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BEAUTIFUL DECORATING GARDEN ANTIQUES RENOVATION & OLD HOMES & SHOPPING INSPIRATION & VINTAGE MAINTENANCE BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

homes

From a Georgian townhouse to an Edwardian coastal gem

OCTOBER 2021

Autumn

garden Add year-round interest with lush evergreens

BEAUTIFUL CURTAINS FOR EVERY ROOM EXPERT GUIDE TO BUYING AN ANTIQUE MIRROR

COSY IDEAS THE BEST STOVES CLASSIC RADIATORS RECLAIMED FIREPLACES COMFY ARMCHAIRS

Heritage revival

Decorate with archive prints updated for a timeless look

Editor’s Letter

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utumn will soon be upon us, and though I intend to make the most of these late summer days, I do relish the changing of the seasons. I can’t wait to take a walk in the country, when the leaves are turning red and gold; to get the blankets out of storage and light the stove for the first time in months, so I can curl up on the sofa with a good book. This issue offers plenty of inspiration for turning your home into a cosy sanctuary in preparation for colder days ahead. In particular we look at some of the best heating options for a period home, including a guide to buying a new stove (page 107), and how the latest regulations might affect you. The right stove not only makes a welcoming focal point to a room, but is a highly efficient way to keep warm, so it’s definitely worth considering an upgrade.

After spending so much time outdoors in summer, I can turn into a homebody in autumn, rediscovering hobbies such as baking and crafting. I call on techniques that have been passed down through the generations, and that brings all sorts of nostalgic feelings to the surface – about what home means to me, and memories of being with my family. It makes me crave the old and the familiar, so this month I really enjoyed our History Repeating decorating feature (page 22), which celebrates heritage-inspired wallpapers that will help you to reflect back, from faithfully reproduced archive prints to fresh takes on original designs that are perfect for period homes.

Elsewhere this issue, we look at how to extend garden interest into autumn and winter with evergreens (page 133). These versatile plants form an essential backdrop to flowers in spring and summer, but in the colder months they truly come into their own, giving life and structure to a scheme that would otherwise be bare and bleak. Explore the potential of foliage beyond the many shades of green, from warm reds and golds to cool greys and silvers, or even variegated leaves, to make a beautiful feature.

Finally, if you want to keep the memory of summer going through the coming seasons, then subscribe to Period Living this month to receive a free English Country Garden mug from Sophie Allport, worth £12.50 (page 50). I do hope you enjoy the issue.

Melanie Griffiths Editor, Period Living

Period Living 3

Decorating & shopping

Homes

Features

13 Journal 40 Reflecting 32 Made in Britain Collectors’ hoard We round up the latest interiors a passion for history We visit woodworker Ambrose offerings, news and exhibitions and art, the Reillys’ home is as Vevers at his Devon workshop welcoming as it is interesting 21 Armchair 38 PL’s shopping bed collection 53 Crafting colour Refresh your living room Discover the story behind Period Living’s collaboration with with the latest designs From gloomy Edwardian house into a light and bright home – Wrought Iron & Brass Bed Co 22 Heritage wallpapers this seaside property is filled 85 Antiques journal Celebrate beautiful designs with colour and creativity from across the centuries See the latest antiques trends 64 Transforming Light and space and hear collectors’ stories three barns into 88 Antique mirrors the perfect family home was no mean feat for Sophie Head Marc Allum reflects on the history of these key pieces 76 Lush Paradise regained foliage and tropical blooms 143 Writers’ retreats inspired Sofia Gestblom’s Visit the spaces that inspired our 88 Swedish townhouse design nation’s greatest storytellers 149 Recipes Delight your sweet tooth with 53 these tempting Italian treats 149

Cover

Photograph Anne Nyblaeus /A Design Features

133

124 Advice & inspiration

Gardens

Regulars

93 House 129 Garden 11 Your journal journal journal New products and expert advice The latest products and We share our readers’ letters for improving a period home horticultural tips and photographs 98 Ideas 133 Garden 44 Subscription for curtains advice offer Dress your windows to impress Ensure your garden has Get a free Sophie Allport English with the latest designs year-round interest with Country Garden mug, worth enchanting evergreens £12.50, when you subscribe 107 Guide to stoves 50 Create a warm and cosy home 138 Lasting presence this autumn with a new model Isabelle Palmer shows you how to create a beautiful container 113 Competition garden for the colder seasons Win a Contura wood-burning stove worth £1,995 114 Radiators Discover the best designs to suit your home and buying advice 116 Project journal Be inspired by these stunning 98 home renovations 121 Health check Expert Roger Hunt advises on caring for rainwater goods 124 Design details Conservation expert Lee Bilson explores the fascinating design evolution of ironmongery

8 Period Living

93

Readers’ letters, projects and views on the magazine

STAR ET T

UPCYCLED GARDEN

L

U

Unfortunately, the previous owner had bodged repairs rather than conserve the house, meaning we have had to deal with a chimney fire, crumbling walls, leaks, dodgy electrics, furniture beetles in the fire lintel, 8ft tap roots from a holly tree into the lounge… I could go on. I know we have bought a money pit and that we are a couple of years away from finishing – fixing issues and just maintenance jobs – but I know we’ll get there. I just wanted to thank you for the magazine, especially for the wonderful renovation tips.

Sharon Willis

RE

I saw the planted bath in September’s Antiques Journal, and wanted to share my own. It’s not a 19th-century French Napoleon design with a hefty price tag, but a 1930s galvanised tub exchanged for sweet pea seedlings and a lettuce!

It is now home to a beautiful David Austin rose, lettuces, nasturtiums and lavender. Violet Evans

OLD HOME, NEW LIFE BAY DREAMING

This gigantic bay window is one of my favourite spots in our Victorian home. I love that it still has the original glass, even though this is wonky, warped, and has a small crack in the bottom left pane. I’m so glad that the previous owners didn’t change it.

All this corner needs now is a comfy reading chair, a lovely side table, a pile of Period Living magazines, and my Saturday mornings will be perfect.

David Lister (@homeinholmevalley)

In February 2020, we bought the house of our dreams in a Conservation Area in Highworth. I’m not sure of the house’s age but it used to be a butcher’s and then, later, it was used as the local police house. We think that the rear extension dates from this time and believe it was a lock up and office.

Many things could have put us off this house, from the busy road to the tiny kitchen, but we instantly fell in love.

STRAWBERRY FIELDS

Molly Mahon’s new range, as featured in the August issue’s Journal pages, reminded me that I had this Royal Winton Strawberry cheese dish gifted to me on our Silver anniversary. It is our Golden anniversary this year and the dish is now back on display again, inspired by your article. Kate Paterson

Erratum In our August issue the Christleton summerhouse on page 95 was incorrectly credited to Cheshire Oak Frame instead of Cheshire Oak Structures. Apologies for any confusion. See page 95 for tips on adding an oak-frame building to your garden.

Get in touch: periodliving@futurenet.com

This month’s star letter writer receives this delightful Luxury Prosecco Afternoon Tea hamper. It comes with 12 decadent brownies, a delicious loaf cake, 75cl bottle of Prosecco, fine bone china mug and tea!

Worth £85 from charmingbakery.co.uk

@periodlivingmagazine

@PeriodLivingMag

@period_living Period Living 11

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Feature Pip

Discover new ideas for decorating, from papers inspired by the past to fresh paint palettes

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begins to wind down, keep summer blooming inside with Linwood’s floriferous English Garden fabrics. Celebrating the beauty of nature, the collection features five designs, from the blousy rose print of Albertine and the rhododendron-filled Gertrude, to Vita with its trailing wisteria and lilac. Or, try the more stylised Hester with its oak leaf stripes and Kitty, pictured, inspired by Indian Palampore designs. £64.90 per m, the fabrics will bring summer delight whatever the season.

Period Living 13

News

ON THE BOOK SHELF William Morris, designer, writer, socialist and a pioneer of the Arts and Crafts movement, died 125 years ago this month, and to mark the anniversary the V&A and Thames & Hudson have released an illustrated book documenting his multifaceted art, work and legacy. William Morris (£50, hardback), originally published in 1996 for the V&A’s Morris centenary exhibition, has been revived by Anna Mason with an updated and expanded edition, which includes chapters on his painting, stained glass, furniture, tiles and tableware. The book includes new discoveries and research, and aims to convey the originality and radical spirit of Morris and his peers.

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Peach Flesh Pink

CRAFT IN FOCUS A celebration of artisan talent across the capital, London

Craft Week returns this month, 4-10 October, offering a packed programme of exhibitions, demonstrations, tours, workshops, talks and more across all types of media, from basketry and paper making to stone carving and sign writing. A particular highlight is the chance to tour beautiful historic properties and learn about their restoration, including Pitzhanger Manor, country home of neoclassical architect Sir John Soane, built 1800-1804.

On 9 October drop in to see specialist painters and decorators Hare & Humphreys host demonstrations of the techniques used in the conservation of the property’s interiors, showcasing the in-depth paint analysis that took place. For a full programme visit londoncraftweek.com.

Gentlemen’s Pink

Beehive Place

IN THE SPOTLIGHT Anglepoise has teamed up with the National Trust to launch three of its iconic Original 1227 lamps in a new Sage Green colour.

Comprising a mini table lamp, £139, desk lamp, £239, and floor lamp, £299, the collection will help raise funds to support restoration works at The Homewood, a modernist villa designed

by Patrick Gwynne, gifted to the Trust in 1999. ‘Green, as a colour and philosophy, is at the heart of everything we do. We are thrilled that this collection will generate income to help care for these special places and shine a light on some of the lesser-known architectural gems,’ says Michaela Davies, brand licensing manager at the National Trust.

Egerton Place Pink

Coral Orange

Curated palette Sorrel Green

Pleasure Gardens Green

Perfecting the art of fine, richly pigmented paints since 1884, Mylands is launching The Archive Collection this autumn, comprising 12 new colours inspired by its history. Delving into the archive for inspiration, Mylands has curated the fresh palette from bespoke colours developed for clients over many decades, alongside shades derived from the British Colour Council, with each carefully selected for its individual character and tone. Ranging from soft pinks, honeyed yellows, rustic oranges and gentle blues through to bold reds and rich greens, the versatile and intensely pigmented paints are available in a range of finishes, from £51 for 2.5ltrs of Marble matt emulsion.

Proper Blue

Enamel Blue

Empire Violet

Red Post Hill

Rose Taupe

News COLOUR TREND Interiors brand Neptune has unveiled Clove as its colour of the season. ‘Clove is the perfect new paint shade for our autumn/winter collection. Not so brown that it resembles our Walnut or Fine Mahogany, but not as purple as our Juniper paint, this shade is enveloping and velvety without being overpowering,’ says Rebecca Elderfield, product and service creative director at Neptune.

