries, the property and its gardens were full of character and history. They were once part of an estate that included three farms, a pub, a number of cottages and a small church which had been rebuilt by the Knights of St John.

The chance to live in such an idyllic spot was a dream come true for both Caryn and Jerry, a commercials director who owned his own film company and studio in Soho. “When we bought the house, 19 years ago, the roof leaked and we had a lot of work to do,” says Caryn. “However, it has this wonderful central hall with ancient fireplaces, and had been extended and a Georgian facade added facing the main lawns, and also had spaces at the back, which are more ‘cottagey’, including the kitchen.

“The key things we really wanted to do were to bring in some more light and have a real sense of communication with the outside – those were the challenges. But it was also about creating a home for our three children, who all grew up here after we

‘It’s a very friendly house, even when I’m here on my own I feel comfortable and content’ ABOVE The arched doorway from the adjoining hallway into the dining room is one of the oldest features in the house.

RIGHT In the woodpanelled dining room, a tablecloth designed by Caryn Hibbert for her Bertioli by Thyme Table Linens collection covers the dining table. The antique rug is from Robert Stephenson Handmade Carpets.

ABOVE RIGHT Caryn, Jerry and their three children – Tom, Camilla and Charlie – with the family’s dogs Daphne, Mulan and Anjelica.

moved from Richmond. It’s very much a family home that has evolved over the years, along with the estate.”

One of the most important rooms in the house, right from the start, was the kitchen, which Caryn redesigned and opened up to create a more familyfriendly area. It is one of the best-loved parts of the home, with a hard-working zone arranged around the Aga, complemented by a breakfast area alongside. This flows through, via an open double doorway, to the comfortable, inviting snug which is also a favourite for the family’s three dogs, Daphne, Angelica and Mulan.

“It was a series of old rooms that we opened up and we added a stone archway that frames the link between the kitchen and breakfast area,” says Caryn. “With the Aga, it’s a lovely warm space in the winter and then we have a wood-burning stove in the snug, which is super cosy. But we also have this little courtyard garden next to the kitchen, which is lovely for sitting outside and eating in the summer.”

The central hall of the manor house is used as a fluid, multifaceted area and is where Caryn prefers to work. “I do have an office in the house, but I don’t like it that much because I feel rather cut off,” she explains. “However, the hall is a lovely space where I feel connected to everything and I can also spread out, make a mess and do some painting. I would love to have a big painting studio one day, but the light is good in the hall, so I do like to work and paint in there. It is a very friendly house and even when I’m here on my own I do feel very comfortable and content.”

Caryn has decorated the interiors with pretty floral prints in a soft palette of hues, something which is particularly apparent in the snug, bedrooms and bathrooms, where feminine fabrics and wallpapers abound. The master bedroom and other key spaces overlook the private lawns and gardens to one side of the house, but also have views of the fields beyond. 

ABOVE In the snug the pink sofa is from Kingcome Sofas, covered in a Fermoie fabric, while the ottoman is from George Smith; the antique armchairs are from Watkins & Adams.

THE ENGLISH HOME 51

The master bedroom and other key rooms overlook the private lawns and gardens to one side of the house ABOVE LEFT The bed and headboard in this bedroom are bespoke, whilst the bedside tables are from Watkins & Adams. The curtain fabric is by Lewis & Wood.

ABOVE RIGHT The clawfoot bath is from The Water Monopoly, and the floral curtain fabric is by Colefax and Fowler.

Over time the Hibberts have gradually developed the estate and created a thriving business called Thyme, which now includes a hotel, a working farm, kitchen gardens and a cookery school. With help from Caryn’s father Michael Bertioli, Thyme has grown to include many parts of the original estate around the manor house, such as the farmyard and barns next door, plus around 150 acres of farmland, meadows and gardens.

“The children grew up living with this project for years and are very much part of it,” says Caryn. “There were all these farm buildings, many of which had fallen into dereliction, and then the opportunity suddenly came up to buy them. It was something that we didn’t have much time to think about, but we wanted them to be working buildings again and to have a purpose. the Tithe Barn and the Ox Barn are incredible buildings and we really wanted to keep them intact whilst finding a good use for them.”

52 THE ENGLISH HOME

The Ox Barn is now home to a restaurant of the same name at Thyme – run by Caryn and Jerry’s son Charlie – and there is also a spa, a nearby pub and over 30 guest bedrooms arranged across the old farm. The formal gardens around the estate are by garden designer Bunny Guinness, but just as important are the kitchen gardens, where many of the ingredients are grown for the restaurant and cookery school.

“It has really evolved piece by piece and with baby steps,” says Caryn. “I don’t think we would have had the ambition at the start or have been brave enough to do it all in one go. The next step has always been obvious to us because it’s been something that we needed to do. When people coming to the cookery school wanted to stay here overnight, for instance, we needed to find more room for them. We needed to make everything work together, but at the same time this is still very much our home.” 

One of the most feminine rooms in the house, this pink bedroom features fabrics and wallpaper

by Pierre Frey. The chest of drawers is from Watkins & Adams.

Caryn in one of the fields at Thyme with dog Angelica.

The evolution of Thyme has given Caryn Hibbert the opportunity to indulge her love of art and design.

The gradual development of the ‘village within a village’ was a creative challenge that embraced the interior design of a whole range of spaces, including the Hibberts’ own home plus 31 guest rooms and suites in neighbouring houses, buildings and barns.

Taking inspiration from the surrounding gardens and the Cotswolds landscape, Caryn also began to indulge her love of drawing and painting. “I loved painting when I was at school, but went in the direction of maths and physics,” she says. “Then I started to draw again about three years ago, concentrating on plants and garden produce. My son Charlie, who is the head chef at our Ox Barn restaurant and helps run the cookery school here, suggested that we use some of the paintings on the menus, which then led to other things.”

Caryn’s paintings of flora and fauna now feature not just on the menus but on Thyme’s guest and spa booklets, as well as a growing collection of table linen and textiles sold in the hotel’s shop, The Piggery, and online. The latest addition to the botanical collection, which Caryn developed with daughter Camilla, is a new fashion range. “We began by printing the designs on to linens and tablecloths, which were very well received,” says Caryn. “And then we moved on to

54 THE ENGLISH HOME

silks and developed a beautiful range of silk loungewear using these patterns. We call them ‘patterns of nature’ because they overlap with the gardens, which are so important to us. We love the creative side of what we do here.” thyme.co.uk n

ABOVE The Bertioli

By Thyme collection includes (clockwise from left): Copper Beech; Green Stem and Cobnut; and Wild Rose table linen.

PORTRAIT © RICH STAPLETON

Caryn Hibbert: Patterns of Nature

The light-filled central hall of the manor house is a favourite spot for Caryn to paint.

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HUES

An eighteenth-century farmhouse in the heart of a nature reserve on the Kent coast has been given a harmonious redesign inspired by the big skies and rugged marsh landscape surrounding it FEATURE & STYLING AMANDA HARLING PHOTOGRAPHY ANDREAS VON EINSIEDEL

Cornforth White by Farrow & Ball on the walls in the drawing room is teamed with a soft palette of pinks and yellows. Leaving the fireplace unadorned gives the room a pleasing informality, whilst the elegant chandelier and ornate mirror add a hint of grandeur. The set of four tulip prints is from Oka.

THE ENGLISH HOME 57

ABOVE Portrait Kitchens in Rye built the simple Shakerstyle cabinetry which is painted in Inchyra Blue by Farrow & Ball.

Antique Italian tiles bought at Ardingly Antiques Fair continue the timeless look, along with the vintage farmhouse dining table and mix of dining chairs.

RIGHT The kitchen extension by architect Tom Dunn adjoins the Victorian section of the house. Leaving the bricks unplastered provides a sense of history and a link to the charming period farmhouse and the many changes it has undergone since it was built during the eighteenth-century.

58 THE ENGLISH HOME

F

LEFT Georgina and Gareth relish being able to share Elmley with their two young children – Ellie, six and Barnaby, five – and their family dog, Poppy.

ollowing in her father’s footsteps and returning to the Isle of Sheppey from Cyprus in 2013 was a big step for Georgina Fulton and her husband Gareth, who had just retired from the army, but one they have both grasped wholeheartedly. Ready for a new adventure, the couple took over the running of Elmley National Nature Reserve and farm on an island in the River Thames off the windswept North Kent coast.

“My father, Philip Merricks, came to Elmley in the 1970s,” Georgina explains. “He was originally an arable and sheep farmer, then, in the early 1990s, Natural England designated Elmley a National Nature Reserve – a site for the conservation of habitats, animals, insects and birds – so he began doing everything he could to encourage wildlife to flourish and returned the land to grazing for free-roaming cattle.” Now Elmley is an internationally significant breeding area for ground-nesting birds such as lapwings, redshanks and avocets. It is also an important winter migratory destination for tens of thousands of wildfowl and wading birds.

When they first arrived, the couple lived in one of the farm cottages whilst they worked out how Elmley could earn its keep and continue thriving as a reserve.

“Elmley is off-grid and we create our own electricity,” explains Georgina. “When we returned, I was pregnant with our first child, and the only source of power was a noisy old-school generator. I remember always having to think twice before I switched on the kettle. If the washing machine was on at the same time, the generator couldn’t cope, and the whole system went into meltdown. Not what you need when you’re six months pregnant. Thankfully, now we have a reliable battery-pack generator, as well as solar power.”

In due course, Georgina and Gareth decided to make the 3,300 acre estate the first National Nature Reserve to offer overnight guest accommodation and had a set of shepherd’s huts made to their specification. Then, three years ago, they were able to turn their attention to restoring and extending the Grade II listed Kingshill farmhouse, which is the THE ENGLISH HOME 59

‘Furnishing the house with vintage furniture fits with the sustainable ethos that guides every decision we make’ centrepiece of the estate. “We’d known the architect Tom Dunn for some years, and, as he’d already completed several off-grid projects, we felt comfortable that he had the experience to achieve our vision of transforming the warren of dark little rooms into an inviting, light-filled house,” says Georgina.

For the last 30 years, the Royal Society for the Protection of Birds had been leasing Elmley. Its offices had occupied the Georgian part of the farmhouse, whilst the Victorian section at the rear had been left derelict for some time. Along with replumbing and power upgrades, emphasising the spectacular marshland views was behind every major structural change made to the house.

Adapting the farmhouse to a 21st-century lifestyle involved creating a practical and spacious kitchendining room for family meals and informal entertaining. The architect designed the extension to masterfully link this new space with the old part of the house. A wall of sliding glass doors can be opened on fine days to unite the interior with the garden, whilst a narrower window rises from the

60 THE ENGLISH HOME

floor and forms a rooflight that runs along the entire length of the ceiling. Leaving one of the walls unplastered and having industrial-style metal lights lends a nod to Elmley’s farming heritage and nearby rustic outbuildings.

After the structural enhancements had been carried out, Georgina engaged interior designer Francesca Rowan-Plowden to help with the interiors. “I’d seen a larger period house Francesca had worked on and was impressed by the relaxed, non-formulaic look she’d created,” says Georgina.

When Francesca first saw Kingshill it was almost completely derelict. “There were no floors or ceilings in parts of the building and to get a glimpse of the attic, I had to cling on to a ladder whilst trying to take photographs,” she says. “There were no original architectural details, no cornicing, no fire surrounds, nothing, but in a way that gave me the freedom to start from scratch.”

Although she had initially created a set of mood boards for the main rooms in the house, it was only after she stayed the night in one of the shepherd’s 

ABOVE LEFT Looking from the snug across the tiled floor of the back hall into the dining room. The walls are painted in Farrow & Ball’s Inchyra Blue. The kilim cushion’s colours echo those of the floor in the hall, whilst the maize-coloured sofa ties in with the flash of gold from the mirror, accentuated by the dark walls.

ABOVE The exposedbrick chimney breast adds to the rustic character of the dining room, for which Francesca specified a custom-made table made by Henley & Kille, partnered with a set of antique leather-seated chairs.

Vintage oyster plates create a decorative display on the wall.

LEFT The view towards The Swale channel which separates the Isle of Sheppey and the North Kent coast.

THE ENGLISH HOME 61

To wake up to a view across the reserve, a second sash window was added to the main bedroom. Beech wallpaper by Lewis & Wood creates a visual link with the natural world beyond the four walls. The pretty four-poster Oka bed is no longer available; for a similar version in wood see the Etien

by Leporello.

‘We always say there’s normal time and then there’s Elmley time’ huts that Francesca began to understand the nature of the place. “I knew instantly that the colours should come from the sky – the glow of a summer dawn, the misty grey when the weather closes in, dark storm clouds, the deep blue of a summer sky at night and sunshine yellow,” she says. “Wildlife is all around the house and that’s where I felt it should stay, so I avoided twee little bird designs. Instead, I veered towards strong designs which reflect the bold agricultural look of the adjacent farm buildings and the imposing Georgian facade which has stood braving the elements year in, year out, for well over 200 years.”

Wanting to retain the period character of the building and needing to furnish the house from scratch, the couple made many trips to Ardingly Antiques Fair. “We tramped around with Francesca choosing furniture and accessories,” says Georgina.

“It was fascinating seeing how all the elements were finally brought together and the house became a home once again. She is very knowledgeable when it comes to sourcing decorative antiques that don’t cost the earth. And costing the earth is something we are very conscious of, living as we do, off-grid and surrounded by nature. Furnishing the house with vintage furniture fits with the sustainable ethos that guides each decision we make. Weathered, time-worn antiques help create the relaxed, informal look that we wanted.”

At Francesca’s suggestion, areas of exposed brickwork were retained throughout the house, emphasizing the rustic character of the building. The drawing room is light and airy with the palest grey walls and the newly installed French windows take advantage of views across the garden to the marshland beyond. Upstairs, wallpaper by Lewis & Wood along with a vintage bathtub placed in front of a window transformed the main bedroom. “Having a quiet half hour to lie back in the bath and gaze at the views is a rare luxury,” says Georgina.