‘Contrast it with fresh Silver Birch, or pair with our Old Rose and Moss for subtle balance, or try it with stronger hues like Olive and Mustard for a hint of eccentricity.’

Daisy Meadow large cushion, £120

Impressionist cushion, £140

SPARK JOY

Whether sent as a gift or a treat for yourself, a flower delivery never fails to lift the spirits.

Born out of founder Jo Lambell’s love for plants, Beards & Daisies has launched a new collection of 10 beautiful hand-tied bouquets and three dried bouquets, making for the perfect pick-me-up as the seasons shift. Bouquets start at £29.99, with next- and named-day delivery services available.

eP

drama d o Introducing ri Velvet Linen, a new

interiors brand launched by costume maker Liz Poole that offers cushions, quilts and accessories for lovers of bold and beautiful style.

Having created costumes for the likes of Netflix hit Bridgerton and the Royal Opera house, Liz ventured into homeware after creating a series of pieces for her own Victorian cottage. She combines the finest Liberty velvets and natural linens with inspiration from her own garden.

SOFT TOUCH Creator of luxury cashmere and wool cloth Joshua Ellis has launched a new Voyager throw collection, perfect for autumn adventures or cosying up your sofa. Woven in Yorkshire from the finest lambswool, the throws come in a variety of timeless checks and tartan designs.

Voyager throw in Grey Bloc Glen, £119

Night Rose water bottle, £75

Night Rose luxury quilt, £980 Period Living 17

Massingberd Blossom in Verditer, £97 per roll

EYE ON DESIGN

David Mottershead, founder of Little Greene, shares the inspirations behind the company’s latest National Trust Papers II collection

Millefleur Tapestry in Garden, £166 per roll

Q

Tell us about the new collection

National Trust Papers II contains 42 colourways across seven designs; the collection is a celebration of enduring design, with the origins of these contemporary wallpapers spanning over 400 years of historic decoration. We began our collaboration with the National Trust in 2018, and since then have completed a large research project to discover designs from many of its properties across the UK. Each wallpaper has a story to tell and has been redrawn and recoloured, while retaining the traditional methods and materials from which they were originally crafted. The collection spans a vast range of decorative styles, meaning that there will be something suitable for all spaces.

Beech Nut in Florence, £97 per roll

Q

What research was involved?

Moy in Pompei, £90 per roll

We visited many National Trust properties to create a shortlist of designs.

Some of these are still in situ within the properties and some are taken from objects, such as the beautiful Bateman’s leather wall-hanging with its tree of life design. Our historic colour specialist team visited each property and photographed many archive pieces to create a collection of designs from which we chose our final selection. Our research uncovered some really interesting pieces including our oldest design yet, Millefleur from

Montacute House, Somerset. The floral detail is drawn directly from a rare and lovingly conserved 15th-century tapestry, and the oldest in the Trust’s care.

Q

How do you decide which historic patterns to develop?

We are very much guided by our discoveries and while some designs may require a lot of design work to redraw them, there are many that need very little alteration. Our aim is to uncover timeless patterns that bring an element of texture and intrigue to the home. Often the original colourways do not display the beauty of the design; the Beech Nut pattern from Petworth House is a fine example of this – the original fragment was lacking in definition and colour interest but, with some fine work from our team, it has become one of the collection highlights.

While we are driven by our emotional responses to the original documents, we are careful to provide a balanced collection.

Q

What’s your best piece of advice for choosing wallpaper for a period home?

Try to find a wallpaper that originates from the period that your house was built – this may give a look that is sympathetic to the style of your home. Take care to understand the scale of the design and the dimensions of your room – it is true that many large-scale designs were applied to small rooms historically, but this does not always serve us well. You should not overlook the effect of a good paint colour to cover other surfaces in the room.

Suggested paints for each paper colourway are proposed by Little Greene to help – these are a guide and, of course, a related darker or paler colour will suffice.

Shopping

Hanover chair in ethical vintage cloth, £4,680, Lorfords

Low French armchair in Jaisalmer kilim and velvet, £1,495, Susie Watson Designs

Home comforts

As autumn approaches, prepare your sitting room for cosy nights in with a comfortable yet stylish armchair

Drew Pritchard Stowe chair in Raphael Sienna fabric, £1,245, Barker & Stonehouse

Fabulous armchair in Turmeric Gold velvet, £950, Rockett St George

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Brantwood armchair in Sage linen, £1,295, Oka

Kingston armchair in Mediterraneo Ikat linen, £1,500, Mind the Gap

Bromley wing-back armchair in Charcoal cotton, £790, Rowen & Wren

Florence Balducci Peacock accent chair in cotton-linen fabric, £998, Anthropologie

Tetrad Flynn II armchair in Bracken wool with piping, £1,049, John Lewis & Partners

Cooksbridge armchair in Cloth 21 Simple Stripe fabric in Bilberry, £1,991, Sofas & Stuff Period Living 21

HISTORY repeating Pay homage to talented craftspeople from across the centuries by decorating with beautiful wallpapers inspired by the interiors and decorative arts of the past

MEDIEVAL REVIVAL To mark 160 years of William Morris’ iconic design house, Morris & Co has created Owl & Willow, a beautiful wallpaper inspired by the Verdure panel of the Holy Grail tapestries at Stanmore Hall, London, originally created by Morris & Co in 1890. A testament to Morris’ deep appreciation for medieval craftsmanship, the wide-width paper, £299 per roll, features original handpainted artwork.

22 Period Living

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For thousands of years people have been adorning walls with decorative designs, from cave paintings and medieval tapestries, to Italian Renaissance frescoes and elegant French toile de Jouy wallpapers, so there’s a wealth of inspiration to draw from when decorating a period home. Whether it’s an authentic reproduction of an archive design, or a fresh interpretation for the 21st century, heritage wallpapers are a brilliant way to create statement interiors with stories to tell.

Decorating EASTERN OPULENCE A Western style that seeks to emulate the art and design of China, Japan and other Asian countries, chinoiserie has been bringing an air of exoticism and luxury to interiors ever since it emerged in the mid 18th century. Sourced from an early 20th-century printed linen sample, this Yentai Stone paper, £95 per roll at Warner House, depicts a chinoiserie scene of urns and floral arrangements, and is available in a co-ordinating printed linen, £55 per m.

Decorating

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STATEMENT BLOOMS Left: Renowned for its floral designs, Sanderson has launched a new flower-filled fabric and wallpaper collection to mark 160 years, which brings together revived archive designs alongside new prints. First printed as a fabric in 1937, Hollyhocks is an iconic Sanderson floral that has been produced as a wallpaper for the first time. Pictured in Gold Metallic/Tan, £105 per roll, the design is guaranteed to turn heads and is manufactured using a surface printing method to give it a beautiful traditional feel.

SIMPLY SCANDI Above: Take a calmer approach to decorating with a delicate Scandinavian trellis wallpaper, perfect for bringing effortless elegance to everyday spaces. Designed by Nicole De Young of Astrid & Rudolph, Selma in Mossa, £100 per roll, is part of a collection inspired by family holidays spent in Sweden at the house of her grandparents, Astrid & Rudolph. ‘Drawing on long-lost antique fragments, I created my own modern designs with patterns and colours reminiscent of sunny days spent gathering wild berries and flowers,’ says Nicole.

Period Living 25

Decorating

ROOTED IN HISTORY Left: Celebrate British heritage with a wallpaper from the new National Trust Papers II collection at Little Greene, which breathes new life into patterns discovered at period properties across the UK. Depicting a stunning tree of life design, this Mandalay paper, pictured in Ceviche, £216 per roll, has been redrawn from leather wallcoverings found at Bateman’s, a Jacobean mansion in East Sussex and the former home of Rudyard Kipling. Dating from 1712, the wallcoverings are inspired by 17th-century Indian chintzes of sinuous flowering trees.

FRENCH ELEGANCE Above: Originating in the 18th century, in the French village of Jouy-en-Josas, toile de Jouy are ‘toiles’, French for ‘linen cloth’, printed with engravings of romantic pastoral scenes. To create their new Toile Baptiste wallpaper, the team at Lewis & Wood adapted famous toile designs by Jean Baptiste Huet, one of the most prestigious French engravers, by adding in the team’s initials to the rim of a drinking trough as well as their Woodchester Mill. Pictured in Marron, one of nine colourways, the wide-width paper is priced £74.35 per m.

Period Living 27

ENGLISH ECCENTRIC Are you looking for something playful and light-hearted? Burges Snail is a charming design from Little Greene’s National Trust Papers II collection which is guaranteed to raise a smile. Attributed to the eccentric Gothic Revivalist architect and interior designer William Burges, the design was found on the walls of one of the bathrooms at Knightshayes Court in Devon, which Burges designed for the Heathcoat Amory family and was built between 1869 and 1874. Though Burges’ design, the paper is thought to have been introduced in 1878 in a later restoration, during which subsequent generations of the family tried to minimise the property’s elaborate high Victorian Gothic styling. Carefully redrawn and recoloured by Little Greene’s in-house design team, the paper, £90 per roll, is available in seven colours, including this beautiful Juniper, which co-ordinates with its popular paint shade of the same name.

28 Period Living

Indulge your walls W

Treat your home to a unique makeover with Crown Paints’ new Crafted range

ith the arrival of autumn, comes a return indoors and the need to create a cosy sanctuary in which to relax during the colder months. This is where Crown Paints’ newest range comes into its own. Crafted is a fabulous collection of premium paints that bring timeless style and quality to your home. Available in three distinct finishes, the range offers versatility, long-lasting durability and refinement – all in an exquisite palette of hand-selected shades.

PERFECT BLEND Taking inspiration from British artisans who pride themselves on working with high quality natural materials, the paints have been expertly formulated with the finest ingredients to ensure extraordinary layers of colour and effortless application.

If you are looking to refresh your walls, then look no further than Crown’s Crafted Luxurious Flat Matt emulsion. This thick and creamy formula offers excellent coverage – you can use it seamlessly on ceilings and walls to wood. As with all Crown paints, it is formulated with its Breatheasy technology, has low VOCs and is 99 per cent

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30 Period Living

Advertorial solvent-free, making it well suited to every room of your home with no worries about the personal or environmental impact of your project.

When it comes to choosing colour, no scheme is out of reach – there are 48 refined shades ranging from classic to the latest trends. So whichever style you fancy, there is a colour you will love.