Georgina has long been captivated by the wild landscape and soaring skies of Elmley. “Ever since we were children, my sister and I loved the overwhelming

TOP A soak in the double-ended bath

by William Holland in front of the window is Georgina’s idea of heaven.

For a similar chest of drawers try Cowshed Interiors. Vintage art deco chairs are covered in Rooksmoor Velvet

by Lewis & Wood.

ABOVE Kingshill Farmhouse and Elmley Cottage are available for holiday lets and Kingshill Barn is licenced for marriages. Georgina and Gareth also host retreats and corporate events. The reserve is open to all guests to explore and enjoy the wildlife.

THE ENGLISH HOME 63

ABOVE & BELOW The yellow guest bedroom and bathroom was formerly separated by a corridor, but Francesca made them into a suite. “Upstairs there was a dark windowless corridor which had to go, creating two bedrooms, each with their own bathroom,” says Francesca. Inspired by the style of the adjacent threshing barn, she designed a rustic-looking sliding wooden door, which separates the two rooms. The yellow cushion and blind fabric is Osborne by Blithfield.

ABOVE A traditional Thames sailing barge making its way along The Swale is just one of the many views to enjoy from the array of cosy shepherd’s huts available for holiday rentals. To find out more, visit elmleynaturereserve. co.uk

sense of space here,” she says. “It has a unique beauty and now Gareth and I can share it with our children, Ellie and Barnaby.”

The couple also love sharing Elmley with guests, who can explore the reserve for the day or stay overnight. “The only sounds are the wildlife and the wind, and that’s what our guests appreciate the most; the calm, the space and being surrounded by nature,” Georgina says. “We always say there’s normal time and then there’s Elmley time. With fewer distractions it’s early to bed and early to rise here. There’s nothing but birdsong and the squawk of ducks to disturb the peace.” n

64 THE ENGLISH HOME

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Extending at the back and knocking through both houses has created a light, airy kitchen and dining area.

The bespoke cabinetry was designed and built by George Robinson Kitchens, the bar stools are from Cox & Cox and the pendant lights above the island are from The White Company. The foxed-glass splashback is by Rough Old Glass and the limestone floor tiles are from Beswick Stone.

66 THE ENGLISH HOME

CURATED Knoc e houses in Cornwall has resulted in a single breathtaking coastal home that reflects its owners’ passion for art FEATURE & STYLING JANET MCMEEKIN PHOTOGRAPHY ANDREAS VON EINSIEDEL

ABOVE LEFT Dark blue textured wallpaper in the alcove allows a painting by Padraig MacMiadhachain and the couple’s treasured collection of ceramics and contemporary crafts to shine.

LEFT The dining room walls are painted in Fired Earth’s Tempest, providing a perfect backdrop to the painting by Matthew Lanyon. The Downton chandelier is from Graham & Green.

RIGHT The study is a calm, inspiring space for Ylenia to work. Visit newcraftsmanstives. com to find out more about her gallery.

Y

ears ago, when Ylenia and Paul Haase used to amble up the winding, narrow lane next to their end-of-terrace house in West Cornwall, they would often fantasise about buying the property next door, too. Their ambition was to create one large, spectacular home out of the two, but they never expected that their pipe dream would, one day, become a reality. “At that stage, the prospect of combining both properties felt inconceivable,” says Ylenia. “However, after various twists of fate, hard work and vision, here we are, living in a wonderful home that we absolutely adore.”

The couple’s rollercoaster journey began in 1991, when they were looking for a property to buy in Cornwall and were tempted by the charms of a neglected, ivy-clad house set on a hillside overlooking picturesque St Ives. “From the moment we walked in, Paul and I experienced an instant connection to this

house,” Ylenia recalls. “It had windows on three sides, beautiful light and felt just right. When we peered out of the windows, through the ivy, we were enthralled by the far-reaching views over the higgledy-piggledy rooftops and out towards the harbour and beaches.”

The elegant, high-ceilinged house, dating from 1882, had not been touched for years and was crammed full of original features, including intricate cornicing and large bay windows. Feeling compelled to buy it, the pair moved in and spent the next three years renovating the entire property on a tight budget.

“It was a massive job and costly, particularly when we discovered the bay windows were subsiding and needed immediate attention,” says Ylenia, who owns and runs the New Craftsman Gallery, one of the country’s most influential galleries, located in the heart of St Ives. “As art is extremely important to both of us, whilst we were creating our first home, we’d often prioritise buying 

ABOVE What was previously the house next-door’s hall and sitting room is now an inviting space for the Haase family. The sofa and ottoman are from Iroka Interiors in nearby Hayle and the cushions are from Heal’s and Hunter & Co. The vessel on the sculptor’s stand is by Tanja Gomez. Ylenia found the mirror at Nicki Page Antiques and the basket is by Annemarie O’Sullivan.

THE ENGLISH HOME 69

ABOVE Removing all the doors between the rooms on the ground floor ensures each space flows seamlessly into the next. Interior designer Suzy Fairfield of Studio Marin (studiomarin. co.uk) has ensured the Haase’s treasured pieces, such as the painting by Matthew Lanyon in the dining room and sculpture

by Breon O’Casey in the study, are beautifully displayed.

beautiful paintings or ceramics that we loved, over some more practical purchases,” Ylenia explains.

In 1996, Ylenia and Paul, who runs The Yellow Canary Cafe in St Ives, could not believe their luck when a golden opportunity arose to buy the “virtually uninhabitable” house next door. “Even though we couldn’t afford to do anything to it immediately – apart from combining the two gardens – we jumped at the chance,” says Ylenia.

Having patiently bided their time, two years after buying it, the couple took the plunge and began working on the house next door themselves, with a view to amalgamating both properties. Then, in 2001, they hired a builder and the second phase of their journey began in earnest. “The builder knocked through into the living room, kitchen and landing, got rid of one of the staircases, converted the loft and turned another bedroom into a large bathroom,” Ylenia explains.

70 THE ENGLISH HOME

Despite all this building work, for a long time the rooms in the house felt a little disjointed and the ones at the rear were very dark, apart from a small lean-to, which was only ever used as a laundry room. “When I mentioned this to Paul, he said the only solution would be to tear down the back of the house and rebuild it,” Ylenia says. “This seemed rather ambitious, particularly when we were juggling busy jobs with bringing up our children, Ella, who is now 22, and Oscar, who is 19.”

Having decided to live with the house as it was, over the years, Ylenia and Paul became increasingly frustrated with the impractical layout and began to wonder whether moving house may be the answer.

They decided to sell. However, when a potential buyer put in an offer, they realised that leaving their home would, in fact, be heartbreaking.

After taking the house off the market, in 2015, they contacted an architect, who drew up plans to radically

transform both properties. “We decided that the time was right to build out at the back and side of the house to create a spacious light-filled kitchen with a sociable seating area,” says Ylenia. “In hindsight, this was definitely the right decision since the kitchen has become the hub of our new-look home. We also wanted to enlarge the master bedroom, remove a wall to create an open-plan dining area which leads into the study, and incorporate a new shower room and laundry room.”

At that stage, having crossed paths with interior designer Suzy Fairfield, of Studio Marin, and admired several of the projects she had completed on coastal properties, Ylenia decided to ask for her help in creating a cohesive interior scheme.

“It was clear that the whole house lacked flow and that many of the rooms had lost their identity,” explains Suzy. “In addition to this, during the time that Ylenia and Paul had been living in it, their tastes 

ABOVE A Moon Jar by ceramicist Akiko Hirai is displayed on an vintage sculptor’s stand in the now spacious, light-filled entrance hall.

RIGHT The bespoke bookshelves in the study, made by a local joiner, were designed by Suzy Fairfield to accommodate artwork as well as books. “The leather handles are a lovely touch,” says Ylenia.

The desk is from Oka.

THE ENGLISH HOME 71

had changed, and they wanted the third incarnation to reflect this. My brief was to create a beautiful, grown-up sanctuary that maximised the light.”

Keen to avoid any seaside cliches and with an abundance of artwork to take into consideration, having discussed the couple’s needs at length, Suzy began designing every room. “I wanted to ensure that all Ylenia and Paul’s treasured artwork and stunning pieces were displayed to best effect, so that everywhere you looked, there would be a painting, sculpture or delightful vignette to catch the eye,” she says.

When it came to colour, Suzy chose a fresh palette incorporating muted shades of greens, blues, greys and whites to echo the coastal surroundings and be a subtle backdrop for the couple’s works of art. “I felt that tactile, natural materials, such as bleached woods, linen, sisal and ceramics, would work well,” she explains. “Other major considerations included getting the scale and proportions of the furniture right for the large rooms. I also paid particular attention to the lighting, which needed to be layered and ambient.”

To enhance the flow around the house and inject much more of a feeling of space, Suzy recommended removing the majority of the doors on the ground floor. “Paul was initially reluctant to part with the

72 THE ENGLISH HOME

ABOVE “I loved Suzy’s idea of positioning five mirrors above the bed,” says Ylenia.

The mirrors are from Oka, whilst the Knightsbridge bed is from Sofa.com.

The walls are painted in Farrow & Ball’s Light Blue.

RIGHT The floor tiles from Ceramiche Refin in this bathroom add depth and texture.

The taupe hue of the panelling, painted in Little Greene’s French Grey Dark, contrasts with the blues in the painting

by Emma Jeffreys.

The basin is from Fired Earth and the bath is from The Cast Iron Bath Company.

Muted shades of greens, blues, greys and whites echo the coastal surroundings doors because he was worried that the house would be cold,” says Suzy. “However, since an Aga was being installed in the new, bespoke kitchen, and there were going to be four wood-burning stoves downstairs, plus extra insulation, underfloor heating and energyefficient glass, I managed to allay his fears and he’s never looked back.”

Suzy’s creative input and raft of innovative design ideas have culminated in a light-filled, understatedly elegant, inviting home full of thoughtful touches that has surpassed all Ylenia and Paul’s dreams and expectations, and has also become an extension of the gallery. “Even though we now have fewer but larger rooms, we use all the spaces on an everyday basis,” says Ylenia. “Our whole house is now bright and uplifting, with beautiful vistas linking the rooms and lots of special little areas to relax in and enjoy the views. By pouring so much love and thought into our home, we’ve finally brought our dream to fruition and couldn’t be happier with the outcome.” n

ABOVE “I love Suzy’s idea of breaking up the wardrobes with a recessed ‘mini -gallery’ shelf,” says Ylenia.

The headboard is covered in Rapture & Wright’s Baya fabric.

RIGHT In this bathroom, a Marseille Stannum Copper bateau bath from The Cast Iron Bath Company sits on East Hampton tiles surrounded by wood-effect porcelain St Ives tiles, both from Fired Earth.

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STYLE INSPIRATION

Our special section dedicated to design and decorating inspiration begins here

A WORLD OF COLOUR

FEATURE KATY MCLEAN

Making home a restful, calming space can enhance well-being. Earthborn’s new collection of paint colours is themed around earth, sand, sea and sky in muted yet tempting and soothing tones of beige, green, blue and creamy off-white.

Here, an earthy beige known as Crocky Road offers a versatile backdrop on the walls, enlivened by a vibrant sky blue, Milk Jug, above the picture rail, to add some quiet drama whilst uniting the splashes of bright colour within the room.

Walls in Crocky Road and Milk Jug, £43 for 2.5l Claypaint, The Earth collection, Earthborn

THE ENGLISH HOME 75

British br

ds

DECORATING WITH

Reflect home-grown style ways using our native designers and manuf

rent

B

ritish decorating style can take many forms, from those devoted to traditional period looks to those seeking more modern twists on the classics and those who embrace all that is eclectic and colourful. Naturally, style is sometimes shaped by the era of a property, and largely by personal character and taste. Whether seeking elegant period designs, chicer contemporary updates or a more relaxed and playful approach, using products from British brands will help to achieve an authentic and cohesive scheme.

Classic beauty Like natural beauty, classic British interiors tend to be based on good bone structure, that is, a strong architectural period with original features to be sympathetic to. A soft colour palette that does not overwhelm any delicate plasterwork is often the basis of such an interior. Neutrals can be employed along with soft sages, blues and reds, with deeper and richer tones adding a sumptuous note.

Though a classic look is not totally co-ordinated, there is cohesion between patterns and colours to create a considered, balanced scheme that still has character. Patterns on fabrics and walls tend to vary from florals such as chintzes and blowsy blooms, scrolling botanical motifs and tree of life designs to more structured Regency stripes or a traditional damask for grandeur. British brands such as Colefax and Fowler, Hamilton Weston, Sanderson, Morris & Co, Osborne & Little, James Hare, Lewis & Wood, Cole & Son and Watts of Westminster provide a good selection for this style. Antique furniture and newer pieces that are influenced by classic design – such as pieces from the likes of David Seyfried, Max Rollit and Beaumont & Fletcher – would sit well in these well-considered schemes.  76 THE ENGLISH HOME

ABOVE e refined curves of this smart sofa are ins ired e en urniture desi ner as H e Clarence sofa, £6,150 plus 16 metres of fabric, Beaumont & Fletcher

BELOW s r llin da as desi n in a li tl distressed ilded a er r ides a i lassi a dr Brideshead, £69 a roll, Nina Campbell at Osborne & Little

CLOCKWISE FROM TOP RIGHT Hamilton Weston specialises in subtly updating archive designs in lovely colourways.

Sophie’s Choice, £146 a roll, Paradise Restored collection, Hamilton Weston A traditional piece with a modern t ist t is s all s a is a fine ie e of British craftsmanship.

Aubrey two-seater sofa, £2,655 plus nine metres of fabric, David Seyfried Adam’s Eden is a stalwart of classic interiors with its large tree of life design. Fresh colourways give it a new lease of life.

Adam’s Eden, Ceramic, £70.81 a metre, Lewis & Wood William Morris fabrics work beautifully with antique furniture. rta n n er elvet er e Birch, £115 a metre, Morris & Co

RIGHT Ensemblier handmakes bespoke headboards and other upholstered pieces created this design in collaboration with interior designer Joanna Plant. It is a perfect companion to the pretty chinoiserie.

BELOW The Gardyne collection is inspired

by Tudor gardens and this intricate design evokes the feel of Elizabethan embroideries. l a eth ed Bl e £115 a metre, James Hare

LEFT A classic palette can be rich and varied, but always softly co-ordinated and well considered.

2020 Collection fabrics, Colefax and Fowler

ABOVE Tara Craig, founder of furniture company Ensemblier, decorated her sitting room in a grand country house style with a range of patterned yet cohesive fabrics.

CLOCKWISE FROM ABOVE LEFT ld ral stri e desi n le n Angel’s Trumpet £135 a roll, Cole & son is and- rinted all a er ers a r artisanal air Walled Garden, Plum, £23 a metre, Rapture & Wright n e le ti alan e state ent urniture and eauti ul alls Dahlia wallpaper, blue,£90 a metre, Sarah Vanrenen ane ur ill s ne lle ti n airs lar e-s ale rals it stri in tri al rints Headboard, Vita, £65 a metre, and all other fabrics, 2020 collection, Jane Churchill

LEFT Vibrant, fun textiles add character in this dining room.

Selection from Lewis & Wood RIGHT Antique furniture adds gravitas to a charming bohemian ensemble of printed fabrics.

Tribes collection, Julia Brendel BELOW Penny Morrison excels at perfectly harmonising classic with eclectic.

Walpaper, Begum Pink, £90 a metre; Fabric on half tester and bed head, Killi Blue, £159 a metre, Penny Morrison at The Fabric Collective

Colourfully eclectic

FAR LEFT Satisfy a taste for colour in the kitchen with a vibrantly painted freestanding pantry.

Shaker kitchen by Harvey Jones LEFT lit field s diverse selection of fabrics are inspired by documents from around the world, offering a global twist to colourful interiors.

Bench in Osborne, Green, £106 a metre; chairs in Cavendish, Wheat, £129 a etre Bl thfield

Few excel at the perfectly mismatched, diverse, yet somehow unified, interior schemes as the British. Bringing together a broad range of patterns, furniture styles and accessories in an often vibrant colour palette, the eclectic look is evolved and full of character but not haphazard. Look closely and there is unity amongst the disparate-looking medley of patterns.

Whilst the colours might be daring and varied, they are harmonious, too – whether in rich, deep tones, brighter hues or a softer palette – and feature patterns with an artisan quality and organic motifs.

The eclectic style often takes inspiration from around the globe, combining pieces from Britain with those found overseas.

There are several British brands that cater for this look, from sourcing quality products from far-flung parts of the world to sending their designs to be made by expert craftsmen in those countries, as well as adding a thoroughly British twist to such products made on these shores.

The raft of textile and wallpaper designers who exemplify the eclectic look include those such as Blithfield, Lewis & Wood, Molly Mahon, Penny Morrison, Julia Brendel, Sarah Vanrenen, Totty Lowther and Soane Britain.

Furniture varies from classic antiques to rattan pieces and vibrantly upholstered creations. An emphasis on craftsmanship, authenticity and beauty unites the blend under a discerning eye and a passion for colour, expression and personality. THE ENGLISH HOME 79

Contemporary elegance Refined, pared back, yet full of exquisite detail, the softly modern twist on classic style is defined by clean lines, a focused and often neutral palette and a range of smart, tactile furnishings.

Contemporary elegance is not about minimalism or stark white interiors but celebrating period features, which might be given a more modern treatment. For instance, ornate cornicing painted in the same colour as the walls or an original fireplace balanced by a contemporary mirror above the mantel.

A soft neutral palette in pale greys and off-whites or deeper tones of charcoal and slate is often deployed, but gentle natural colours of soft pinks and greens might also be utilised. Plain fabrics or those with small, subtle patterns, and most likely painted, rather than papered walls are to be found in such schemes.

Texture plays a pivotal role, with velvets, weaves and the odd subtle flourish of embroidery or a patterned trim adding layers of interest. Harder textures such as polished metals in nickel, gold, brass or bronze are sophisticated additions, with wood or polished concrete floors topped with rugs for a sumptuous note.

Furniture will have cleaner lines and often provide the more modern elements in what is otherwise a refined classic look – statement artwork or lighting is also more contemporary. Look to British brands such as David Hunt, Cox London, The Odd Chair Company, Bert Frank, Ochre and Vaughan for pieces to suit.

80 THE ENGLISH HOME

ABOVE Classic good looks are given a streamlined update for modern tastes.

Alexandra Sofa, £4,150 (plus 10 metres of fabric), Beaumont & Fletcher RIGHT Dark-painted cabinetry makes a smart statement with a knowing nod to period style, too.

Haddon Kitchen in Charcoal, from £15,000, Kitchen Makers FAR RIGHT Here, two shades of the same paint are used for visual impact whilst still being sympathetic to the period features.

Steel II & Steel V, £30 for 2.5l Pure Flat Emulsion, Paint & Paper Library

GREAT BRITISH BRANDS A selection of home-grown companies we admire for dependable British style.

Bedrooms

CORNISH BED COMPANY

Tradtional hand-cast metal beds. cornishbeds.co.uk HYPNOS

Handmade mattresses and beds. hypnosbeds.com THE HEADBOARD WORKSHOP

Handmade, bespoke headboards. theheadboardworkshop.co.uk

WROUGHT IRON & BRASS BED CO

Period-style metal beds. wroughtironandbrassbed.co.uk

Fabrics & Wallpapers

COLEFAX AND FOWLER

Classically British style with a gentle modern twist. colefax.com LEWIS & WOOD

Perfectly English designs, from the in-house team and collaborations. lewisandwood.co.uk OSBORNE & LITTLE

Collections for classic, modern and eclectic tastes. osborneandlittle.com STYLE LIBRARY

Home to Sanderson, Zoffany, Harlequin and Morris & Co. stylelibrary.com THE FABRIC COLLECTIVE

Wide array of smaller textile makers with beutiful designs. thefabriccollective.com

Furniture

COX LONDON

Bespoke pieces with a fine line between art and design. coxlondon.com SOANE BRITAIN

Diverse range of contemporary, antique and innovative rattan designs. soane.co.uk

Kitchens

BRITISH STANDARD

Off-the-shelf cupboards from luxury kitchen company Plain English. britishstandardcupboards.co.uk DEVOL

Bespoke kitchens, interior accessories and antiques. devolkitchens.co.uk NAKED KITCHENS

Offering bespoke and customised classic and contemporary designs. nakedkitchens.com n

FEATURE KATY MCLEAN PHOTOGRAPHS P79 (PENNY MORRISON) © MIKE GARLICK. P80 (KITCHEN MAKERS) © JON DAY. P81 (FARROW & BALL) © JAMES MERRELL; (PAINT & PAPER LIBRARY) © PAUL RAESIDE

LEFT Contemporary lighting adds a sleek dash of colour.

Revolve Pendant, £672, Bert Frank LEFT BELOW The Odd Chair Company offers a variety of upholstery options.

Theo Chair, The Odd Chair Company, £POA, covered in Piccadilly, Black, £55 a metre, James Hare RIGHT This classic kitchen is lent a modern touch with a gentle colour choice.

Finsbury Kitchen, from £11,000, Burbidge MIDDLE RIGHT Polished metals add chic glamour in a bathroom.

Copper Boat Bath, from £3,780, BC Designs BOTTOM RIGHT Painting plasterwork detailing in the wall colour offers a fresh take on period style.

Walls in Jitney, £47.95, for 2.5l Estate Emulsion, Farrow & Ball

Coromandel Crewels

Entirely handmade and 100% Natural 0118 9796222 • sales@coromandel.co.uk • www.coromandel.co.uk

Border Sundials

Handmade armillary, horizontal and vertical sundials +44 1873 840 297 • www.bordersundials.co.uk

S V Le th sk

quality they trust to bring complex ideas to life

E

very interior designer’s address book features key craftspeople they commission for items that cannot be found off the shelf.

Furniture to fit a difficult space, paint effects, lighting beyond the ordinary, bespoke textiles, metalwork or an aspect of restoration can all on occasion need bespoke solutions, and interior designers build relationships with the craftspeople who can deliver them. Besides skill in executing the commissions, craftspeople must also be mind readers, digesting the designer’s thinking and returning it fully formed. ‘Found in translation’ is one way to sum it up. Here we discover the relationship between designer and craftsperson that results in true beauty. 

Flora Roberts has worked with a number of interior designers on bespoke murals, including for Nina Campbell (see page 89). Here, her original artwork for the Garland panel design hangs in her studio. The design is now part of her collection for Hamilton Weston Wallpapers.

THE ENGLISH HOME 83

Victoria Davar’s chandelier commission was a fresh take on Cox London’s Genoese chandelier.

Victoria Davar & Christopher Cox VICTORIA DAVAR Antiques dealer and interior designer, Victoria Davar, is well known for taking on the decoration of period houses, including the sourcing of antique furniture and lighting.

For this Grade II listed Georgian mansion, Davar asked Christopher Cox of Cox London to design a significant chandelier for the large dining room. “I wanted a fitting that would relate easily with the antiques in the room but add lightness and simplicity to balance its grand scale and the furniture,” she says.

The kind of design Davar had in mind was realised as a bespoke version of the Genoese chandelier Cox London makes. “The gilded stem feels antique,” she says, “but the arms and metalwork have simple lines and an organic flow. It is all lightness and grace.”

Cox provided a scale drawing to ensure the chandelier would be in proportion with the scale of the room and brought samples of the metalwork to demonstrate how it would work within Davar’s planned colour scheme.

“Chris’s work incorporates so many details that make a difference, from the flowers and leaves to the French style tapered electrified candles,” Davar says. “Even the chain the chandelier hangs from is a feature, almost like a vine. Chris has a special talent for understanding another person’s vision. It makes collaborations like this one intensely satisfying.”

Tel 020 7381 2500; maisonartefact.com CHRISTOPHER COX Lighting & furniture “I’m from three generations of antiques dealers,” says Christopher Cox, “and after studying sculpture at art school – where I met my wife and fellow sculptor, Nicola – I worked for a metal restorer who took me to collect jobs from the best dealers and interior designers. It was wonderful training because I took apart and rewired every style of chandelier, so when I made my own first prototype, I knew exactly what to do having dismantled so many of them.”

Christopher and Nicola started their business in 1998, casting in bronze in a garage, and launched Cox London in 2005, now well known for lighting and contemporary furniture. “We began making pieces for Victoria early on,” Cox says. “I love the vigour of her 84 THE ENGLISH HOME

ABOVE LEFT The Goddess floor lamp illustrates a more contemporary lighting creation designed and made by Cox London.

ABOVE RIGHT The success of their work together on the main chandelier for the room inspired Victoria Davar and Christopher Cox to create bespoke wall lights for the same room.

attitude. When we begin to talk about a chandelier commission for any her projects, she’ll always tell me the dimensions of the room, whether it’s to hang over a table, the size and style of the furniture, even the colour scheme, so that together we agree on the scale of the piece that will suit the room.

“For this Genoese chandelier, we talked a lot about balance and how to arrange the beading – some clear, some coloured and some antique. She is always open to my suggestions, in this instance that the amethyst beads would be most effective used lower down on the piece.

In fact, our work together on this chandelier was so transformative to the room that we then worked together on a style for companion wall lights.”

Tel 020 3328 9506; coxlondon.com

Ben Pentreath & Geoffrey Preston BEN PENTREATH When in-demand architectural interior designer Ben Pentreath was asked to work on an eighteenth-century house in Oxfordshire, he asked Geoffrey Preston to design a ceiling for the entrance hall in a new wing.

“I knew we wanted an element of decorative plasterwork and I was well aware of Geoffrey’s work,” Pentreath says.

“He is an amazing man and part of the living craft tradition, which is about more than just copying old patterns. I discussed ideas with Geoffrey and my clients, and suggested he might look at early Georgian plasterwork at Mompesson House in Salisbury as an indication of the style I had in mind. Of course, he was already familiar with the plasterwork there.”

Preston began by preparing two design options for Pentreath to see, one more architectural and one more decorative and there are elements of both in the finished work. “Plasterwork is an unusual process,” Pentreath explains. “You can’t leave very much to chance, especially when working in the style of the early eighteenth century. And you need someone who models by hand and that is what Geoffrey does. I can't think of anyone else I would trust with a project like this one.”

Tel 020 7430 2424; benpentreath.com

GEOFFREY PRESTON Plasterwork A leading exponent of architectural sculpture, Geoffrey Preston first trained as a sculptor then as a stonemason and carver. He set up his workshop in Devon in 2000, modelling, moulding and casting work in clay or directly modelling in stucco. He has worked on many important restoration projects including hand-modelled plasterwork at Uppark House in West Sussex after the great fire there in 1989, but he also takes on smaller commissions from private clients, often for a decorative ceiling or an overmantel or plaque for a period house.

“Ben’s design is beautifully proportioned and flooded with natural light,” Preston says. “A staircase hall is quite a theatrical space and for me that’s exciting because as you climb the stairs, the ceiling gets viewed from every angle, and in close up from the landing.” Preston particularly enjoyed working on the central eclipse.

“I loved the joyful element in the movement of the leaves surrounded by what we call the gadroon, a series of convex curves that’s a tour de force for the maker.

Ben and his client were a delight to work for and were so encouraging. I think they got the best out of me.”

Tel 01392 811421; geoffreypreston.co.uk 

ABOVE LEFT Ben Pentreath sought the skills of Geoffrey Preston for this decorative ceiling in an eighteenth-century house. It is inspired by the early Georgian plasterwork at Mompesson House in Salisbury.

ABOVE RIGHT The complete plasterwork ceiling seen from below. The central eclipse features alternating fruit and flowers.

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www.wroughtironandbrassbed.co.uk 86 THE ENGLISH HOME

English Fireplaces offer a full range of hand carved fireplaces in marble and limestone in the finest quality with great value.