BESPOKE SCHEMES Drawing on 200 years of expertise, innovation and creativity has certainly been key to Crown in creating this range. The result is a trio of paints that add more than just colour – they add creativity.

Alongside its Luxurious Flat Matt range, which forms the core of the collection, is its Suede Textured Finish. This unique formula is made with ground olive stones and creates an irresistibly tactile surface that both draws the eye and adds depth.

Available in a palette of greys and neutrals, the paint helps you inject personality into your home.

The final addition is the sophisticated Lustrous Metallic range. Available in eight opulent shades, it harmonises perfectly with both the Luxurious Flat Matt paint and Suede Textured Finish to provide an understated shimmer to feature walls or bring a touch of shine to accent pieces of wood or metal.

PICK A HUE If you are unsure which shade to go for, then Crown Paints’ new Real Paint swatches are here to help. These samples of real paint give total accuracy for colour matching – just pop them on the wall and see how the paint changes in different lights and at various times of the day.

Left: For a tactile finish, these walls are painted in Crown’s Suede Textured Finish in Mid-Grey Below: Gentle and soothing neutral shades, like Reframed in Crown’s Luxurious Flat Matt, are ideal for creating a relaxing bedroom Bottom left: This Windsor chair is painted in Crown’s Lustrous Metallic Finish in Rose Gold and is paired with walls painted in Luxurious Flat Matt paint in Light Hearted

WHERE TO BUY To pick up your Real Paint Swatches and to see the entire range, visit crownpaints.co.uk or head to your nearest Crown department centre, Homebase or leading independents.

Left: Create a cocooning backdrop for your living room by painting walls in Crown’s Luxurious Flat Matt emulsion in Indulgence

Period Living 31

Carvinga future

Ambrose Vevers transforms the raw beauty of sustainably sourced, unfinished timber into elegantly crafted and timeless heirlooms of tomorrow Words Rachel Crow | Photographs Mark Bolton

32 Period Living

Made in Britain

This image: Ambrose at his shave horse, a traditional tool for holding stool or chair legs and elements steady as he smooths and shapes them with a spoke shave Opposite: A little stove in his workshop provides the only source of warmth during colder months.

The chair Ambrose designed in a collaboration with master weaver Hilary Burns, with a stripped willow seat and an ebonised ash frame.

The stool has been scorched using the Japanese technique of Yakisugi

A

mbrose Vevers nostalgically recalls spending hours as a child happily playing in the small woodland that his family owns on the edge of Devon’s wild and beautiful Dartmoor National Park, and which now provides the raw material for his craft. Where once he may have practised balancing on old windfall trees, these days he rescues them to live on in his skilfully made pieces that celebrate and pay homage to the enduring beauty of the timber.

‘Sourcing my wood in this way is very rewarding – knowing where it has come from. I own a small sawmill which lets me convert logs into usable planks, and by going through each step, from tree to furniture, it is more fulfilling and makes me intrinsically more connected to the land,’ explains Ambrose, who manages the woodland in Ashburton sustainably - coppicing, felling and replanting trees in a natural cycle. It can take two years from felling for the milled wood to dry ready for the carpenter’s touch, but his is a craft of patience.

From a young age, Ambrose had access to ‘scraps of wood and tools, and I got to play around and make things quite early on,’ he explains, pointing out in the corner of his workshop tools that he has inherited from his grandfather and father, and which are still put to use in the practice of his craft. ‘My whole family is quite creative and we encourage each other, but there are many great makers and lots of creativity happening in this area.’

He studied 3D Design at Falmouth University, but it was an old family friend, Fred, in his eighties, who taught Ambrose traditional woodworking techniques using hand tools. ‘He encouraged me to use these skills, and I am largely self-taught, learning through making,’ Ambrose explains.

His timeless and classic designs, with their simple lines – from stools and chairs, to chopping boards and spatulas made from the locally sourced ash, cherry and oak - have gradually evolved over the last ten years, with portions tweaked and making processes improved with practice. ‘I’ve recently been exploring different finishes and adding hand-hewn textures, which has been

34 Period Living

exciting and adds a depth to my work,’ Ambrose explains. ‘I make pieces that are designed to be used every day, and the hand-tooled finishes on my furniture will gain a patina and become even more beautiful with age.’

Elements of Japanese design and the aesthetic philosophy of wabi sabi - finding beauty in imperfection and the effects of the passage of time - have also been woven into his work. Such as the Japanese technique of scorching wood - yakisugi - which, alongside preserving it, ‘draws attention to all of the knots and details in the grain.’

In the peaceful surroundings of his barn workshop, nestled on a hilltop next to his family’s woodland and enjoying stunning views out over Dartmoor, it is no wonder Ambrose is inspired to work with this natural material. Building the barn was his first solo project on finishing university ‘a baptism of fire’, which took him a year to complete. ‘But I learned so much from doing it and being thrown in at the deep end; it gave me confidence in working with wood. Each tree species works differently,’ he explains.

Last year he was chosen by homeware and fashion brand Toast as one of its New Makers, ‘which really helped me through the lockdown and opened up my business to new customers.

A lot of my customer base was local before.’

He has a steady custom for more ‘practised’ pieces, such as his chopping boards, butter

Made in Britain

Far left: Ambrose uses a rotary plane to turn pieces of wood into round tapered chair legs and spindles. ‘They are quite rare tools as they aren’t made anymore. I didn’t know much about them before I was given a set, but they are amazing to use – like big pencil sharpeners – and have definitely driven my style in a certain direction, with simple rather than decorative legs and elements,’ he says Left, from top: Ambrose uses a mix of Japanese and British traditional woodworking tools, among them some of his father’s and grandfather’s old gouges, chisels and draw knives; he carefully trims off the tops of the tenons on a stool – ‘I have been producing this style of stool since early on, but it has slowly evolved over about eight years and I have made so many that muscle memory kicks in and you know the split second you are going to make a mistake and stop in time – it is almost intuition’; the scrub plane creates a wonderful hand-hewn texture on a piece; the maker’s mark is scorched into every item Above right: The burnt wood finish on his spatulas and chopping boards, as well as giving a beautiful dimension to pieces with the varied grain details, has a function, too, as it means they are less likely to stain. Finished with oak tanned leather loops, they are like small works of art Right: When scorching wood, the softer wood grain burns faster leaving a raised, tactile surface

Above: In a tranquil and inspiring spot, Ambrose’s self-built workshop overlooks the rolling landscape of Dartmoor, and sits beside the woodland from where he sources his timber Left: Having selected a plank of ash, Ambrose draws around a template for a stool seat. ‘When choosing wood, I’m looking for a characterful grain but that is still easy to work. It is important to me that there is not too much wastage, too’ Below: The maker absorbed in his craft

spreaders, stools and benches. ‘I’m more efficient at making them now,’ he adds. ‘For the first few years I was selling mainly one-off chairs and bespoke pieces as I gradually found my style.’

It is the processes that carry an element of risk that he enjoys the most, Ambrose admits. ‘Such as steam bending; most of the time it works well, but it’s unpredictable and occasionally the wood dramatically snaps, and you just have to be philosophical about it. Or with scorching, it is risky burning a piece of furniture that has taken days to make, but it adds an element of drama to my working day,’ he adds, with a wry smile.

Inspired by fellow furniture designer and maker Gareth Neal, Ambrose has more recently brought heritage crafts into his work. In a collaboration with master basket weaver Hilary Burns, he has created the Hilary’s Chair, with a woven willow seat, and has plans for further collaborations.

Off grid, with energy generated by solar panels, and a wood-burning stove for heat and to boil the kettle, the barn is also from where Ambrose teaches his furniture-making weekend courses, which he started five years ago.

‘Teaching my courses has really helped me to evaluate how I make things myself, and pushed my 36 Period Living

craft forwards,’ he explains. ‘It feels great sharing my knowledge and inspiring people to use their hands creatively. They are often surprised by what they can make and it is so fulfilling seeing them smile at their own achievement.’

Ambrose’s obvious passion and respect for the material of his craft, as he explains the qualities and properties of various tree species, shines through.

‘What appeals to me is that it is a material that can’t be completely conquered. I enter a flow state when using sharp hand tools. The muscle memory kicks in, and subconsciously I know which direction the wood wants to be cut. It’s a wonderful meditative feeling that brings me pure enjoyment. But then the wood sometimes misbehaves, hidden cracks appear, the wood tears and you have to change your approach or start again. There’s a lifetime of mistakes and skills to be learned.’

To find out more about Ambrose’s work or to book on one of his furniture-making courses, visit ambrosevevers.com or call 07816 899527

Theyourdreams bed of Editor Melanie Griffiths shares the story behind Period Living’s collaboration with Wrought Iron & Brass Bed Co – plus how you can save £250 on your first order

W

hen Period Living had the ambition of putting its name to a bed collection, I knew exactly who to partner with. Wrought Iron & Brass Bed Co is a shining light in British manufacturing, handcrafting the most beautiful metal beds from its Norfolk workshop. I have long been impressed by the family business, which embodies every value prized by PL, as it meticulously hand-makes its beds using only the finest quality materials. The team are also a real pleasure to deal with, and make investing in this key piece of furniture the enjoyable experience it should be.

Timeless designs

Whether you’re looking to add a touch of vintage style, classic elegance or industrial chic to your bedroom, the Period Living collection offers six bed designs that will work for homes of every era. From the luxurious simplicity of Albert (right), to the elegant curves of Victoria, and the retro style of Henry, you will be spoiled for choice. Each design comes in a selection of colours and five sizes, up to super-king, and can be paired with your choice of sumptuous mattress from iconic British brands including Vispring and Harrison Spinks. The beds are all guaranteed to last a lifetime, and are destined to become heirlooms of the future. Discover the full collection at wroughtironandbrassbed.co.uk/period-living.

Handmade to order

Wrought Iron & Brass Bed Co sources materials from as close to the factory as possible, supporting the local economy, and controls the making process from start to finish, diligently inspecting the beds at every stage of construction. Rather than a generic production line, every bed is made to order for its individual owner using a combination of age-old methods enhanced by the latest technology. If the featured designs won’t work in your room, then the brand also offers a bespoke service, so your bed can be truly tailor-made for your needs.

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The VIP experience

Book an appointment to visit the showroom, and you will benefit from 90 minutes’ exclusive access, and get the full attention of one of the showroom team members – aka sleep experts.

They will support you through choosing your bedtime retreat in an unhurried, tailor-made and safe shopping experience bubble.

Fit for royalty

After supplying the royal household for the last five years, Wrought Iron & Brass Bed Co has now been awarded a Royal Warrant of Appointment by Her Majesty The Queen. This recognition is testament to the quality of the beds and the brand ethos. It is also a member of the Guild of Master Craftsmen and part of the Made in Britain manufacturing community, which is a protected mark that can only be used by companies who meet exacting criteria.