Call to see how we can help you.

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Joanna Wood & Michael Jacques JOANNA WOOD Renowned interior designer, Joanna Wood describes master blacksmith Michael Jacques as a wizard. “He has made numerous items for my projects – from fire grates to a garden bridge, even a gazebo,” she says.

“The staircase for the house in this commission leads to a sensational roof garden, complete with kitchen, that I worked on with florist and garden designer Stephen Woodhams,” Wood continues. “The balustrade leading up to it needed to have an organic element – anticipating plants, flowers and growth. Michael instantly understood that the style I wanted should be both airy and delicate and achieved exactly what I had hoped. Whenever we collaborate I’m the hem of the garment and he makes the dress.”

Tel 020 7730 0693; joannawood.com

ABOVE Joanna Wood worked with Michael Jacques on a design for a stair balustrade at the top of a house where the emphasis in the design was on visual lightness.

LEFT This ornate strap hinge was made by Michael Jacques to give authenticity to a new door for a period property.

MICHAEL JACQUES Master blacksmith Michael Jacques is a master blacksmith specialising in hand-forged metalwork, inspired by English architecture and landscape.

He set up his forge in 1991 and much of his work is in steel, but he also works in wrought iron, aluminium, brass, bronze and copper. He holds a silver medal from The Worshipful Company of Blacksmiths for the high quality of his designs.

“When Joanna Wood came to see me about commissioning a new balustrade for one of her projects, she had a clear view of the style of design she wanted. The stairway was to be incredibly lightweight to suit a space that is lit from above,” Jacques says.

“I did some sketches for her and a sample in metal as it was essential to agree the level of delicacy, but also to judge the feel of the metal in the hand. Joanna asked for a greater fineness in the scrolls and these small adjustments made quite a difference. We agreed to highlight the leaves on the balusters with tiny touches of gold leaf to catch the light. The other stairway I worked on in the same house was an extension to an existing balustrade in a much more linear design in keeping with the classic contemporary style of the interior. Both of these projects were forged in steel.”

Tel 01865 891810; mejj.co.uk  THE ENGLISH HOME 87

LENNOX CATO ANTIQUES & WORKS OF ART Est. 1978

1 The Square, Church Street, Edenbridge, Kent TN8 5BD T: +44 (0)1732 865988 M: +44 (0)7836233473

www.lennoxcato.com

88 THE ENGLISH HOME

Nina Campbell & Flora Roberts

NINA CAMPBELL One of Britain’s most esteemed interior designers, Nina Campbell has an instinct for spotting young talent.

“Flora Roberts was not long out of art school when I saw her painting a mural,” Campbell says. “I was working on the interior of Ellenborough Park hotel [in Gloucestershire] at the time and I knew the dark wooden staircase with panelled dado wouldn’t look right with a standard wallpaper, so I commissioned Flora to paint a mural there.”

The hotel is in parkland, so Campbell suggested the local landscape should be the theme. “I never like directing artists too much; it’s inhibiting,” she explains. “I sow the idea. I suggested the colour palette for this mural, then I stepped back. Flora did an amazing job, keeping within the colour boundaries I’d suggested, and the effect is far more theatrical than wallpaper. There were sizeable projecting wall lights at intervals up the stairs and Flora had the clever idea of positioning branches so that each light appears to be suspended from the bough of a tree. She did a wonderful job.”

Tel 020 7225 1011; ninacampbellinteriors.com

FLORA ROBERTS Decorative painting Flora Roberts studied printed textiles at Glasgow School of Art followed by an MA at the Royal College of Art. Then her career took an unexpected direction, leaving textiles behind, after she painted a mural for her sister that then appeared in a magazine.

“That led to me being commissioned to paint a mural for a fashion boutique,” Roberts explains, “and Nina happened to walk in while I was working on it.”

Serendipity all round, as Campbell needed a mural painter for the Ellenborough Park hotel project.

It was decided that the mural should be painted on canvas rather than directly on to the wall so as not to inconvenience the workings of the hotel. “As part of my research, I got the idea for mural painting on canvas from Rex Whistler,” Roberts says, “and I went to look at his mural in the restaurant at Tate Britain.

It was quite a challenge working on three-metre-wide canvas. In fact, I had to rent a space at the back of the Theatre Royal in Windsor where their scenery is painted, and sometimes plays were going on whilst I was working. When putting large themes together on a wall like this stairway, perspective can be tricky.

But, best of all, Nina trusted me to solve the problems any project like this throws up and she was delighted with the result.”

Tel 07771 878602; floraroberts.co.uk 

ABOVE LEFT Following the turns in the stairs, Flora Roberts’ mural at Ellenborough Park hotel in Gloucestershire takes features from the surrounding parkland up through the building. Even the wall lights are integrated into the mural as each appears to hang from the bough of a tree.

ABOVE RIGHT Flora Roberts has collaborated with several wallpaper companies to make her work accessible to many. Doves, for Lewis & Wood, is recognised for its soft colours and serene charm.

THE ENGLISH HOME 89

EMMA DETERDING Emma Deterding, founder and director of Kelling Designs, discovered Helena Lynch’s appliqued chairs through a friend. “I visited her home and was dazzled by her work,” Deterding says of Lynch. “As soon as I saw her chairs, I recognised them as small works of art and perfect for creating a focal point in a room – these chairs never take second place. I commissioned a pair for a room with very plain sofas that needed uplifting and the room was transformed. Helena is clever at finding antique and vintage chairs with pretty shapes. I love the way she uses lots of curves in her designs, but she will also work with chairs I provide.”

If Lynch is decorating a vintage chair that needs to be resprung or repadded, that will be done first by an upholsterer. Her bold designs can be seen in some of Kit Kemp’s Firmdale hotels, too. “When I commission Helena for a project, I give her the colour palette I’d like her to work with, but never tell her what to do,” Deterding says. “Each chair is a little jewel and no-one else will ever have one exactly like it.”

Tel 020 3866 4430; kellingdesigns.com 90 THE ENGLISH HOME

HELENA LYNCH Furniture applique Helena Lynch finds many of the chairs for her applique work in the antiques shop she runs with her partner in Norfolk. The creativity and expertise emerged gradually after her art degree diverted into fashion: “It is where I learnt pattern cutting,” she explains.

Every chair Lynch appliques is a statement piece.

Sometimes a pair will seem to match, but look closely, and no two are ever quite the same. With the chair in her line of vision, she draws a pattern to complement its style and shape. “I have to see how the shapes sit on the chair, and as people are usually looking down on chairs, it’s important to be sure the design works from that perspective,” she says. Cutting out the shapes in wool or linen, she layers some over others and turns in the edges of each section.

“For a commission, I work to the colour palette I’m given. A design for a chair may be inspired from a theme agreed with the designer, but I always like to be free to interpret the ideas. The design has to be my own creation.”

Tel 01328 820720; littleblood.co.uk n

ABOVE Helena Lynch’s applique makes a pair of vintage chairs the power partners in a room designed by Emma Deterding.

FEATURE CELIA RUFEY PHOTOGRAPHS P83 © TOM TEASDALE; P84 (COX PORTRAIT) © ALUN CALLENDER; P85 (PENTREATH PORTRAIT) © SIMON BEVAN; (PRESTON PORTRAIT) © NICK CARTER; (ABOVE LEFT) © JASON INGRAM; (ABOVE RIGHT) © NICK CARTER; P87 (WOOD PORTRAIT) © HEINER ORTH; P89 (CAMPBELL PORTRAIT) © SIMON BROWN; (ROBERTS PORTRAIT) © TOM TEASDALE

Emma Deterding & Helena Lynch

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THE ENGLISH HOME 91

From the newest collection

by Cameron Design House, the Haara chandelier, from ÂŁ16,600, is composed of a number of hand-drawn glass lanterns combined to create a sculptural, modern and dramatic effect.

i g THE WAY er an co ap brands excelling at high-quality pieces designed using the latest technology, unusual materials and time-honoured processes

T

he saying goes that good lighting is imperceptible; it is only bad lighting that stands out. “People are really beginning to understand the value of good lighting,” says lighting designer Eleanor Bell. “When it is thoughtfully integrated, it looks effortless and makes you feel relaxed and at ease in a room.”

British lighting manufacturers are leading the way in terms of high-quality, desirable fittings that enhance every room in the house. As interior designer Susie Atkinson says: “Clients are very interested in where products come from. That they are handmade, and made in Britain, is very important.”

From bathroom chandeliers to slimline picture lights, here we shine a light on some of the most recent launches and innovations from new and established names in British lighting.

USING NEW TECHNOLOGY The latest in new technology tends to arrive first in commercial settings – for example, smart kits that eliminate the need for touching switches, inset ceiling fittings that can incorporate a camera, smoke detector or speaker, or ‘human-centric’ lighting that supports bio-rhythms by adjusting light levels (to avoid that post-lunch low, for example). It is even possible to buy light panels that look like skylights, with a horizon-style effect, for windowless areas. Expect to see these innovations reaching our homes in years to come.

For now, however, the biggest focus is still on developments in LED lighting. “The beauty of LED lighting is that it’s so tiny and runs relatively cool, meaning that very small, slim fittings are  THE ENGLISH HOME 93

LEFT Cutting-edge technology provides an even distribution of light to focus on the whole canvas and show its true colours.

Wallace picture light, from £192, John Cullen RIGHT These wall lights feature central panels that can be changed as often as one wants to personalise or alter a room instantly.

Bon-Bon lights, £438 each, Melodi Horne RIGHT Vaughan’s new slimline, dimmable picture lights are made in brass with a brushed bronze finish and can be fixed either to the picture or the wall. Each light has integrated LEDs with a frosted diffuser to give a warm, even light.

Coldstream LED picture light, from £252, Vaughan

possible,” says Peter Hunt, chief policy officer for The Lighting Industry Association. “Now that they are better developed, they are less expensive, dimmable and available in warm white as well as cool white. Strips of LED lighting can be placed in a variety of areas around the home to create interest. LEDs are also much more energy efficient than incandescent lights, which makes it possible to run a lamp from a battery, resulting in cordless lights that can be put in unusual places.” Neptune’s Hanover cordless lamp in bronze or nickel, for example, looks just like a traditional lamp, and is even dimmable.

John Cullen Lighting is a source of high-quality LED strips and has also recently launched a discreetly shaped, low-glare picture light which uses cutting-edge technology to provide an even distribution of light over an entire work of art. Vaughan’s new Coldstream picture light is dimmable and features integrated LEDs with a frosted diffuser to give an even, warm light.

The Decanter pendant by Christopher Wray showcases sculptural fashioning of contemporary murano glass.

The Decanter, from £495 a pendant, Christopher Wray

94 THE ENGLISH HOME

DESIGN SOLUTIONS FOR DIFFERENT SPACES Bathroom lighting has undergone a huge transformation in recent years to offer increased variety and therefore greater flexibility to create tailored solutions. Bell finds that clients want to create different lighting levels in the bathroom for either efficiency or relaxing – and improved ranges of fixtures that are safe to install in damp and humid areas have helped make this possible. She especially likes the handmade, IP-rated fixtures by Fritz Fryer, and also recommends a one-watt, sensor-operated ‘marker’ light, by either John Cullen Lighting or Astro Lighting, for middle-of-thenight bathroom visits.

For impressive decorative effect, look for a bathroom-rated chandelier – a fitting that was once virtually impossible to find, but is now much more widely available. Christopher Wray, for instance, has recently launched the Triedro, a reimagining of a traditional chandelier, modelled with geometric crystal prisms that reflect light around the room.

In kitchens, it is LED strip lighting that is, once again, frequently recommended by experts, fitted along the plinth, beneath or above wall cupboards, around coving or an island.

“In the kitchen, discreet general lighting is what it’s all about, with feature pendants over an island or dining table,” says Atkinson.

Bell explains that installing a five-amp circuit – in which floor and table lamps can be operated via a switch by the door – helps create layers of flexible lighting, whether in an open-plan kitchen/dining room, a drawing room or a family snug. Another way to ring the changes is with Melodi Horne’s Bon-Bon wall lights, in which the central panels – whether card, wallpaper, leather, fabric or any other material – can be changed as often as desired.

soholighting.com | enquiries@soholighting.com | 0208 106 1221

Lighting for all the senses.

handandeyestudio.co.uk THE ENGLISH HOME 95

Six of the best new table lamps Heat field s inden lle ti n is ins ired tani al r s inin ta tile sur a es and r ani s a es Fero table lamp, £294 including hade eathfield

is ele ant la is art a ne lle ti n interi r desi ner usie t ins n Articulating table lamp, £POA, Susie Atkinson Design

e ini al desi n t is li t is ntrasted it t e lu uri us te tures ar le linen and r n e r rass Mayfair table light, from £780, CTO Lighting

ddin t a s lle ti n eauti ull ra ted re r du ti n li tin t is is ne a series t at eature a distin ti e nu le int Baxter table lamp, £1,176, Jamb

ele rate ri inal s t anni ersar t is ear t e s e ial editi n He t r lle ti n is n a aila le it a re tt n raided a le Hector 30 Table Light, £185, Original BTC

aura li a et s li tin ines lass and etal t reate et ereal and lu in us e e ts re inis ent t e natural rld Cascade lamp 03, £650, Laura Elizabeth

96 THE ENGLISH HOME

is rand-s ale r ed-ir n andelier as a r usi n tree lia e r li e a and ee t lar e a n lia lea es and deli ate s ra s and is illu inated it a n lia l s ade r ulded ute Magnolia chandelier, £62,400, Cox London

EXPERIMENTATION WITH MATERIALS Britain is renowned the world over for its creative industries, and the lighting sector is just as exciting. Brands are pushing the boundaries in terms of design and processes, and employing materials in all sorts of intriguing ways. One such is Soane Britain, which has a range of rattan lighting, including the Petal hanging shade launched in March. Co-founder Lulu Lytle says: “For me the great beauty of rattan is how versatile and sculptural it is. It is not a material which is associated with any particular look or period, but instead has a softness and certain romance to it that suits pretty much any interior.”

Porta Romana’s new Boheme collection includes materials ranging from hand-glazed ceramic, wrapped cane and woven wicker to forged, sculpted and patinated metal, whilst Cox London’s enormous Magnolia chandelier is made from forged iron and moulded jute. Ochre’s new Aquarelles pendants are made from a combination of hand-glazed porcelain and horsehair, Pinch has used draped and stitched banana fibre in its Anders light, and both Balineum and David Hunt Lighting have made interesting use of resin, the former with its Coral wall lamps that can be used in the bathroom, and the latter with its Antler collection, hand-painted to look incredibly realistic.

Atkinson especially likes handmade pieces by Naomi Paul, who uses crochet to create statement pendants, Hannah Woodhouse, who works in a range of fascinating materials, including bronze, leather, plaster and eucalyptus paper, and the new Ellory plaster cone lights by Porta Romana, which can be painted in any colour.

CLOCKWISE FROM ABOVE LEFT Now available in large and small sizes, these lights are sculpted using layers of anana fi re which cast a gentle, atmospheric glow.

Anders light small, £910 each, Pinch With a horsehair shade and tiers of hand-glazed porcelain drops, this chandelier plays with the idea of light glowing through fragile colour.

Aquarelles oval chandelier (120cm), £7,308, Ochre Porta Romana has collaborated with three exciting talents to form an eclectic collection of lights full of character and warmth.

Selection of lights from the Bohème collection, £POA, Porta Romana Made from resin and hand-painted to provide the colour and patina of natural antlers, this chandelier is from a collection that also in ludes ta le r and wall lights.

Antler Bleached fivelight pendant, £960, David Hunt Lighting Handmade in the UK, this light combines the warm ues iln-fired terracotta with a subtle white glaze, resulting in a design that is at home both in traditional and modern settings.

Terracotta Large, from £355, Hand & Eye Studio

Buying LED bulbs For decades, light bulbs have been labelled according to the amount of energy they consume, measured in watts.

However, the switch to energy-efficient bulbs has created confusion. A 16W LED light bulb is about as bright as an old-fashioned 100W incandescent bulb (and, over its lifetime, could save more than £300). Modern bulbs are now

98 THE ENGLISH HOME

sold with packaging labels showing brightness, expressed in lumens, or ‘lm’. The higher the lumen rating, the brighter the bulb will be.

15W = 136lm 25W = 249lm 40W = 470lm 60W = 806lm 100W = 1521lm

ABOVE LEFT Each of these clear-glass pendants, featuring a fluted wooden cap and brass fittings, is blown without using a mould.

Cocoon light, £1,200, Curiousa & Curiousa ABOVE RIGHT Tom Raffield’s products blend traditional techniques with modern technologies, always with a focus on sustainability.

Drift pendant in oak or walnut, from £385, Tom Raffield ABOVE This simple, clamp-arm library shelf light is made of brass and copper with a patinated antique finish.

Library light, £400 (excluding shade), Max Rollitt LEFT Beaumont & Fletcher’s range of highly decorative lights is created by hand, using traditional materials. This light is in a new finish that combines gilding with a more natural look.

Delphis wall light, £2,365, Beaumont & Fletcher

FEATURE KATHERINE SORRELL PHOTOGRAPHS P92 (CAMERON DESIGN HOUSE) © RECENT SPACES; P94 (VAUGHAN) © ANDREW SMART; P97 (PINCH) © JAMES MERRELL; (HAND&EYE) © STUDIO PALE; (PROJECT DESIGN) KROKALIA DESIGN; P98 (MAXROLLITT) © TOM MANNION

HAND-CRAFTED, SUSTAINABLE DESIGNS “The strength of the UK lighting industry is in the high-quality, hand-crafted areas,” says Hunt. An impressive number of British companies focus on making lighting by hand, often to a client’s individual requirements, and recent launches demonstrate their sheer creativity and innovative thinking. Traditional skilled craftsmanship comes to the fore in the new clear-glass pendant from Curiousa & Curiousa, Max Rollitt’s traditional library light and Beaumont & Fletcher’s Delphis wall light, for example, amongst many others.

Alongside the handmade ethos, inevitably comes a reduction in environmental cost when compared to large-scale manufacturing, but British lighting designers also actively looking at making their products more sustainable, too. Porta Romana has started a recycling and part-exchange service, Astro Lighting is introducing folded-cardboard packaging (and its HQ is solar-powered), and Studio Haran designs all its products with their entire life-cycle in mind. Tom Raffield makes its unique lighting designs using the age-old technique of steam bending – a process with very little wastage. Raffield believes that consumers are becoming more conscious – and that brands are taking note. “It’s great to see sustainable materials and processes being used by a wide range of designers, both high end and high street,” he says. “It feels as though there’s a real movement towards ‘green’ lighting. Opting to purchase well-made, hand-crafted, high-quality lighting designs will ensure the pieces you buy will last for years to come.” n

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THE ENGLISH HOME 99

Case Study One

Cre ti Top chic a

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ior de ctica

c ev ffic

ome offices by their very nature are functional, yet as the world adapts to increased flexibility around working arrangements, they also need to serve as quiet sanctuaries within which to focus attention and efforts on the task in hand. Where the work space of one individual may centre around a specific set of requirements, another may find their needs best suited to entirely different reference points –

100 THE ENGLISH HOME

porta reve

si ered E

in fa trast

ing a olutions

fashioning a work space as a thoughtfully considered process can reap dividends to bring pleasure both to the home and the working day.

Be it small or large, multipurpose or single-function room, creating a home office demands a level of care and attention that sees form marry perfectly with function. Here, designers give their insights into creating a deftly balanced and harmonious union.

Katie Glaister and Henry Miller-Robinson, co-founders and owners of K&H Design, on creating a multifunctional room Considered design and careful curation see much-loved pieces incorporated into a colour-led scheme for a home office that also doubles as a guest room.

a subtle floor-to-ceiling jib door. As the room is not large but there was a lot to fit in, we designed a beautifully curved and therefore space-saving desk.

The detail includes neat inlay, tapered legs and cable management.

“The sofa is a playful take on a Knole sofa – it is smart and deeply comfortable. The cushions are in a soft Kelway velvet by GP & J Baker, with a subtle but satisfying contrast to the horsehair fabric from John Boyd Textiles used on the sides and back, finished with a studded detail.

“The curtains are a Soie de Lune and K&H Design collaboration, and are hand-dyed to our bespoke colour specification – this took three attempts before the perfect colour was achieved. They were handwoven in Vientiane, Laos.”

The brief

The en suite

“This project was all about curating, working and reworking with the clients’ treasured items. They were keen to use craftsmen from the UK and from around the globe, and also wanted us to play around with colour and texture. Our clients wanted this first-floor room to be their study as well as their guest bedroom.

We had to include their large and much-loved Biedermeier breakfront chest into the scheme, which was considered carefully in the reconfiguration of the space and tonally in this room. They also wanted the en-suite shower room to be a hidden gem for guests.”

Creating duality

“As the room plays to two functions, we designed the bespoke sofa to open into a deeply comfortable bed, whilst the en-suite shower room is concealed behind

“Our client was keen to embrace colour in the small en suite. Farrow & Ball’s Inchyra Blue was used as the base colour, and we brought through the warmer hues from the study and reflection from the 1960s Italian shield mirror and the Swedish Orrefors glass wall sconces. We like to mix metals, and so introduced the chrome taps and stand. The marriage of the basin and vanity was a triumph – the vanity unit is from Burlington Stone, with the decorative Moroccan basin sitting comfortably within the bold natural markings and multiple tones of the green stone.”

Use of colour

“We had fun playing with colour through design-led pieces in this room, including the red office chair, green table lamp, and the warm tones in the rug to unite the room.” 

OPPOSITE The curved desk, specially desi ned t fit t e space, is a sleek contrast to the dynamic pattern of the Wiggle rug by Melissa Wyndham from Robert Stephenson. The red lette fi e air is by Baxter and the green table lamp is from Louis Poulsen.

The copper convex mirror lends a further playful note.

ABOVE LEFT The smart pull-out sofa bed by K&H Design is upholstered in horsehair fabric and velvet.

ABOVE RIGHT Warm tones in the Pentreath & Hall bookbinding paper on the lampshade echo the blue hues of the ensuite bathroom, whilst the mirror and wall-mounted glass sconces re e t details r the study. The Biedermeier chest is just seen to the left of the doorway.

THE ENGLISH HOME 101

Sarah Peake, owner and founder of Studio Peake, on maximising minimal space Creative storage solutions and a considered colour palette combine to create an atmosphere of productivity.

The brief

“The most important thing about a study or home office is that it actually helps you to be productive. It therefore needs to be able to inspire creativity, but also to instil focus. When I designed my study at home, as part of the wider refurbishment of my London apartment, I was keen to go for a distinctly non-office feel, but also to ensure a minimum amount of clutter. Working from home (as we have all discovered recently) can be isolating, so it is important to really love the space.

I started my interior design studio from here, so wanted to get it right.”

Form and function

“This is a room with a view: the window of the study looks out over a courtyard and then on to the reception room and garden beyond. This greatly influenced the layout, as I wanted to ensure that whoever is working at the desk feels connected to, and not cordoned off from, the rest of the apartment.”

Storage solutions

Dynamic use of bright orange in the rug and turquoise for the woodwork are highlights the transition into the calmer-hued work space.

102 THE ENGLISH HOME

“To keep clutter to a minimum, storage solutions must be creative – particularly if you are short on space. My husband and I have collected a lot of books over the years, so throughout the flat there are built-in bookcases in every nook and cranny. I designed the breakfronted joinery to have deep storage in the centre (enough depth for hanging clothes if we ever needed to refashion it as a wardrobe in the future), but the shallower bookcases at either side and the open areas for baskets ensure that the joinery doesn’t overpower what is a relatively small space. I also used the same colour paint on the cabinetry as on the walls, which helps to unify the space.”

Use of colour

“The yellow curtains and pelmet frame the window in a vibrant way, and we also keep a window box there, stocked full of colourful flowers. Having proper

Case Study Two

curtains, as opposed to, say, a blind, helps the room feel more like a home and less like an office. The lively yellow and off-white of the curtains is a useful foil for the more muted blue-grey of the walls (painted in Aerial Tint by Edward Bulmer Natural Paint). This interplay between vibrancy and tranquillity is key.

“The desk is reasonably traditional, which is a nice counterpoint to the more contemporary chair and pinboard. I love mixing contemporary and traditional pieces, as it gives a space vitality.

“The woodwork in the hallway is painted turquoise (in Vardo by Farrow & Ball), and this, together with the almost lurid orange of the rug, is a striking segue from the calm of the walls and cabinetry in the study.

“I am particularly fond of the pinboard. I made it myself out of fabric remnants from Vanderhurd, Lewis & Wood and Fermoie, and spent a very happy Sunday appliqueing it. It gives the scheme some texture and the room a sense of playfulness as well as a nod to my love of handmade pieces. It is great to use on the wall for display and inspiration.”  ABOVE A sense of calm pervades thanks to a carefully considered colour scheme. The cabinetry along the wall is kept from overpowering the room by having open areas for baskets underneath.

RIGHT The traditional desk is complemented by a contemporary chair to bring a sense of vitality to the room. The large-scale pinboard, made from fabric remnants, adds further texture and playfulness.

Case Study Three

The downstairs library area opens out on to the patio, reatin s ner and between the inside and outside spaces.

Jane Churchill, owner and founder of Jane Churchill Interiors, on tailoring a home office space Whichever room is used, chic use of light and layout, offset by personal touches, are key to creating the best possible environment in which to work at home.

The brief

“My home office space is in the conservatory, on a raised ground floor.

It is at the back of the drawing room and flooded with light, which matters a great deal to me when I am working. I have a light fixation and find most people feel happier and come to life in a light-filled space. Downstairs there is a reference library, with an adjoining patio space.”

Maximising light and space

“The office looks out on to an area which goes down to the basement where the patio is, so I put a double-height trellised mirror from the top to the bottom on the opposite wall to reflect light and avoid any dark basement feel below. When the lights from the conservatory reflect in the glass at night, it is very pretty.”

Characterful touches

“Behind the desk, the table is covered in a cloth with eighteenthcentury Hanoverian figures appliqued on to it. They belonged to my grandmother (Alice Winn, sister of design doyenne and owner of Colefax and Fowler Nancy Lancaster), and I had them restored

and sewn on to a thick felt. I have a drinks tray on there which is so useful as there are always glasses at the ready and all you need is the ice. The candlesticks were also my grandmother’s and she bought them for nothing in Beauchamp Place before the Second World War. They are quite big and a touch ‘Liberace’ but they have always looked great in every house I have lived in. You can never go wrong with candles, as they give off such a pretty light.”

Work area flow

“I turned the area downstairs into a reference library, albeit not big enough to sit in, but you come down the stairs and look straight ahead at the lit bookcases. This opens out on to the patio where I have placed bay trees, which look as though they go on for ever in the mirror. I have masses of books I use for reference, and aesthetically also like to use them like wallpaper in a room as it works so well. Erudite people obviously place the books in subjects, but not me. I like them neatly arranged according to their size – it’s a quicker job than you think and you would be amazed how you can usually find what you are looking for.”

Adding detail

“The round table has always travelled with me too; it has been in several halls but works really well here. I have collected the blue and white china over the years. I find it in junk shops and because no-one knows what to do with it, it is always cheap! At night I put night lights in it or flowers and it looks great.

“The bookcases are all in wood, though I have since painted the insides in red and they come alive more. Never think that your rooms are finished, as there are often things you can do that just make all the difference without pulling the house down.”  ABOVE e nser at r l ati n t filled r in s a e rnate andlesti entur Han erian fi ures t n e add ara ter and a sense ist r t

e e fi e reates a li ts and a li ued ei teent el n in t ane s rand t er t er THE ENGLISH HOME 105

Case Study Four

FAR LEFT The hidden ‘secret’ door opens to reveal the study space beyond.