A greener future

Sustainability is at the heart of Wrought Iron & Brass Bed Co, and it is the first iron bed manufacturer in the UK to be certified as carbon neutral – powering its workshop with 100 per cent renewable energy and sourcing its bed slats only from FSC-certified companies. The team constantly endeavour to recycle, reuse, and reduce waste wherever possible, so you can be sure that your new bed has a low carbon footprint.

Your exclusive offer

Between 1 September and 5 October 2021, you can save £250 on your first order when you spend over £1,000 – simply use code PeriodLiving.

As well as the Period Living beds, the offer also covers the mattress and the wide range of other beds at Wrought Iron & Brass Bed Co, including six new designs launching this autumn. Visit wroughtironandbrassbed.co.uk/period-living to see the full range or call 01485 542516 to speak to a member of the team.

Right: PL’s Style Editor Pippa Blenkinsop loved styling the Albert bed with a cosy autumnal look.

Combining an iron frame with brass finials and top bar, Albert, from £895, is a heritage design with an indulgent feel. Paired here with the straight bar bedside table, from £159, and cotton bedlinen, from £120 for a set, all Wrought Iron & Brass Bed Co. Owlswick wallpaper in Briarwood, £81 per roll, Sanderson. Panelling in Chestnut, £38 for 2.5ltrs of emulsion, Neptune.

Tawny bronze table lamp, £204, with Taupe tapered drum shade, £82.80, David Hunt. Wentworth throw in Rose Hip, £180; Beatrix cushion in Harry Rose Hip, £82, both Neptune. Briar cushions (on bed); Sabel cushion in Olive (on floor), £50 each, MM Linen. Butterfly cushion, £12.50, M&S. Damson Sage Harlequin Shetland wool throw (on basket), £94, Susie Watson Designs. Heddon brass candlesticks, from £40, Neptune. Rug, from a selection, Homesense

Collaboration News

COLLECTORS’ HOARD Georgian Townhouse

Filled with eclectic and varied collections reflecting their interests in history and art, Kathryn and Jonathan Reilly’s seaside home is as welcoming as it is interesting Words Karen Smith Radley | Photographs Jody Stewart

Rescue dog Sadie makes herself comfortable in the living room.

To introduce a botanical note here, Kathryn had the green chair upholstered in House of Hackney’s Palmeral fabric, and made a lampshade in matching linen

Georgian Townhouse

Above: The Wesley Barrell sofa was one of the first things the couple bought when they got married. The dog motif cushion came from a shop in the Napa Valley and the geometric cushion is by Margo Selby. They found the chinoiserie table on Ebay. Kathryn’s collection of daguerreotypes is displayed on the mantel below an Ardizzone print Left: A glazed cupboard houses some bird taxidermy and ‘delft’ tiles by artist Paul Bommer. The shipsin-bottles on the windowsill are a fitting choice for this seaside home Opposite: The red lamp and Moroccan cushions are from Country & Eastern in Norwich.

The small sofa is from Graham & Green, and above it is a framed poster of Fowey harbour by David Gentleman. Walls are painted in Farrow & Ball’s Pavilion Gray

Period Living 43

THE STORY

Owners Kathryn Reilly, an artist, and her husband Jonathan, an antiquarian book dealer, live here with rescue dog, Sadie, and cheeky rescue cat, Moomin Property A three-bedroom, semi-detached, Grade II-listed Georgian townhouse built around 1771. The property has been a B&B in the past but not much else is known about its history What they did The couple redecorated throughout, landscaped the garden, and built a utility and shower room extension

pening the door to her home in Deal, Kent, Kathryn Reilly says, ‘Welcome to the ends of the earth!’ This town certainly feels like it’s at the edge of England. France’s coastline is often visible from the end of the street where the Reillys have lived for the last six years. ‘If you’re not careful you can find yourself switched to a French or Belgian mobile network,’ says Kathryn.

With no immediate association with the east Kent locale, their discovery was serendipitous. ‘So many people say the same thing: we didn’t even know it existed but once we did, we just found ourselves falling in love with the place,’ she adds.

The Conservation Area – Kent’s first, saved from demolition by Noel Coward and other forwardthinking protesters – is a mishmash of colourful boatmen’s cottages, captains’ houses and some grander homes built for the likes of Elizabeth Carter (1717-1806), a proto-feminist bluestocking who was the literary doyenne of the age. ‘Most of the houses have been pubs, boarding houses or brothels at some point – these were the mean streets at the time. Deal has a compelling back story for a history nerd like me,’ says Kathryn. The sense of age also appealed to her husband, Jonathan, who was prepared to endure the daily commute into London for the chance to live in a historic seaside home.

‘It didn’t take us long to find the house, but we were worried that the owners didn’t really want to sell. They had brought the place back from a pretty dilapidated state and clearly loved it,’ says Kathryn. ‘Things had been done in a very piecemeal fashion, though, and much of the work seemed to have been on a DIY basis. One electrician who came to do some work just after we’d moved in, said “show me a house round here that isn’t a death trap!” I didn’t sleep so well that night!’

Forty metres from the sea, the property is unusual in the area because of its large courtyard garden and garage. ‘We saw it as a blank canvas when we moved in,’ says Kathryn. ‘We did away with the dining room, adding a wood-burner and lots of bookshelves to make a cosy parlour – it’s wonderful in the winter.’ The first-floor sitting room has a double aspect, which is also unusual 44 Period Living

in the town, although there are many so-called smugglers’ windows, designed to help spot approaching customs enforcers. Generally, the couple added colour, painting the varnished panelling to chime with how the house might have originally been decorated.

‘We were hoping to discover more original details than we did,’ Kathryn continues, ‘But we at least have some original Georgian panelling, a wig cabinet with a secret hidey hole hidden behind a small metal panel, and the layout hasn’t been messed about with too much. There are mysteries like the holes we discovered in every riser of the staircase and the disproportionately thick walls in the cellar. The front part of this space is filled with rubble, the story being that smugglers were forced to destroy their illegal stores with stones from the beach. We’d love to investigate this further and open the space but that will have to wait.’

The house is liberally peppered with collections of the odd and intriguing. Kathryn collects automata, mourning jewellery, wonky taxidermy and weird bits and bobs (her cabinet of curiosities in the parlour is a pride and joy). Jonathan collects old books and prints by Edward Ardizzone, who they learnt lived a couple of streets away in Deal in the 1970s. Kathryn has returned to art over the last couple of years and examples of her paintings and collages are filling up the walls fast.

‘We’re exceptionally lucky living here. In the summer it can be glorious and in winter the streets become very Dickensian. Having said that, when there’s a storm it can be a bit bleak!’ says Kathryn.

‘We’ve met so many interesting people since moving here – and seen some incredible houses.

It’s impossible to guess what might be inside just from the exterior. The tiniest-looking home can turn out to be a veritable Tardis. The quirky independent shops on the high street are a real treat and they definitely inspire people like us to take a risk with their interiors and just go for it.’

Living by the sea has been both refreshing and inspiring for the couple. Jonathan appreciates the sea air after the day in London and Kathryn has thrown herself into painting. ‘The seascape changes moment by moment, and the skies are incredible.

It just makes you want to pick up a brush to try to capture some of the everyday beauty,’ she says.

Left: Kathryn and Sadie get ready for a walk by the sea Right: The charming Grade II-listed Georgian townhouse is located just 40 metres from the sea, and the French coastline is often visible from the end of the street Below: This cosy room, painted in Little Greene’s Scree, is known as the parlour. The bookcases were made by a local craftsman. Arched alcove shelves in the corner of the room, painted in Little Greene’s Canton, would originally have been used to store powdered wigs

Georgian Townhouse

Period Living 45

Right: Kathryn and Jonathan pieced together their characterful kitchen from vintage furniture they already had in the house. The mismatched cupboard doors were found in the cellar and the base unit was in the middle of the room when the couple moved in, and was possibly an old shop counter. They added a marble top to give it a new lease of life and Kathryn painted it with chalk paint.

The dining table is made from a single piece of oak, probably made in the south of France. The large apothecary jar used as a vase and the industrial double light all came from Mileage, a nearby vintage shop Above: The Courage brewery tin sign above the Rangemaster cooker is from Mileage Left: The 1950s larder cupboard in the new utility room also came from Mileage and has had a Charlestoninspired makeover in chalk paints

Georgian Townhouse

Period Living 47

Left: Kathryn upholstered the divan and headboard in William Morris’ Fruit pattern and painted the wall behind the bed with Autentico’s paint to give a feeling of age. The sketches on the left are by local artist Rozanne Palmer. One of the ceiling beams is decorated with Mexican milagro symbols Below: Up in the eaves, the bathroom has recently been wallpapered with Hamilton Weston’s replica 1800 pattern, Archway House.

The tiles are from Topps Tiles, the basin is another vintage find and the splashback was designed and sculpted by ceramicist Victoria Ellis, who is Jonathan’s cousin

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Period Living 51

CRAFTINGCOLOUR

Edwardian Seaside Home

Transforming a gloomy Edwardian house into a light, bright work and living space, Keely Fawcus has infused her home with resourceful creativity Words Jo Peters | Photographs Francine Kay Original stained-glass windows are unusually placed either side of the sitting room chimney breast. The fireplace and surround are from Cast Fireplaces. The painting is by Keely, who also reupholstered the two chairs and painted the walls in Farrow & Ball’s Sulking Room Pink

POSNIKNELB APPIP GNILYTS

omes like this spacious Edwardian property don’t come around very often, so when the former sea captain’s house came up for sale in Keely’s beloved Hove, she knew it was the one for her. It offered Keely the renovation challenge she was after, with workspace for her and ample living space for her three teenage girls. Built over 100 years ago, the house had previously had just three owners and was in dire need of modernisation and love.

However, Keely faced an agonising wait. After exchanging in July 2017, the owner sadly passed away and, as the property was sold in probate, it took a further six months before completion. The transformation took place over the following year.

The airy kitchen-diner, where Keely spends most of her time, required a complete rebuild.

‘The old L-shaped kitchen had a side return added to create a square space, where previously this had a lean-to and an old outside toilet underneath the first floor of the building,’ explains Keely.

‘There were four different height ceiling sections at the back of the house and these were all replaced with one new ceiling spanning the width of the building.’ The old conservatory and end of the kitchen were opened up onto the garden with a new section, which kept to the existing footprint.

Keely also designed the French doors for the kitchen and the main living room.

In the hall, a fireplace and chimney breast were removed and a corridor created along the side of the house, with a large door added to bring extra light into the space. Keely found a creative local tiler who was able to handpaint and match the original floor tiles in the new space, together with reclaimed antique pine floorboards.

‘The house had been built for a sea captain and still had many of its original features, however not all of them fitted in with Keely’s plans to make the interior feel brighter and more spacious. ‘The original stained glass in the front door was mainly a murky brown colour with coats of arms, and it let no light into the dark hallway,’ says Keely. ‘I hated to get rid of something original, but it had to go. I worked with a local stained-glass designer 54 Period Living

to capture all of the colours I wanted to use in the house. It’s quite a simple design with the house number incorporated into it. It uses rondels and reeded glass, which I love.’ There is also lots of original Edwardian stained glass featuring an attractive daisy pattern, which Keely has kept in the living room windows, utility room and downstairs cloakroom.

Keely was not a fan of the austere Edwardian fireplaces, so she has replaced them with reclaimed marble Victorian designs. A lot of inspiration for the vibrant décor comes from her love of the signature Liberty Hera print: ‘I have it in cotton, linen and velvet from many different periods – 1970s, modern and antique,’ she says. Design, colour and print play important roles all over the house, displaying the owner’s talents of resourcefulness and craft.

All the windows were refurbished or reglazed and, in some cases, Keely defied the architect’s suggestions because, she explains, ‘they didn’t fit with the period nature of the property’. The original rooflights were over 1.2 metres square.

‘I replaced them with Velux heritage windows as we are in a Conservation Area, making them much smaller, flush with the roof and with a bar down the middle,’ Keely explains. She opened up a second floor, adding a bespoke staircase leading to a hallway, two bedrooms and a bathroom to give her younger daughters their own space. The two sizeable reception rooms also give the family plenty of options for entertaining and they all love the main living room. ‘It’s lovely and cosy in the winter with the wood-burner,’ says Keely.

Keely had planned to have the family bathroom floor tiled in encaustic tiles she had bought in a factory sale. Advised that they were unsuitable for the floor and being eternally resourceful, she sold them on Ebay and used the profit to buy handmade wall tiles from Douglas Watson Studio, which were reduced from £300 per square metre to £500 for the lot. Happily, she prefers the end result. As the budget became too stretched for all her renovation plans, Keely had the plumbing installed for an en-suite bathroom, in what is currently a dressing room, with a view to adding fittings in future. ‘I also plan to change the garage into a studio with a glass roof and French doors so I can paint while looking onto the garden,’ she adds. For now though, Keely and her family are more than proud of their beautiful home.

THE STORY

Owner Keely Fawcus, a volunteer for Macmillan Cancer Support and RSPB, lives here with her daughters, 18-year-old Tabitha, Delilah, 15, and Margot, 13, and their whippet, Winifred Property A detached Edwardian three-storey house on a corner plot in a Conservation Area in Hove, East Sussex. Built in 1910 for a naval captain, the house has five bedrooms and two reception rooms What she did Keely reconfigured the rear of the building to create a spacious kitchen-diner and opened up the hallway by removing a fireplace. On the first floor, two bedrooms have been converted into a family bathroom and a dressing room, while a second floor has been created to give two more bedrooms and a bathroom.

Keely has refurbished and decorated the whole house, and made soft furnishings

Above and above right: The back garden is a generous size, thanks to the home’s corner plot; its proportions are accentuated by Keely’s dramatic, sculptural planting schemes Right: The stained-glass door and sidelights were replaced with Keely’s bespoke design and produced by Tim Gill Glass. The hallway has been widened by

removing a chimney breast and a local vintage tile specialist, Max Tansley, added handpainted floor tiles to match the existing geometric design.

Reproduction versions can be found at London Mosaic. The pink paint in the hallway above the dado rail is Plaster IV and below it is Perse Grey, both from Paint & Paper Library

Period Living 55

Above: Removing a fireplace in the hallway has created enough space for an armchair by the stairs. Keely upholstered it in her all-time favourite Hera print from Liberty. For a similar shade to that used for the radiator, try Little Greene’s Hicks Blue Right: Bay windows ensure Keely’s studio is well lit. She made the William Morris design Roman blinds Opposite: Keely spends most of her time in the

56 Period Living

kitchen-diner, which looks out onto the garden through bespoke French doors.

She used De Nimes by Farrow & Ball for the walls; the kitchen units were handmade by Alistair Fleming Design.

The vintage ceiling lights are from a factory in the Czech Republic.

Bespoke Lights sells similar designs. The DSW Eames dining chairs are from Heals and the pine flooring is a mixture of original and reclaimed boards

Edwardian Seaside Home

Period Living 57

58 Period Living

EdwardianSeaside Home

Left: The living room is painted in Dutch Orange

by Farrow & Ball. The patterned velvet sofa is in House of Hackney’s Artemis design Right: Keely bought the Bruno Mathsson Pernilla chair and footstool on Ebay and reupholstered them in Porthmeor Beach velvet from Liberty. The kidneyshaped side tables are vintage, found on Ebay

Above: The standard lamp base is an Egyptian revival design from an antiques market in Hastings, with a shade in the Artemis print. The sofa is from Jonathan Adler and the cushions are handmade in Artemis velvet from House of Hackney and Liberty fabrics. Keely says her dog paintings are of ‘a generic abstract whippet form’

60 Period Living

Edwardian Seaside Home

Left: Keely loves lilac on bedroom walls – ‘It reminds me of the scent of lavender, which is great to aid sleep.’

Here she has used Marble V by Paint & Paper Library. The threelegged bedside table is a gypsy or bobbin table, re-covered in Jeffery Rose velvet from Liberty with an antique trim.

The bedlinen is a Bloomsbury Jacquard design by Margo Selby for Habitat Below: The tiles are by Douglas Watson Studio and the wall lights, from Holloways of Ludlow, are an update of a 1950s Swedish design.

The shower screen is from Drench, the basin and stand are from Victorian Plumbing. The Persian rug is another Ebay bargain

Opposite, top left: Another of Keely’s fine armchair finds on the top landing, with the stained-glass window making the perfect backdrop Opposite, below left: The William Holland nickel freestanding bath is from Lewes Flea Market. The Victorian iron-back chair is from Ebay, restored by Keely in 1970s Hera print Liberty linen Opposite, below right: Keely was delighted to find her walnut dressing table – a Starbay Marilyn design – on Ebay. She bought the pink armchair at Ardingly Antiques Fair, and gave it a new look with William Morris’ Brer Rabbit design in linen, available from Fabrics & Papers

The thatched roof with its tiled apron keeps the indoor space cool in summer and, with the east single-storey barn, encloses the garden terrace. A pair of antique urns from Haddonstone flank the steps to the garden

Barn Renovation

LIGHT & SPACE

Space was a priority when Sophie Head began looking for a new family home, so when not just one, but three, light, bright barns presented themselves she prepared to roll up her sleeves and bring them back to life Words Celia Rufey | Photographs Jody Stewart

Above: An old granary in the corner of the garden houses outdoor furniture, and the table outside is where Daisy, Max and their friends often sit and chat in the summer Below: Pink is one of Sophie’s favourite colours and she describes this drawing room as a cosy pairing of pink with grey, echoed in the muted tones of the antique French and Swedish furniture she finds at Maison Artefact. The two Minster sofas from George Smith are upholstered in Hornbuckle Pebble

by de Le Cuona. Sophie says the Emerald side chairs from William Yeoward are the most comfortable chairs she has ever sat on, here upholstered in Diamond Watermelon

by Galbraith & Paul at Tissus d’Hélène. The coffee table in glass and Perspex was made to Sophie’s design by Carew Jones and adds the small shock of the new she likes to introduce into a room Right: Sophie loves to style summer meals outside as much as she loves sitting down at a well-laid table

Barn Renovation THE STORY

Owner Sophie Head lives here with her partner Ed and her children Daisy, 20, Max, 18, and Lara, seven. Sophie runs an interior design company (sophieheadinteriors.co.uk) and Ed is in advertising Property The three 18th-century Grade II-listed linked barns are in a Hampshire village. There are five bedrooms, four bathrooms, a banqueting hall, drawing room, kitchen, family room, utility and boot rooms, games room, studio and an additional self-contained annexe What she did Sophie renewed the wiring, heating and plumbing. She also installed two new bathrooms, and made changes to update the layout and interiors in keeping with the historic buildings. The renovation took nine months

ophie Head knew she was asking a great deal from a house when she began looking for a property in 2016.

She needed room for her interior design studio as well as to suit the different needs of her three children.

The key words were space and light and her new home also had to be a period property out of town.

Not only did she manage to meet her demanding requirements within a few weeks of searching, but she also fulfilled her dream of living in a barn.

The property was in a village Sophie loved and it comprised not one but three linked barns dating from 1793. ‘When I walked into the barns, there was the most incredible light pouring in,’ she recalls. ‘Then I noticed the beautiful beams, untouched by varnish or paint.’ In other ways the interiors of the barns, converted for living in the mid-1990s, were tired and dated, and the layout was impractical for her family. That did not trouble designer Sophie, and her offer was accepted.

The central barn of the three, known as the banqueting hall, is the star and is more than 100ft long. The other barns link to it sideways on, to enclose part of the garden of nearly an acre. Sophie knew it was an incredible space and couldn’t wait to bring it to life. The barns were in good repair but there were changes to plan for wiring, plumbing, heating and layout. The barn on the east wing was where she could introduce a wall across the section furthest from the family space to give her a spacious design studio. On the other side of the new wall she created a more formal drawing room, with the rest of this ground-floor wing taken up by bedrooms, en suites and a self-contained annexe apartment.

‘I knew a detailed lighting plan was incredibly important through all three barns,’ Sophie explains. ‘I was taking down a false ceiling in the banqueting hall so here the beams now rise to a 30ft apex and the whole space is lit from below both for efficiency and drama. I remember coming in one day when the new lighting system was being installed and surprising the electrician, who was taking time off to have fun hanging from the newly revealed beams like an Olympic athlete!’

Creating a mood board for each room is something interior designers do for themselves, not just for their clients, and Sophie included lighting and wiring requirements as well as paint colours, flooring choices and fabrics. ‘It also helped me to be creative with my budget,’ she explains. ‘I knew I wanted to allow spending on flooring and lighting as years of experience have made me realise how crucial they are to enjoying living in a house.’

The kitchen Sophie inherited was dark with a low ceiling and brown cabinets, but she decided against replacing the John Lewis of Hungerford fitted kitchen as it was well made. ‘By painting the cabinets and changing the worktop and handles I could afford to invest in a beautiful limestone floor,’ she explains. ‘Removing another intrusive low ceiling in the kitchen also revealed the full vaulted effect of the space and improved the quality of light in the room as if by magic.’