LEFT Light streams in beneath the charcoal tones of the Roman blind, further highlighting the use of textiles in the patterned upholstery detailing of the desk chair.

Henry Prideaux, owner and founder of Henry Prideaux Interior Design, on a harmonious, hidden home office A calm colour palette, sleek finishes and a clever hidden door make for a sophisticated work space

The brief

“As the owner predominantly runs his business from home and needed a dedicated space in which to work and host occasional meetings, the brief was to create a sophisticated study using a restful colour palette.

“We developed a scheme that was both sleek and practical, which, whilst leaning towards a slightly masculine feel, remained flexible in aesthetic with the inclusion of beautiful finishes such as figured sycamore, polished brass, leather, and linen. The door to the study is on a half landing at the top of the first flight of stairs and can therefore be seen from the entrance hall on the ground floor, so we wanted to make it a focal point by turning it into a design feature.”

A harmonious touch

“The colour palette for the majority of the house is a serene combination of cool silvery grey with soft hints of blue and lilac throughout, so we designed the study to work in harmony with the decorative elements chosen for the adjacent spaces of the stairwell, landing and master bedroom.

“Inside the study, the overall concept is to subtly imitate an updated version of an old-fashioned gentleman’s club, made more 106 THE ENGLISH HOME

contemporary with the implementation of simple wall panelling framed with a polished-brass metal inlay. The pale oak parquet floor, configured in a mansion weave design, provides the base for the rest of the scheme. We used light-grey figured sycamore veneer as the key material for the walls, custom-fitted joinery and the back of the door. The joinery forms the desk area as well as providing lots of open shelving and hidden storage. An indigo leather inlay is used as a blotter for the writing desk, adding a smart contrast.

“To accommodate an air-cooling system we installed a coffered ceiling, and chose hand-burnished brass picture lights to evoke the feel of a traditional library. Moody blue artwork, a Roman blind in charcoal chintz linen with a zigzag trim, and a chair upholstered in grey linen with contrast back and sides complete the space.”

The secret door

“To access the study, we initially thought about creating a jib door to blend seamlessly with the wall, but then the idea of creating a hidden ‘secret’ door with a faux bookcase facade was born, allowing us to make the entrance to the space much more of a design feature.

“We designed the secret door to replicate a bookcase and used more than 400 hand-selected genuine vintage linen and leatherbound books in order to create it. As the books were of many different sizes and would have been too deep and heavy to use as they were, we had them cut to the required depth and attached to a board backing in a carefully configured layout to look more authentic. Finally, we had a door mechanism fitted and concealed behind one of the books to allow access.”

Case Study Five

Paolo Moschino, co-owner with partner Philip Vergeylen of design studio Nicholas Haslam Ltd, on incorporating a modern workspace in a period home

FEATURE EVE MIDDLETON H

H P100/102 (OFFICE) © SIMON BROWN; (BATHROOM) © MARK O’FLAHERTY; P104/105 © CLIVE NICHOLS; P106 © TOM SULLAM; P107 © SIMON UPTON

Practical considerations and cherished pieces are brought together in a period property.

The brief

“Lately we have spent more time in our country farmhouse, and the openspace office has become the most popular spot in the house as we have been using it every day rather than solely at weekends. The property is part-Tudor and part-nineteenth century – we created the office space to resonate with the age of the house. It had to be practical yet inconspicuous, in order to keep the continuous flow with the adjoining dining room and drawing room.”

Creating space

“After buying the property about 10 years ago, we made a number of changes to the interior, including opening up the ground floor where the home office sits. The first thing we did was to remove the floor above the entrance to the house, to create a doubleheight space and a grander feel, and then we removed all the interior doors on the ground floor.

“Most of the time it’s just Philip and I, and I would not like to be behind a door in the kitchen or dining room and Phillip behind a door in the office. The office is almost a passageway where we go through from the living room to the dining room and the kitchen: you pass by and you can check on your emails without feeling isolated.”

Using antiques

“In order to resonate with the age of the house, we used antique pieces throughout. The desk is eighteenth-century French and the tan leather-covered desk chair nineteenth-century Italian, whilst the nineteenth-century vitrine (not shown) directly behind the desk chair was bought from Brownrigg Interiors.

It is filled with our collection of Italian vellum books, which on video calls serves as a beautiful background.

It is also used as storage underneath for table china – Philip is a china shopaholic and we have enough to set different tables for our guests every day for more than two months.

A modern nod to the past

“Often whilst on buying trips we will spot pieces that are just right for a space or project – the vitrine being one of them. Inspired by its design, we had a matching pair of built-in shelving units made for either side of the desk so that they blend seamlessly into the space.

“Lighting choices, too, play a part – the pair of table lamps that we selected from our showroom were just the right height to sit with the computer screen and add scale to the space.

“Finally, as Philip is a great admirer of the late Yves Saint Laurent, he likes to follow his advice to put a bunch of wheat on a desk for luck and happiness.” n

ABOVE e fi e s a e is ra ti al et as een sea lessl in r rated it in t e ntinu us t e ad inin li in areas e tan leat erered des air a nineteent entur talian find is ne a air t at are als used as dinin r airs en entertainin e ar air ru and side ta le seen in t e re r und are all anti ue ie es s ur ed n a l and ili s u in tri s

THE ENGLISH HOME 107

THE STORY OF CHRISTOPHER PETERS

MODERN CLASSICS

O

iginally established more than 30 years ago by husband and wife Christopher and Jill Peters, following their first career as antiques business owners, today Christopher Peters provides bespoke kitchens and furniture under the direction of husband and wife owners Will and Grace Lyne.

The shift from antiques to cabinetmaking occurred when the Peters were unable to find a kitchen to suit their family home.

Undetterred, Christopher designed and built one himself, prompting an admiring neighbour to then place what would become the first Christopher Peters kitchen commission. Success followed, and soon Christopher was designing cabinetry for other areas of the home, including boot rooms and libraries, as well as items of freestanding furniture. The Lynes credit the Peters’ extensive knowledge of antique pieces, in particular those from the eighteenth and nineteenth centuries, for creating a legacy of particular note to period property owners, who are drawn to the carefully considered designs.

The fundamental tenets of the Christopher Peters brand are that all its cabinetry is bespoke, hand-crafted and hand-painted.

There are no set ranges, with each design shaped to the exact specifications of the client and their home. Having bought the company two years ago, after working alongside Christopher for several years, Will Lyne says: “We work closely with a range of highly skilled craftsmen including blacksmiths, gilders, fabricators and upholsterers. Everything is truly bespoke, and every detail can be personalised. As true furniture makers, we do not make individual cabinets that simply adjoin alongside each other. We manufacture runs of cabinetry, so as not to have

108 THE ENGLISH HOME

the vertical adjoining lines on the face frame between each unit, and this creates a beautiful seamless finish.”

Whilst the showroom in the centre of Leamington Spa is home to key examples of the brand’s designs, produced at its period barn studio and workshop some 20 minutes north, Will is keen to emphasise that these pieces serve as an illustrative reference point for those seeking a uniquely tailored product. From here, the design process begins by gaining a thorough understanding of the client, what they are seeking to achieve and their home, followed by a commitment to seeing the project through from start to finish. “We will regularly work alongside our clients for one to two years whilst they go through the planning phase with their architect,” says Will. “We offer ongoing support – service plans and drawings made available are par for the course with any building work being carried out, for example, so that everything is exact when we arrive to carry out the fitting – and a perfectionist attention to detail for each and every project.”

In addition to making and fitting the cabinetry to the client’s specifications, Christopher Peters supplies kitchen appliances.

“We have a beautiful Aga on display in our showroom,” says Will, “and regularly supply and install Gaggenau, Miele, Sub-Zero and Wolf amongst others.” Other areas of the home, too, have seen the team incorporate items from trusted suppliers, including stone and timber flooring, the latter sourced from managed forests. “We never trade in new rainforest timber,” says Will.

The future sees plans for Christopher Peters to open further showrooms, expand with more members of staff on the workshop floor and fitting teams, and, as Will proudly emphasises, “to continue to uphold our highest levels of service and quality.” n

PHOTOGRAPHS P109 (TOP AND FAR LEFT BOTTOM) © LAURA RUPOLO

With beginnings rooted in the antiques business, today the classic forms of Christopher Peters kitchens and cabinetry marry modern lifestyles with timeless design

ABOVE This open-plan kitchen includes a large island with and induction hob and surface extractor.

The backdrop includes the sink and boiling tap, along with the coffee machine concealed in one of the tall surface cupboards.

Large kitchens from £40,000 FAR LEFT, TOP Freestanding glassfronted period display dresser/drinks cabinet with a distressed, hand-painted finish.

FAR LEFT, BOTTOM Large stained-oak dresser with silverware storage within the top drawer.

Freestanding furniture from £4,000 LEFT A traditional Shaker kitchen, designed to retain the light and airy feeling of the space.

Compact kitchens from £30,000 OPPOSITE PAGE, LEFT TO RIGHT All cabinetry is created by the team on-site at at the period barn studio and workshop.

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110 THE ENGLISH HOME

An ideal present that will last forever. Hand painted and crafted in Devon, these delightful wooden side-tables are fun pieces of furniture to rest your drinks etc on. Standing 38’’ high, their sturdy trays are 25’’ above ground, an ideal height to place your favourite tipple when resting on your sofa after a hard day eventing.

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QUINTESSENTIALLY

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

A BREATH OF FRESH AIR

FEATURE KATY MCLEAN PHOTOGRAPH © IMAGEBROKER/ALAMY

Our island nation is blessed with thousands of miles of coastline to enjoy. From charming seaside towns to rugged clifftops and sandy dunes, there is a plethora of ways to find some fresh sea air to blow away the cobwebs. Wales was the first country in the world to have a dedicated footpath to follow its 870 miles of coast. England’s full coastal path is underway, linking over 2,800 miles of beautiful trails by the sea, with similar aspirations in Scotland too, in discussion. So escape the madding crowd and seek the expansive vistas of endless sea, sand and rocky cliffs for a restorative hike, rejoicing in the beauty we are so lucky to have surrounding us.

Dune landscape at Balnakeil, Durness, Scotland

THE ENGLISH HOME 111

FROM PATCH TO PLATE Passionate about growing and cooking seasonal produce at his Cotswolds home, the renowned food writer and critic tells of his passion for the home-grown tomato

S

ummer is beginning to shade into autumn. I know because I’ve started picking my tomatoes.

In some ways, tomatoes are the quintessential summer vegetable (although technically a fruit), but when it comes to growing them, given our weather, I’ve had to accept that they signal summer’s last post rather than summer’s charge. So what?

When they come, they come in glory and in indisputable variety. Is there another vegetable (or fruit) with the diversity of the tomato? I think not; not even the onion.

Tomatoes are delicious raw, delicious cooked, delicious cold, delicious hot.

Delicious whole or in parts. Delicious sliced and dressed with shredded basil, olive oil and salt. Delicious in multi-layered salads. Delicious full and round, softened with heat and then piled on toast or added to pasta. Delicious stuffed with chopped up leftovers or cooked to a pulp.

When I was growing up, tomatoes seemed symbolic of the English summer to me, part of that tapestry of golden days, the scent of lavender and lime trees, hazy sunlight, cool ice creams and water ices, cold chicken and potato salads and tomato and cheese sandwiches or tomato and cucumber sandwiches. Tomatoes were as English as English could be.

In those dreamy days, all tomatoes were round and the red of a guardsman’s tunic.

Of course, now I know they come in many other shades and shapes, and aren’t British in origin at all, but come from the Americas – along with potatoes, chillies, turkeys, tobacco, chocolate and corn, which all arrived on

these shores in the fifteenth century (it makes you wonder what we ate before then; our forebears’ diets must have been pretty boring).

Tomatoes got to this country relatively late, in the 1590s, and even then were treated with some suspicion by, amongst others, the botanist John Gerard, who mentioned them in his Herball, published in 1595, and claimed they were poisonous.

It wasn’t until the eighteenth century that tomatoes began to take their place amongst the pantheon of vegetable essentials. In 1758, in one of the first English recipes using tomatoes, cookery writer Hannah Glasse advised dressing haddock with tomatoes – she called them ‘love apples’ – ‘in the Spanish way’.

It was those inventive, ingenious and energetic Victorians, with their passion for greenhouses, who put mind and muscle behind expanding tomato production, building vast greenhouses along the south coast of England. Worthing and the Isle of Wight were both noted for their tomatoes.

Although things have improved in recent years, I can’t honestly recommend any supermarkets for their tomatoes, no matter what the variety or on the vine or off.

They always seem to me to a bit short in the flavour department compared to my own (and not just because they’re my own).

As every tomato grower knows, different tomatoes have different thicknesses of skin, ratio of flesh to seeded pulp, levels of sweetness and acidity, and so on. And not every tomato is good for every kind of treatment. A tomato that is good for salads, may disintegrate into a watery pulp when fried.

Amongst my favourites this year are Sungold (for popping in the mouth like a sweet); Red Zebra (a striped number that looks and tastes very good in salads);

CLEAR TOMATO SOUP (from Kitchen Essays (1922) by Lady Jekyll; reprint by Persephone Books) INGREDIENTS 1lb [approximately 450g] tomatoes stock cream croutons

METHOD • Cut in slices 1lb of fresh tomatoes and put into enough wellflavoured clear stock for, say, six people.

• Simmer gently for one hour, strain through a clear cloth,reboil.

• Serve with fried croutons, about two-shilling-piece size, piled with stiffly whipped cream, one to each person on a separate plate.

• The cream softens the acidity of the tomato and greatly improves the flavour.

Bloody Butcher (salads and sauces), Gardener’s Delight, (quintessential English red cherry); and Noire de Crimée (for an exotic touch; originally from the Crimea; booming, meaty flavour). n 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.

PHOTOGRAPHS P112 (PORTRAIT) GRANT SCOTT. P113 IAN WALLACE/STOCKPHOTO ILLUSTRATIONS DIVIART/SHUTTERSTOCK

GREEN TOMATO CHUTNEY This is perfect for the tomatoes that won’t, don’t, can’t ripen...