The kitchen opens into the family room where everyone gathers to eat, chat and relax, and also adjoins the banqueting hall. Besides a new lighting arrangement here, Sophie’s other investment was to lay a wood floor. ‘This room is magnificent and needed a floor that followed the theme of wood in the beams and is also practical for how we use this amazing space,’ she explains. ‘We entertain a lot as a family, including when Ed’s children come and friends visit, and if we’re having a party there’s room for dancing. In summer with the link to outdoors it becomes an extravagant garden room.’

Most of the walls are painted in a soft white.

‘It’s a wonderful backdrop for art,’ says Sophie. ‘I arrived here with a lot of large paintings and they dictated how the look of each room has developed,’ As for the furnishings, she adds, ‘I love to mix antique, vintage and contemporary pieces to add depth and interest to each room.’

Soft white, however, is not Sophie’s final word on colour. ‘Orange is my favourite colour,’ she laughs, ‘and my children’s response is to say “No way”.’ The children have had an input in the decoration of their rooms and orange has been given its special moment in Sophie’s bedroom suite. When designing for the family everyone is allowed to have their say.

Period Living 67

The banqueting hall is the middle of the three connected barns and the only one that has not been divided.

Sophie removed a false ceiling and added a floor from Natural Woodflooring. The coffee table and club chairs are by William Yeoward, the vintage French swinging hanging chair is from Maison Artefact, and the leather sofas are vintage Ralph Lauren. The abstract oil painting is

by Emma Alcock

Barn Renovation

The sofa in the family room is from The Conran Shop and the side chair is Sophie’s favourite Emerald design from William Yeoward. All cushions are covered in William Yeoward fabrics. Sophie found the driftwood coffee table at an antiques fair

Barn Renovation

Left: Sophie kept the existing kitchen but took down a false ceiling and painted the cabinets in Elephant’s Breath, and the island and stools in Rectory Red, both Farrow & Ball. The blind fabric is Cactus Flower Ruby from Christopher Farr Cloth. Limestone flooring from Artisans of Devizes introduces a warm, subtly reflective surface This image: The family room next to the kitchen is the most used space in the house. Dining chairs are a mix of vintage Arne Jacobsen and Philippe Starck Ghost chairs.

The Palm Tree and Monkey wall light is by Richard Taylor Designs and the painting, Kerala, is by Paul Treasure.

Walls are painted in Quiet White

by Papers & Paints

Above: The bedspread in the master bedroom is made from fabric Sophie bought in Sri Lanka. The drawers and chair are from Maison Artefact Top left: The Gustavian sofa came from Maison Artefact Right: A ladder over a low beam in Daisy’s room, where 72 Period Living

the chest of drawers is from Knowles & Christou, with lamps from Porta Romana Top right: The orange plaster finish in the en suite is by Will Foster Studios, using Farrow & Ball’s Charlotte’s Locks. Tiles and marble from Artisans of Devizes; fittings from CP Hart

‘The lush, abundant vine is one of the many reasons I love this house,’ says Sofia, who has created a tranquil hideaway in its trailing branches. The side terrace opens from the dining area and is simply furnished with white rattan furniture. Sofia has added floral cushions from American store Pottery Barn and Danish designer Bungalow

Traditional Swedish Home

PARADISE REGAINED Lush foliage and tropical blooms inspired the interior design and update of Sofia Gestblom’s traditional Swedish townhouse, which has been in the family for more than 50 years

Words Nicky Adams | Photographs Anne Nyblaeus/A Design Features

THE STORY

Owners Engineer and furniture designer Sofia Gestblom (lordaginterior.se) lives here with her husband Oscar, a director for a telecoms company, and their children Carl, 16, and Alice, 14 Property A five-bedroom detached home, built in 1923 in Uppsala, Sweden, with a large, well-stocked garden What they did Sofia and Oscar removed a wall to create a large family kitchen and replaced doors and windows to the rear of the house to complement the front. The house now has a living room, dining room, kitchen, library and five bedrooms, one of which serves as an office and another as a television room

78 Period Living

Traditional Swedish Home

lthough it had been in the family since 1968, Sofia Gestblom saw this handsome Swedish suburban home with new eyes when she and her husband bought it from her parents-in-law 50 years later.

‘We had lived for several years in California but decided the time was right to come home to Sweden,’ explains Sofia. ‘Before we went abroad, we had a house in Stockholm but I had always loved my husband’s childhood home in the city of Uppsala, which is close to the castle and the wonderful botanical gardens that are full of hundreds of varieties of trees and plants that I adore. I could see that this house had great potential to be transformed into a comfortable place for my family to live, surrounded by nature.’

No sooner had Sofia, her husband Oscar and their teenage children Carl and Alice arrived back in Sweden than the work began to update the family house.

‘Although it was built in 1923, part of the house was 1960s style,’ explains Sofia. ‘We removed a wall to create a much larger, modern kitchen, and also updated the windows and doors at the back to match the rest of the house and bring in more light.

Apart from that, no other building work was needed – we loved the house just as it was.’

One feature that Sofia and Oscar particularly admired was the wild vine that drapes around the terrace, and this provided the inspiration for Sofia’s interior design scheme.

‘This is a vine that doesn’t bear grapes, but it is very lush and verdant,’ says Sofia. ‘The beautiful leaves of the vine and the two large plantations of Clockwise, from top left: Sofia and Oscar’s house was built in 1923; the conservatory ‘flower room’ still has its original limestone flooring. Sofia added Morris & Co’s Fruit wallpaper and classic Swedish 1940s furniture; Sofia, pictured outside the cottage in the garden, with a basket full of

fabrics for her furniture upholstery business; the teak garden table and chairs have been in Oscar’s family for generations, and still sit in the same place on the original limestone terrace. The tablecloth is a vintage floral Himalaya fabric by Josef Frank from Svenskt Tenn

perennials we planted when we arrived, together with the tropical plants of the gardens nearby, gave me the idea to create a botanical theme inside the house as well as outside.’

Tracking down the prints and the wall coverings she had in mind to reflect her passion for plants was a very enjoyable task for Sofia.

‘Whenever I am in London I have to go to Liberty and I found a marvellous selection of botanicalinspired designs in beautiful colours that really bring the freshness of living, growing plants into our home,’ says Sofia. ‘I have used designs by Morris & Co everywhere. I was particularly delighted to find the Willow Bough fabric for the sitting room curtains and the Fruit wallpaper for the room we call “the flower room” because they really create the impression of being outside in a garden when I am warm and comfortable indoors.’

Other textiles came from classic Swedish furniture store Svenskt Tenn in Stockholm, GP & J Baker and even the Spanish designer Gaston y Daniela, but Sofia didn’t have to look too far for many of the pieces of furniture that complete the nature-inspired interior.

‘My husband’s great-grandfather and his brother founded a furniture factory called Walfrid Svenssons in 1892, which supplied furniture to stores including Svenskt Tenn,’ explains Sofia.

‘This inspired my mother-in-law to open her own shop in the little cottage in the garden, to sell antiques and English textiles that she picked up in the UK while my father-in-law was a guest professor at Sussex University. She loves English design, particularly Arts and Crafts, and sold fabric from Laura Ashley, GP & J Baker and Morris & Co. I now run the garden cottage shop and sell these pieces as well as some I design myself.’

Sofia’s design company, Lördag Interior, gives customers the opportunity to choose an item of furniture and have it upholstered in the fabric of their choice to create a bespoke piece.

‘I am an engineer by training,’ she reveals, ‘but in the US they think that everyone should start their own business and this was my chance.

I started designing upholstered stools while I was there and then began producing them when I returned to Sweden. Along the way, I have really been able to explore my creative side.’

Sofia’s pieces furnish her own home too, alongside those she has inherited, and some that have travelled halfway around the world with the family from California.

‘The interior of our home is a real mix of old and new designs, which makes it very personal to us,’ she says. ‘There are touches, such as the stools upholstered in pink velvet and the brass candlesticks, that I have designed myself. Creating my own pieces means that every corner of the house is useful and that it all flows harmoniously.’

Now home to the next generation of the family, this house has been given a new lease of life. ‘It has a soul, like old homes do,’ says Sofia. ‘We love living here, but we are just guests - the house itself will be here forever.’

Period Living 79

Views of the leafy garden are complemented by curtains in Willow Bough fabric by Morris & Co and cushions in GP & J Baker’s Magnolia, a bold floral.

The Belgian linen sofa and armchairs, and French cabinets from American store Restoration Hardware came with the family from their home in San Francisco, but the wooden chair is a Swedish heirloom from Oscar’s family’s furniture factory Walfrid Svenssons, covered in velvet by Lelievre. The coffee table is a 1940s classic by NK Möbler.

Sofia designed the stool for her company Lördag Interior and upholstered it in more Lelievre velvet. A vintage Saruk Mir Persian rug covers the original wooden floorboards

Traditional Swedish Home

Above and right: The bold, verdant leaf prints on Sofia’s kitchen blinds

by Spanish design company Gaston y Daniela look nearly as real as the living herbs, pot plants and fresh flowers on every surface. Fitting the natural theme, the Kvänum kitchen units are painted in a light greygreen and topped with Carerra Marble, while the rustic wooden Restoration Hardware Thonet table and chairs also made the journey across the Atlantic and sit beneath a characterful ceiling light made from an old Swedish ship’s lamp in beautiful, slightly battered, copper Opposite: ‘I always arrange fresh flowers for the dining room,’ says Sofia. Creating a traditionally Swedish look, Sofia’s Gustavian style chairs are matched with a new Rococo table, all from Allinwood, covered with a tablecloth by Swedish brand Chamois

82 Period Living

Traditional Swedish Home

Early-18th-century walnut and leather friar’s chair from Castile, Spain, Hispanic Antiques

News from the antiques and vintage world, from fairs to collectors’ stories

n

he fair of tAutumn 2021

uF

heralds a new era for The Northern Antiques Fair – established in 1951 – as it is relocating from Harrogate to The Garden Rooms at Tennants Auctioneers in Leyburn, North Yorkshire. Taking place from 30 September to 3 October, the event will bring together over 40 of the UK’s top dealers, offering an eclectic mix, from formal and country furniture through to objets d’art. Prices will range from £100 to five-figure sums. Entry £7.50, or register at northernfair.com for a free e-ticket.