Makes approximately 2kg chutney

INGREDIENTS 1.5kg green tomatoes 250g apples 2 medium onions 150g sultanas

1kg demerara sugar 2 tsp salt 750g cider vinegar a quantity of jars, sterilised

METHOD • Chop the tomatoes. Peel, core and chop the apples.

Peel and chop the onions.

• Put them all into a pan, plus the salt, vinegar and sugar.

Bring to the boil gradually.

• Simmer gently until the desired pulpy quality is

reached, about one to one-and-a-half hours.

• Add the sultanas.

• Rinse out the jars with boiling water and fill with chutney.

• Store in a cool place and leave undisturbed for at least a month.

THE ENGLISH HOME 113

Heritage

TO TREASURE As society-wide restrictions begin to ease, a number of Britain’s key heritage properties are emerging into a new landscape after a period of shutdown.

Here we look at their keepers’ renewed focus on ways to preserve these much-cherished sites

W

hilst we have all missed regular visits to country houses, and their tea rooms, they have missed us, too. Most of them rely on entrance fees for maintenance and staff costs, so the pandemic has been devastating, and it is not just the small trusts, galleries and museums that have been suffered. “It was tough having to close everything down,” says spokesperson Allan King from the National Trust, “but it’s even harder to reopen because of the safety issues around staff, visitors and volunteers.” Where some have held art

114 THE ENGLISH HOME

auctions, Crowdfunder events, paid-for lectures and virtual tours, others have appealed to benefactors both at home and abroad.

The good news is that there are a number of ways to help: becoming a member, a friend, buying a season ticket or making a donation, all are a means to invest in the nation’s heritage. Many of the locations have glorious gardens where restricted visits are now becoming a possibility, so autumn looks set to promise some wonderful outdoor experiences.

Though it is challenging to select any one property

ABOVE With spectacular views over Strangford Lough, Grey Abbey House in County Down, Northern Ireland enjoys a temperate climate that supports a wealth of flora and fauna. The estate also owns three islands on the lough.

England

CHARLESTON FARMHOUSE The pandemic has been financially devastating for Charleston in East Sussex, the country home of the Bloomsbury Group, as it relies entirely on visitors to the house and the Charleston Festival for its income. “The government’s directive is only half the picture and we still face months of closure,” says Jennifer Grindley of The Charleston Trust.

Charleston Festival went ahead digitally and, free to watch, reached 16,000 people, many of whom who donated to the Emergency Appeal that has been set up. In June, the property’s auction of works by 143 artists raised an impressive £55,135.

Brighton-based artist Emily Maude, who hosted the auction, says: “The love for Charleston and the desire to give back to somewhere that has inspired so many is heartwarming... I have been introduced to new artists, who in turn have sold works and found new audiences... you have given such hope in these times.” Visit for painted furniture and art on every surface. charleston.org.uk

TOP A plaster bust of author Virginia Woolf by sculptor Stephen Tomlin, created in 1931 at Charleston.

ABOVE The exterior of the historic farmhouse.

RIGHT Clive Bell’s study at Charleston with trademark Bloomsbury fabric, painted furniture and ceramics.

LEFT The library at Stokesay Court featured in the film Atonement with Keira Knightley and James McAvoy. It is hoped that more films could be made at the property one day.

A house the size of Stokesay Court always has a to-do list, and it being a private family home means balancing safety issues for both residents and visitors.

STOKESAY COURT This privately owned and lived-in family home in Shropshire relies on tours and events to maintain it. When reopening, the new social distancing rules will require more staff and extra costs. “Whilst it is a nice idea to take the time to catch up on jobs and renovations, we have to balance the opportunity against the lack of income from opening to pay for such works,” says Alasdair Crawford, who runs the property.

The team have used the time to tackle a backlog of jobs in the gardens since “they do not need to be so crisply presented every single week for visitors”.

Visit for the library and other rooms where key scenes for the film Atonement were shot. “The ideal would be another major feature film to be set in the house,” says Crawford. stokesaycourt.com THE ENGLISH HOME 115

FARLEY’S HOUSE AND GALLERY Life in lockdown was surreal at the house of the Surrealists. The Sussex home of photographer and war reporter Lee Miller and her husband, the painter Roland Penrose, was in the past visited by Picasso, Max Ernst, Man Ray and Henry Moore, and all left their mark, often in the form of great art and original photographs. As a family-run house, the property receives no grants, and for the first time in 40 years, has made an appeal to the public to save the priceless archives. The property relies on the sale of rights in the UK and abroad – where it has previously run touring exhibitions. “The recognition of us from the public on Crowdfunder has proven our worth to those who turned us away,” says Lee Miller’s granddaughter, Ami Bouhassane. Visit for an insight into Surrealism and twentieth-century modern art. crowdfunder.co.uk/farleyshouseandgallery

RED HOUSE Described by Pre-Raphaelite artist Edward Burne-Jones as “the beautifullest place on earth”, Red House in Bexleyheath, Greater London, is the only property commissioned, created and lived in by William Morris, founder of the Arts and Crafts movement. Designed along the principles of ‘beauty in utility’, it celebrates artisan craftsmanship in contrast to the mechanisation of the time.

During lockdown, staff focused on social media, sharing the property’s heritage with supporters and potential visitors. As a small house, social distancing cannot be easily maintained, so its reopening is postponed. The team had hoped to recreate part of the garden – outlined in the original plans as “designed to clothe the house’’ – with wattle-fenced ‘rooms’ for secluded relaxation, but have run out of funds. Visit for Philip Webb designs and Pre-Raphaelite paintings. nationaltrust.org.uk/red-house

ABOVE Farley’s House is full of surprises, such as the Orator’s Chair from Papua New Guinea. This beautiful old Sussex barn is found down Muddles Lane near Chiddingly, in East Sussex.

ABOVE RIGHT The facade of Farley’s.

BELOW LEFT Reception room at Red House, home of William and Jane Morris. The rooms give a unique view of their domestic life and the social significance of their work.

RIGHT A view of Red House with the wisteria in full bloom.

Scotland THE HILL HOUSE Commissioned by Glasgow publisher Walter Blackie, Charles Rennie Mackintosh and his wife, Margaret, designed almost everything here, from the building itself to the furniture and textiles.

Considered a masterpiece when it was built in the early 1900s, over a century of the west of Scotland’s harsh, wet weather conditions has battered this revolutionary design, and the pandemic has meant no visitor revenue for the conservation programme that began last year. “If we don’t act soon, the house will be irreparably damaged and we’ll lose its iconic architecture and unique interiors,” says National Trust for Scotland.

Once completed, the work will allow access to the house and to views that have not been seen before, even by Mackintosh, due to walkways around and over the house. Visit for a mix of Arts and Crafts, art nouveau, Scottish Baronial styles. nts.org.uk/visit/places/the-hill-house

ABOVE The dark pine hallway of The Hill House, featuring the squares and rectangles typical of Charles Rennie Mackintosh’s designs. The genius of his wife, Margaret Macdonald is also pervasive. “Margaret is more than half – she is three-quarters – of all I’ve done,” the architect said of his spouse.

RIGHT Colour is used sparingly but to great effect in the furniture, seen here with Margaret’s rose design.

TRAQUAIR HOUSE Scotland’s oldest inhabited house, in Peeblesshire, was originally a royal hunting lodge that hosted Mary Queen of Scots, and 26 other monarchs. It has been lived in by the Stuart family since 1491 and is making a staged return by reopening with timed appointments. The grounds include a maze which has been used as a location for Bollywood films and is said to rival that at Hampton Court.

Free virtual tours during lockdown and activity on social media kept the property on the public’s radar. It also offers overnight accommodation to help pay for upkeep. “We can’t afford to extend our opening beyond the end of October, as heating costs are too high,” says Catherine Maxwell Stuart, 21st Lady of Traquair.

However, plans to provide a small wedding venue are afoot, as there is a chapel in the grounds – and there is a brewery, too. Visit for a history lesson on kings and queens and to stay in one of its stately rooms. traquair.co.uk  ABOVE LEFT Traquair House, Scotland’s oldest inhabited house, and its grounds.

LEFT The King’s Room, where kings and queens of Scotland stayed when they visited.

THE ENGLISH HOME 117

MOUNT STEWART This neoclassical mansion, built in the mid-1830s, in County Down, has gardens of worldwide renown. The Arts and Crafts-style planting here was created in the early twentieth century by Edith, Lady Londonderry, wife of the 7th Marquess.

The stable block, farmyards and walled garden are architectural gems in their own right, and the property is surrounded by woodland (with red squirrels) and orchards. The eighteenth-century Temple of the Winds, built as a banqueting hall in 1782–5, is identical in design to the ancient Tower of the Winds in Athens.

Mount Stewart has always been a magnet to visitors, but without the public returning, its future is fragile. Visit for the domed staircase hall, the music room and folly. nationaltrust.org/mount-stewart TOP RIGHT & LEFT The imposing West Stairs and hall at Mount Stewart. The hall features black and white stone floor and tapestry-lined walls.

RIGHT The Italian garden, part of extensive, world-renowned planting created by Edith, Lady Londonderry in the early 1900s.

GREY ABBEY HOUSE Overlooking Strangford Lough on the Ards Peninsula, County Down, Grey Abbey House is named after the twelfth-century Cistercian Abbey ruins in the grounds.

This private home, owned by the Montgomery family since 1607, used family reserves to survive during the lockdown and retained a gardener to ensure the grounds could be opened as lockdown eased – horticultural groups are set to arrive in autumn to see the southern hemisphere planting.

Its popularity as a film location – The Woman in White, My Mother and Other Strangers, Mrs Wilson – may help again in the future. “We very much hope for more filming and TV programmes, as these are wonderful fundraisers for the house and estate,” says a spokesperson for the Montgomery family. Visit for the Gothic windows in the drawing room and the cantilevered staircase in the main hall. greyabbeyhouse.com FAR LEFT The Gothic windows in the drawing room at Grey Abbey House in County Down.

LEFT The cantilevered dividing staircase in the main hall dates from 1790.

118 THE ENGLISH HOME

FEATURE KITTY CORRIGAN PHOTOGRAPHS P115 (CHARLESTON) ALL © PENELOPE FEWSTER/CHARLESTON TRUST. P116 (FARLEY’S HOUSE) ALL BY TONY TREE © LEE MILLER ARCHIVES, ENGLAND 2020.

ALL RIGHTS RESERVED. LEEMILLER.CO.UK; (RED HOUSE – INTERIOR) © NATIONAL TRUST IMAGES/ANDREAS VON EINSIEDEL; (RED HOUSE – EXTERIOR) © NATIONAL TRUST IMAGES/ORBERT SMITH. P118 (MOUNT STEWART – INTERIORS) © NATIONAL TRUST IMAGES/ANDREAS VON EINSIEDEL; (MOUNT STEWART – GARDEN) © NATIONAL TRUST IMAGES/CHRIS LACEY. P119 (LLANERCHAERON – INTERIOR) © NATIONAL TRUST IMAGES/ANDREAS VON EINSIEDEL; (EXTERIOR) © NATIONAL TRUST IMAGES/JAMES DOBSON; (PICTON CASTLE) © BELINDA BEAN

Northern Ireland

Heritage heroes

Wales

As well as the National Trust, bodies and independent organisations work tirelessly to help preserve national culture. Though only a small, and by no means exhaustive, selection, here are some of the best-known.

PICTON CASTLE This medieval castle with a Georgian wing in Pembrokeshire was inhabited until 30 years ago, has always been owned by important Welsh families, and normally welcomes 30,000 visitors a year. It consists of four symmetrically placed, half-round towers and a gatehouse flanked by two narrower towers, a style unique in the UK. A successful Crowdfunder appeal was launched during lockdown and a discount is being offered on tickets bought in advance. The Welsh Owl Garden is now operating a one-way system, and there are special offers on the two self-catering cottages. In the diary are fairs, plant sales, dog shows and photography courses to generate income.

Visit for the the white-and-gold drawing room and the eighteenth-century walled gardens with exotic, Mediterranean and native plants providing year-round interest. pictoncastle.co.uk ABOVE RIGHT The Great Hall at Picton Castle, a fully developed medieval castle built in 1280 that was transformed into a stately home in the eighteenth century.

BELOW The Inner Hall at Llanerchaeron.

BELOW RIGHT The John Nash building is set in the wooded Aeron valley and has walled gardens and a lake.

ENGLISH HERITAGE Charity responsible for managing more than 400 historic monuments, buildings and places, including Queen Victoria’s private family home, Osborne House, on the Isle of Wight.

Tel 0370 333 1181 english-heritage.org.uk HISTORIC ROYAL PALACES Independent charity that manages some of the United Kingdom’s unoccupied royal palaces, including the Tower of London and Hampton Court Palace.

Tel 020 3166 6327 hrp.org.uk

LLANERCHAERON This family home on the site of a medieval village in Carmarthenshire is an insight into the career of architect John Nash before he conceived the Brighton Pavilion, Regent Street in London and Buckingham Palace for George IV. The Palladian-style Georgian villa, completed in 1795, is deceptively simple – a two-storey box of stucco and slate – and is positioned to maximise views of the landscape. The service courtyard contains a dairy, scullery, cheese press room and store, bakehouse, smokehouse, salting room, brewhouse and the dry laundry room: a testament to the volume of work in a country house.

As with all National Trust houses, the best way to help is to become a member.

Visit for elegant symmetry of the rooms, plasterwork friezes and the walled gardens. nationaltrust.org.uk/llanerchaeron

TREASURE HOUSES OF ENGLAND Heritage consortium encompassing a collection of 10 of the greatest houses in England, including Blenheim Palace and Castle Howard. treasurehouses.co.uk THE LANDMARK TRUST Building conservation charity that rescues properties and makes them available for holiday rental.