Alnwick Brewing Company beeswax candle, £16

Shippams beeswax candle, £7, based on bottles that originally stored meat or paste

not reboR ecilA erutaeF

OLD MEETS NEW If you love antique bottles from the late 1800s to early 1900s, then you’ll appreciate Askews Candles’ pure British beeswax candles, moulded in their form. Originally containing the likes of beer, aerated water, cosmetics, and even poisons, these classic designs have been brought to life in wax.

Handmade in Darlington, County Durham, the candles are available at askewscandles.co.uk, and each one comes with a narrative about the bottle’s history.

IN FOCUS

WOODEN BUTTER STAMPS AND MOULDS With a history dating back to

Tudor times and reaching the height of popularity in the 19th century, wooden butter stamps and moulds were used to add a motif or lettering to Typical Tudor rose motif and butter. Made of close-grained entwined rose and thistle motif hardwoods such as holly, lime stamps signifying makers’ regions and, most commonly, sycamore, the stamps often featured the Cow moulds and stamps name of the farmer or a natural motif signifying the region.

These would be carved into the wood in reverse so they would come out the correct way round once the butter pat was turned out. Farmers used their stamp to help customers identify their produce - in this way they acted as an early form of trademarking.

Motifs like the thistle signposted a Scottish butter, while a Tudor rose an English one. Cows, fruit, acorns and wheat sheath prints were also commonly used; rarer Very rare examples include birds, sheep, carved bird foxes and squirrels. These ‘dairy sycamore collectibles’ are often grouped stamp Welsh butter in with general kitchenalia and spoon with come in a variety of shapes and double-sided stamp in sizes; oval ones tend to be Welsh sycamore in origin. Expect to pay from £25 upwards, with rare items costing into the hundreds. Often bought by treen collectors or for decorative use, they still do an excellent job of personalising Collection of British butter a pat of homemade butter. stamps and moulds showing Try Country Cupboard butter makers’ names Antiques in Leyburn for a good variety. (Instagram@ countrycupboardantiques) Period Living 85

Above: Books used decoratively in the home on a living room shelf Above right: Books sold by the foot, metre and colour starting at £19.99, Country House Library Below: Mixed penguin books, The Penguin Chap

DISCOVER

The Penguin Chap – specialising in Penguin books from the 1940s to the 1960s, with some as early as the 1930s, this seller regularly stocks around 500 first-edition With autumn just around the corner, Penguins, Puffins and Pelicans. thoughts turn to indoor comforts, Offering a comprehensive and so what better time to explore the well-priced selection, books wonderful world of old books? are catalogued in series, from Whether you hanker after a rare ‘Mystery and Crime’ and ‘Travel tome to read, or beautiful covers and Adventure’ to ‘Fiction’ and to use decoratively, here are three ‘Biography’, plus there’s a handy sellers we think are worth exploring. ‘Collector’s Corner’ selling bundles and singles. (thepenguinchap.com) Peter Harrington – a renowned seller specialising in sourcing and Country House Library – selling supplying the finest quality original a wide range of authors from the first editions, signed, rare and 19th and 20th centuries, with an antiquarian books, fine bindings extensive collection of beautiful and library sets. It’s one of the vintage works, first editions and leading rare book dealers in the children’s books sold by genre, world and the largest antiquarian author and publisher. In addition, it book dealer in Europe, so it sells sells highly decorative books by the thousands of fine books, from rare foot, metre, colour or pattern to inject 17th-century Shakespeare folios to seasonal or topical interest into the modern classics, such as signed home, be your taste maximalist or and inscribed Harry Potter first minimal, country house or cottage editions. (peterharrington.co.uk) core. (countryhouselibrary.co.uk)

RARE ANTIQUE BOOKAND SELLERS

WHAT’S HOT

PATCHWORK QUILTS

Alison Miley of Collectable Quilt Company offers insight into these hand-sewn gems

‘Quilts are a beautiful snapshot of time, reflecting cultural, economic and social traditions – they also chronicle the lives of those who made them. Hand-made with skill, pride and love, they are in demand throughout the year. Although it’s a global craft, the main ‘quilting’ countries are America, England, France, Ireland and Wales – I find the most popular are indigo blue and white from America, which date from the late 1880s. Prices range from £200–£2,500, and anything marked £800 plus should be an excellent piece. But this doesn’t mean a lesser value quilt is of poor quality as the standard of make is high. One of the great things about quilts is that they hold their value well, and tend to get snapped up quickly.’ (theoldcourthousegreyabbey.com/ collectable-quilt-company) 86 Period Living

A mixture of Irish, English and American patchwork, c.1800s to early 1900s

Top: Old books make a beautiful, decorative addition to a period home, Country House Library Above: Illustrated deluxe edition of The Vicar of Wakefield by Oliver Goldsmith, 1903, Adam & Charles Black, £1,000, Peter Harrington

Superb Victorian ‘crazy’ patchwork quilt, featuring wonderful ribbon work of daisies and roses on the borders Outstanding example of a ‘tumbling blocks’ patchwork quilt, c.1870, a popular design in the late 18th and early 19th centuries

EXPERT INSIGHT Antique fireplaces Nick Durrant, owner of Nostalgia Antique Fireplaces & Interiors, offers advice on investing in this key design detail

Below: A rare, large 18th-century George III statuary white marble surround, featuring panels of Sicilian jasper, with a Victorian grate

Antiques

Why should I buy an antique fireplace?

By reinstating an antique fireplace in your home you are helping to preserve and restore the period character of the property, as well as that of the fireplace. As the famous quote from William Morris goes: ‘Have nothing in your house that you do not know to be useful, or believe to be beautiful’ – an antique fireplace is both.

What properties do they suit? Antique

fireplaces aren’t just the preserve of mansions or large country homes; in the 19th century, they were the sole source of heat, and so a fireplace was installed in almost every room of a house, be it a two-up, two-down Victorian terrace or a stately home. The right choice of antique fireplace will sit well in any setting, even a contemporary home.

Above: A late Victorian painted cast-iron fireplace surround, c.1890, with an earlier 19th-century cast-iron fire insert, set on a honed black slate hearth Left: A late Victorian mahogany fireplace surround, c.1895, installed with a rare Victorian brass canopied fire basket and fender

Which style is popular? Victorian fireplaces

are the most commonly available, which is unsurprising given that the majority of period housing stock in the UK is from this era. Fire surrounds of simple form are always popular because they work well in almost any setting and don’t dictate the overall room design. Having said this, detailed tiled grates are making a resurgence as they fit well within a colourful, eclectic interior.

How can I make sure it will suit my house?

First and foremost, find a fireplace that you like the look of. While it’s important to complement your home’s design, it doesn’t necessarily need to be authentic to the period in which it was built. After all, the Victorians removed and replaced Georgian fireplaces with their ‘contemporary’ designs, then 50-60 years later the Edwardians did the same. However, do consider the scale and grandeur of a fireplace – a large, elaborate design will look out of place in a humble cottage, while a small, simple one will underwhelm in a grandly appointed room.

Is it best to buy a ready-restored fireplace?

I would recommend buying a professionally restored fireplace, not least because of the time and effort it takes to restore one yourself, but also from a safety aspect. A professionally restored fireplace comes with the reassurance that it is fit for purpose. If you do choose to buy an unrestored fireplace, carefully check for any damage or missing parts; replacement parts often cost more than the fireplace itself.

How much should I pay? As with any antique,

fireplace prices vary depending on age, size, material and quality. Small bedroom fireplaces start from as little as £200 while a grand reception room design can easily reach five figures. Fortunately, there is huge choice of designs available in between these two price points. Bear in mind a professionally restored fireplace will be more expensive than an unrestored model.

What’s your top tip for buying an antique fireplace? Find a dealer who is reputable

and knowledgeable, and can advise on the most appropriate fireplace design for your home. Provenance is also important and a good dealer will be able to tell you the age and history of the fireplace, where it came from and how it has been restored. If you intend on using your fireplace as an open or gas fire, it is essential to have it fitted by a qualified installer, who will also ensure the chimney or flue meets current regulations. nostalgia-uk.com

Above: Large castiron combination fireplace in the Art Nouveau style, c.1905, with a set of rare tube-lined fireplace tiles of the same period Period Living 87

Refl e cting onthepast

Above, from left: 19th-century Venetian mirror, £1,650, Lorfords; early 19th-century Regency period butler’s-style mirror, £2,800, 1stDibs; Victorian mahogany Hepplewhite-style cheval mirror with shaped frame and ivory turnings and finial, £595, Philip Hunt Antiques

H

Antiques Roadshow specialist Marc Allum looks into the history of mirrors and studies their design and values uman beings are acutely self-aware, so it is only natural that we should be interested in and able to recognise our own reflections. Mirrors are not just about vanity, however, they have myriad everyday, industrial and technological uses, too. Modern production methods have made mirrors cheap and they are so ubiquitous that we often pay little attention to them, seeing them as both functional items and common architectural elements. They can, though, also convey enormous symbolism and throughout history have carried the weight of many myths and legends.

All an illusion

The Romans were making glass mirrors as far back as 2,000 years ago, using reflective metals 88 Period Living

such as gold and silver to back small sheets of glass.

But it was the Venetians who, in the 16th century, perfected a process of a mercury-based amalgam that adhered to the glass. Such creations were for the wealthy only and in the following centuries mirrors were used as a symbol of status and wealth; what better example than the opulent Hall of Mirrors in the Palace of Versailles, finished in 1684.

With the advent of the silver nitrate silvering process, invented by the German chemist Justus von Liebig in 1835, mirrors were able to be produced on a larger and more industrial scale, and so became more affordable to the masses. However, our love of the mirror doesn’t stem from its purely reflective qualities, rather it is the way that it is mounted or incorporated into our homes and furniture that makes it such a versatile medium.

Antiques

Above, from left: Highly decorative early 19th-century Florentine giltwood and gesso design, £885, Regent Antiques; 20th-century composition gilt oval mirror, £950, Lorfords; 19th-century gilded overmantel with ornately carved crest and flanks, £6,850, The Old Cinema

Above, from left: Regency-style Victorian giltwood convex wall mirror, £2,850, Windsor House Antiques; 1920s Georgian-style carved walnut design, £1,600, Vinterior; 18th-century chinoiserie lacquered cushion mirror with original decoration, £2,550, Windsor House Antiques

Above, from left: Satinwood Edwardian cheval dressing mirror, inlaid with floral marquetry embellished by penwork, £3,500, Regent Antiques; 18th-century Italian Venetian rococo giltwood mirror with chinoiserie details, £4,700, 1stDibs; Victorian oval hall mirror, £350, Vinterior Period Living 89

Buying antique mirrors: what to look for

USE MIRRORS IN A DECORATIVE WAY and as a feature.