Tel 01628 825925 landmarktrust.org.uk VICTORIAN SOCIETY Charity founded by poet laureate John Betjeman to protect Victorian and Edwardian buildings in England and Wales.

Tel 020 8994 1019 victoriansociety.org.uk THE GEORGIAN GROUP English and Welsh conservation organisation created to campaign for the preservation of historic buildings and landscapes.

Tel 020 7529 8920 georgiangroup.org.uk THE LUTYENS TRUST Charity dedicated to preserving the work of architect Edwin Lutyens, including Knebworth House and Lindisfarne Castle amongst others.

Tel 01306 730487 lutyenstrust.org.uk

THE WILLIAM MORRIS SOCIETY Society highlighting the work of Victorian design stalwart William Morris, with a museum and office in his London home, Kelmscott House.

Tel 020 8741 3735 williammorrissociety.org

THE ENGLISH HOME 119

e A FEAST Raising home-grown produce is hugely rewarding and a delicious way to nourish family and friends

T

ending fruit and vegetables from seed to plate is a life-affirming experience. Positive, creative and indicative of the changing seasons, it is a satisfying journey where even the most modest of plantings can result in a delicious harvest ideal for sharing with loved ones, friends and neighbours. A chance to try out culinary favourites, be seduced by unusual, decorative crops or to make new, tasty discoveries, there are endless opportunities to get growing.

GETTING STARTED “My advice would be to grow what you like to eat,” says Rob Smith, product development manager for Suttons. “If you are a fiend for fruit, make space for a dwarf fruit tree and a few containers with berries; or if you prefer carrots and parsnips, make sure to remove the stones from your new vegetable bed.”

Think carefully about the space available and the desired overall effect. A neatly organised vegetable patch with carefully labelled rows may be ideal for some, but there are highly productive and arguably more attractive alternatives to consider. Ornamental crops such as curly kale, chives and globe artichokes look enchanting weaving through established flower beds, whilst wigwams of climbing peas and beans add dramatic vertical structure. Andrew Downey, managing director of Agriframes says: “Enjoy creating a beautiful, as well as productive, space by investing in a few attractive and practical structures – a stylish crop cage in a soft colour finish and a few statement plant supports help create the traditional kitchen garden feel.”

A well-staged group of containers can also provide the perfect spot for growing produce – a barrel of mini potatoes requires little upkeep, whilst pot-grown courgettes will happily romp down steps if fed and watered regularly. Hanging baskets can house strawberries and tumbling tomatoes, with flowers and fruits cascading down to beautiful effect.

When planning beds, location and size are of prime importance.

A sunny or part-shady spot is a must. Also consider the view from the house. Is it important to see this new area from indoors or is  120 THE ENGLISH HOME

ABOVE Plant mint next to carrot crops, as its pungent scent keeps arr t a a RIGHT Neat and orderly vegetable beds, like these at Easton Walled Gardens in Lincolnshire, are pleasing t t ee e

TOP This traditional greenhouse design s rts a r n e finis and nestles neatl into its kitchen garden setting.

Victorian Lodge, £POA, Hartley Botanic LEFT n t e uiet satis a ti n usin ta tile and sturd essentials Garden Twine, £15; Garden Tools, from a selection, all The White Company

ABOVE Protecting crops with a uris t is ada ta le ruit a e in al anised steel eatures de rati e s iral rner finials Elegance Crop Cage, from £83, Agriframes

THE ENGLISH HOME 121

it preferable to have it hidden away? Much can be done to screen-off the area – formal or native hedging and hand-crafted hazel hurdles are all possibilities – but these hard-working patches can be decorative too.

Many crops can be packed into little space. Pioneer of the ‘no-dig’ approach Charles Dowding says: “Small is beautiful. One bed of, say, 1.2 metres by 2.4 metres can crop 30kg of vegetables in a year when intensively planted. You can quite quickly repay the cost of compost to fill it, whilst having fun planting and picking four such beds. It would be great for a family.”

A PLACE TO GROW No crop-producing garden should be without a shed or greenhouse, or both. As well as iconic, these structures provide a cosy workspace and retreat. “A potting shed should be both practical and beautiful,” suggests Malvern Garden Buildings’ gardener-in-residence Sallie Preece. “Plenty of shelving for all your gardening paraphernalia is a must, as is a sturdy bench at just the right height to pot and potter. A good-sized window to let the light in and to germinate seeds is essential, and always go bigger than you think so there’s room for a chair.”

A garden staple since the 1700s, English glasshouses remain highly prized today. With a vast array of designs to choose from, always take advice before buying. Tom Barry, managing director of Hartley Botanic, says: “Positioning and orientation is an important consideration. A glasshouse needs access to as much sunlight as possible, to be in proximity to electricity (if utilising), a water supply and be on fertile soil for growing beds.”

Tom Hall, owner of Alitex, says: “Firstly, consider what you want to grow. Then look at your space and consider what size you need and could accommodate. Lastly, think about the ventilation, irrigation and heating.”

A HELPING HAND Little-and-often is the best approach to growing your own, sowing a small amount of seeds regularly, say every two weeks, will provide a continuous crop, but there are other ways to lessen the effort.

Raised beds are simple to construct, reduce relentless bending, organise crops and provide additional soil depth for planting.

Made from timber and filled with compost, they create an orderly appearance with straight paths running in between.

Alternatively, try the ‘no-dig’ approach where a layer of compost, and sometimes cardboard, is spread over the planting area to suppress weeds and preserve the existing ground structure.

Pioneer of this method Charles Dowding explains: “No-dig gives the possibility of thoroughly clearing weeds and enjoying more time to grow your chosen plants. It can work with even a little compost spread on top, then you are ready to sow and plant.”  122 THE ENGLISH HOME

ABOVE Strolling down the garden path, a trug in the crook of the arm, to collect home-grown bounty is a truly satisfying time to savour.

ABOVE RIGHT Ideal for small to medium spaces, this greenhouse provides a versatile growing space.

The Mottisfont Greenhouse, part of the National Trust collection, from £15,950, Alitex RIGHT These appealing glass bell jars will help fruit to ripen and protect plants from frost.

Small Victorian Glass Bell Jar, £14.99, Agriframes

LEFT Opt for chic and practical raised beds such as these in in alu e steel and finis ed in Paperbark or Sage Green.

Original Veggie Bed, from £79.99, Suttons RIGHT Slate tags offer the opportunity to label up favourite vegetables and herbs and change with the seasons.

Greenhouse Tags with chalk, £8 (set of six), Garden Trading FAR RIGHT Growing the household’s favourite things to eat, including potatoes, guards against gluts of produce and guarantees appreciation from grateful diners.

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National Trust collection fork and spade, £34.99 each, Burgon & Ball 2. Based on an original Victorian design, this larden line will ensure everything is perfectly aligned.

Garden Line in Cast Iron, £19.99, Nutscene

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3. Protect tender plants with these durable and decorative cloches.

Lantern cloche with lid, from £47.99, Crocus 4. Ideal for crop harvesting, this basket is handmade in Britain from sweet chestnut and larch using time-honoured techniques.

Garden basket, £75, Claudia Yong Designs

4

5. Ensure plants thrive by watering daily in the early morning or late evening. Five-litre Watering Can, £35, Daylesford 6. Store home-grown produce neatly tucked away on wellventilated shelves.

Three-Drawer Vegetable Rack, £145, Co

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Hand-turned finials and a generous entrance porch give this glasshouse classic charm.

RHS Portico Greenhouse, £POA, Gabriel Ash

WHAT TO GROW THIS MONTH Chard ‘Bright Yellow’ AGM

For more details about the ‘no-dig’ method, read his forthcoming book, Charles Dowding’s No Dig Gardening: Course 1, due to be published later this autumn.

Certain plant combinations also help reduce labour and keep pests at bay. Known as ‘companion planting’, this uses the qualities of each plant to repel pests partial to neighbouring crops.

Strongly scented plants such as French marigolds draw harmful insects from runner beans, whilst dill’s aroma attracts wasps that stop cabbage white caterpillars from destroying it. Other fruitful partnerships include radishes planted alongside spinach to distract burrowing leaf miners; pungent mint alongside carrots to combat carrot fly; and tall plants such as sweetcorn or peas to provide beneficial shade for lettuce and coriander. The book Great Garden Companions by Sally Jean Cunningham is an invaluable guide, whilst Thompson & Morgan’s website thompson-morgan.com includes a handy online reference chart.

ABOVE Blueberries are easy to grow. Plant in acidic soil and feed and water regularly.

Blueberries, £11.20 for threelitre pot, Blackmoor Nursery

EASY CROPPING There are many reliable varieties of fruit and vegetables that will yield plentiful crops and, even with autumn drawing nearer, there is still time. “Sow spring onions – these will be ready to eat before the frosts get going,” says top gardener and keen cook Sarah Raven. “Do a last outside sowing of radish – you should be eating these in four to five weeks.”

September is also a good time to plant for next year. “Even though winter lies ahead, lettuces, turnips for leaves and spinach sown now will be ready in April,” RHS chief horticulturist Guy Barter explains.

Freshly picked fruit cannot be rivalled for flavour. Jon Munday, nursery manager at Blackmoor Nursery, shares a few favourites.

“Blueberries are the healthiest fruit you could eat and are ideal for growing in a container. Figs need warmth and sun and so are best

grown as fan-trained trees against south or south-west facing walls or fences. Choose a well-sheltered spot and plant 25cm (10in) away from the wall to avoid it being in a rain shadow.”

Soft fruit such as raspberries and strawberries are rewarding too, but Jon Munday also suggests loganberries. “A cross between a raspberry and a blackberry, this dark red fruit is juicier and sharper and ideal for jams and summer puddings.”

Herbs are well worth growing, and Catherine Wallsgrove, co-owner of Pepperpot Herbs, has this advice: “I’d recommend starting with some hardy, evergreen perennials to provide all-year-round fragrance, foliage and flavour such as thyme, rosemary and sage. Add in oregano, chives and mint – these die off, but pop up again in spring – and supplement with fastergrowing annuals each year.” n

124 THE ENGLISH HOME

Chard ‘Charlotte’ AGM Kale ‘Cavolo Nero’

Kale ‘Ragged Jack’ Lettuce ‘Can Can’ Mizuna ‘Marshall’

Mustard ‘Red Lace’

Mustard ‘Green Frills’

Salad Rocket ‘Dentallata’ Spinach ‘Perpetual’

Broad Bean ‘Superaguadulce’ PLANT OUT:

Strawberry plants Onion sets

FEATURE JILL MORGAN PHOTOGRAPHS P120 (CARROTTS) TIM GAINEY/ALAMY; (VEG PLOT) © PHOTIMAGEON/ALAMY. P122 (SUTTONS) LEE BEEL PHOTOGRAPHY; (VEG BASKET) © GKSFLORAPICS/ALAMY. P123 (POTATOES) © TIM GAINEY/ALAMY; (GREENHOUSE) © ALITEX; © NATIONAL TRUST/KINGSTON LACY; P124 (BURGON & BALL) © MARK BOLTON; (CROCUS) © JULIA LEAKEY; (COX & COX) © JAMES KING

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THE ENGLISH HOME 125

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Esteemed interior designer and antiques dealer Christopher Hodsoll on the foremost Regency architect Sir John Soane

130 THE ENGLISH HOME

ABOVE Christopher Hodsoll’s dining room features four symmetrical bookcases featuring inset mirrored panels inspired by those in the Breakfast Room at Sir John Soane’s Museum.

ABOVE RIGHT Soane’s Breakfast Room features a canopy-domed ceiling and the bookcases with inset mirrored panels which inspired Hodsoll.

RIGHT The Monk’s Parlour at the museum shows what an avid collector of precious plaster busts, sculptures and casts Soane was.

BELOW Hodsoll has painted the walls of the entrance hall at his London flat a dramatic red to create a background for his collection of antique plaster mouldings and busts, as a tribute to the plaster cast displays at Sir John Soane’s Museum.

ABOVE Sir John Soane (1753-1837) was one of the foremost architects of the Regency era and a collector.

His St Lincoln’s Fields house is now Sir John Soane’s Museum.

FEATURE JUDITH WILSON PHOTOGRAPHS (PORTRAIT) © SARAH HODSOLL; (DINING ROOM) © JAMES MORTIMER; (BREAKFAST ROOM) © GARETH GARDNER/SOANE MUSEUM; (THE MONKS PARLOUR) © MARTIN CHARLES/ SOANE MUSEUM; (HALLWAY) © JAMES MORTIMER; (JOHN SOANE) © PORTRAIT OF SIR JOHN SOANE, 1828-9, OIL ON CANVAS, SIR THOMAS LAWRENCE PRA (1769-1830)

“I

was a teenager when I first visited Sir John Soane’s home [opened as a museum in 1837 to keep Soane’s collections intact].

I was expecting an eighteenth-century house, so I was astonished by its incredibly modern facade. Soane designed the property with purity of design. Its clean bones contrasted with the extraordinary layered collections clustered within.

He was a polymath and a heroic collector – everything from classical antiquities to art by Hogarth, Canaletto and Piranesi.

I was, and still am, amazed by the originality of his crazy picture-hanging in The Picture Room; so many important works crammed together. His arrangements must have been a first for his generation.

When I decorated my London flat, I created a decorative homage to Soane, with red-painted walls and my burgeoning collection of plaster casts and sculptures.

My dining room features four bookcases, inspired by those in Soane’s Breakfast Room. I love mirrors in a room, as he did; the reflections add a sense of mystery. I’m also an admirer of his bold sense of scale: he would always use the largest piece of furniture possible in an interior. Many people are afraid of scaling up, but in my dining room, I took the chimneybreast mirror to its full width, just as Soane did, and I devised new cornicework, using the top third of a tennis ball as a mould to create a clean silhouette, in keeping with Soane’s pure architecture.

In a final homage to my hero, Lulu Lytle and I launched furnishings brand Soane Britain, now globally renowned for its British craftsmanship. Soane was the greatest architect of his era – he even designed the Bank of England – and if you can’t better him, why not follow?” n

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