For instance, you could buy several mirrors of a similar style, such as circular convex Regency ‘butler’s mirrors’ and arrange them on a large wall to produce a startling effect. Later ‘revival’ examples are far more affordable than period items.

MIRRORS ARE OFTEN THE SUM of all their parts and it is the frame that really produces the wow factor.

As such, large gilt framed mirrors are a favourite of decorators, but a big Victorian picture frame can produce the same effect. Just add your own mirror.

LARGE PLAIN-FRAMED MIRRORS often belie the fact that they were used in a particular situation and this is the case with ‘haberdasher’s’ mirrors.

Often with plain black borders, they are usually of large proportions and date from the 19th and early 20th century. They can cost several hundred pounds even at auction.

TRENDS FOR MIXING HIGH-END kitchen design with good antiques means that advertising material has been popular for decoration. Good advertising mirrors sit well in this type of environment and are even used as decorative splashbacks.

ORIGINAL GLASS IS HIGHLY VALUED in old mirrors.

Georgian examples are prized for their degraded look and this naturally acquired ‘patination’ can make an enormous difference to the value of an 18th-century pier glass. Don’t be tempted to change the mirror because you can’t see yourself in it.

CHEVAL, FULL-LENGTH DRESSING MIRRORS were popular from the 18th century onwards, and Victorian and Edwardian examples make a good decorative feature in a bedroom or dressing room, as well as being useful for grooming purposes.

SOME STYLES ARE NATURALLY unfashionable at present and small Georgian swing-plate dressing table mirrors with a row of drawers underneath are both profuse and cheap. You can pick up a typical example at auction for under £100.

In this respect, we have to use the term ‘mirror’ as a sum of all of its parts. It is both capable of carrying great artistic interpretation with its inclusion into wider decorative elements or objects, but also of creating a sense of space and light both indoors and outdoors by introducing the art of illusion.

Which is the fairest?

Mirror can be engraved and painted, or cut and cast into virtually any shape. I have around thirty 90 Period Living

mirrors in my own home. Several are incorporated into 18th- and 19th-century furniture, such as wardrobes and dressing tables, fulfilling the common purpose of providing a place for grooming.

There is no shortage of such pieces and a trip to an auction house will offer ample choice.

Very large 18th- and 19th-century mirrors are currently en vogue and can cost several thousand pounds at retail. Many have gilt carved wood and gesso frames, some are purely moulded in gesso.

Generally, the more actual carving, the more value you can attach to them. Perennial favourites, such as Chippendale-style chinoiserie, however, always carry a premium; but beware: most are not period and stem from the continual revival and copying of styles over the centuries, particularly in the Victorian and Edwardian epochs. You will be able to find a plethora of Chippendale-style mahogany mirrors at auction.

Overmantels, too, are common and Regency revival overmantel examples with gilded gesso neoclassical friezes of chariots over three separate glass plates are highly decorative in themselves, and usually sell at around £300-£500 at auction, depending on condition. Take care, though, as some overmantels are in fact the mirror backs dissociated from old sideboards.

Narrow, tall, Georgian pier glasses, specifically designed to go between windows and over pier tables, are always sought after. The French trumeau mirror, often specifically made to hang above a fireplace, incorporates both art, often an oil painting of putti – sacred cherubs – or a bucolic scene, over a small mirror and effectively does two jobs in one. They often start at around £400 up to perhaps £2,000 at auction or retail.

Some of the most decorative and striking mirrors are the fancy Venetian examples. Usually cut and engraved and of sectional construction, they are often large and feature appliqués of glass, too, such as flowers and spiral strands. Good 19th-century examples can cost several thousand but there are also many Asian reproductions, both on the high street and at auction. Antique examples may come with an acceptable amount of damage but they are prohibitively expensive to restore. Restoration is a key issue: if a mirror is broken you are essentially just buying the frame and if you need replacement glass, a modern mirror may not sit well.

The 1920s and ’30s saw a fascination for painted chinoiserie items and among the lamps and furniture, ranging in colours from red, to blue, to cream and green, the mirrors are currently very popular and small examples topped with a pagoda and decorated in raised gesso, can cost several hundred pounds at auction.

There are many different types of ‘antique’ mirror glass now available and it is worth spending more for the right sense of age. On occasion, I have also bought very poor items of 19th-century furniture just to salvage large plate-glass mirrors for future use – a good trade tip!

Condition is important, but also very subjective.

What most people would call ‘worn out’ is a joy to

Antiques

Above, from left: Regency giltwood pier mirror with later glass, £1,760, Lorfords; George III period mahogany dressing mirror, £525, Windsor House Antiques; dating from circa 1890, overmantel with 23.5ct gold-leaf water gilding and original mirror plate, £1,550, The Old Cinema

Above, from left: Dome-topped butler’s wall mirror with rosewood frame, circa 1880, £1,545, 1stDibs; English 1950s advertising mirror for Bass beers, engraved and reverse painted, £1,150, Lorfords; 1940s Player’s Weights advertising mirror, £225, The Old Cinema

others and where the silvering on a period mirror is very poor and degraded, making it rather redundant as a mirror, this is a decorator’s dream and actually adds value.

Repurposed and recycled

As well as mirrors specifically designed for domestic interiors, there is a large market for examples from the world of advertising. In the Victorian and Edwardian periods such items were part of the vast publicity armoury that decorated shops and public houses. Not only were they decorative but they were an essential tool in promoting brands in retail interiors. They were also incorporated into shop fittings and cabinets for popular companies, such as Cadbury’s.

Large Victorian public house mirrors can sell for thousands of pounds, but I’ve seen some good fake mirrors that utilise old Victorian overmantels.

There was also a popular revival of printed advertising and Art Nouveau mirrors in the 1960s and ’70s, not to be confused with the originals.

Given that we live in an age where upcycling is prevalent, it is not unusual to see mirrors being fashioned from repurposed materials and reinvented using industrial components to make unusual decorative frames - this can be fun.

You can also do this yourself, and buying a big old Victorian picture frame at auction for just £50 and getting a mirror cut at your local glass suppliers can fill the gap where a much more expensive painting might hang.

Finally, if it is fun you are after, why not buy a distorting fairground mirror? More popular than ever, originals are highly collectable and can be worth several hundred pounds at least. Probably best not to look at yourself in one before you go out for the evening, though.

Period Living 91

Discover the latest products to improve your period home and pick up top tips from industry experts

illusion d the ransmallestTransforming room into a relaxing

G

A LIGHT TOUCH Bespoke kitchen brand Devol has added a mini wall light to its classic creamware range.

The dainty shade is handcrafted from earthenware clay, before being handpainted and fired with a glass-like glaze that subtly crazes over time for an authentic vintage look. The shade is married to the elegant brass lampholder by a sweeping swan neck, giving the piece a truly timeless style.

Priced at £200.

sanctuary often requires a touch of ingenuity. While this sounds like the heralding of many compromises, Drummonds’ new Regent design means this is not the case when adding a cast-iron bath. Created to be a more compact version of its iconic Meon roll-top, it features a smaller footprint of W73xL152cm, but with a generous interior for luxuriating after a busy day. Plus, its elegant skirt means the plumbing can be installed above the floor, further saving space. Featured here in Farrow & Ball’s Radicchio, the Regent costs from £3,570.

A BRIEF HISTORY OF…

ELECTRIC DOORBELLS

srevO haraS snoitartsullI yenaeR ylloH erutaeF

The modern answer to the door knocker, electric doorbells were an instant symbol of wealth. Before visitors even passed over the threshold they knew the house was connected to electricity – which when first introduced was the ultimate emblem of affluence. An American invention, the doorbell was created in 1831 by Joseph Henry, the first secretary of the Smithsonian Institution. However, the design only became widespread in the early 1910s, alongside the increased electrification of homes, which reached its peak in the 1930s with the creation of the National Grid. This did away with the need for expensive batteries, making doorbells more affordable. It was also in the 1930s that other, more musical chimes, replaced the buzzer noise that had characterised the doorbell up until that point.

Period Living 93

Chesterton white ceramic lever concealed shower valve, from £745

BESPOKE BRASS Luxury heating company Rutland Radiators has unveiled its new sister company, Rutland London, and launched its first range of brassware. Designed to complement its heated towel rails, the collection features myriad tap and shower designs, available across 20 beautiful finishes.

Rutland hand-makes each piece of brassware to order, which means the design can be customised to specific requirements while reducing the quantity of waste created in the production process.

Crosshead bath/shower mixer, from £1,049

WORDS OF WISDOM Dean Horsley, director at Cheshire Oak

Structures, explains the key considerations when building a garden addition in oak ‘Oak is one of the most revered building materials, and for good reason. Full of character and beauty, durable, strong, and resistant to rot and decay, it is the perfect complement to a period home.

‘If you need more space but don’t want to – or can’t – extend your home, then an oak-frame garden building could be the perfect solution. Whether you want to create a place for guests to stay, a home office, or somewhere to dine alfresco, an oak-frame building can be designed specifically to suit your needs.

‘Alternatively, an oak-frame garage is a thing of beauty in its own right, perfect for giving valuable protection to classic cars.

Carports, meanwhile, are a more flexible option, ideal for extending the life of your vehicle by protecting it from ice and frost.

der the sea n U Each year, more than

100,000 marine life are killed as a result of abandoned fishing nets.

Flooring Superstore’s new Serene carpet collection aims to remove these nets from the depths of the sea and give them a new life as luxurious floor coverings. Neptune (with a 9mm pile height) and Poseidon (12.5mm pile height) are both Saxony cut-pile carpets crafted from Econyl, a unique yarn made from recycled nylon nets. The Serene range also goes a step further, with a textile backing manufactured from recycled plastic bottles.

Sustainability doesn’t mean a compromise on quality, as the carpets are soft yet highly durable, suitable for even the busiest rooms of the home, and come with a 20-year warranty.

‘Building in oak is a true art form and has not really changed since medieval times. Be sure to select a company that gives the material the respect it deserves – using traditional mortise and tenon joints and securing the frame with oak draw pegs ensures your addition will last a lifetime and complement the heritage of your home. You can further add character to your oak-frame building with wooden cladding, heritage bricks, ironmongery and roofing materials. Cedar shingles are a favourite with outdoor living structures as they allow for a low roof pitch, meaning the roof has less of a visual impact and helps the structure blend into the garden.

‘Each piece of oak is unique and its distinct character continues to improve as your building naturally weathers and ages to seamlessly blend into its surroundings.

For this reason, oak-frame buildings are viewed extremely favourably by planning departments, even if the property is listed or the site is in a Conservation Area.’

Left: Neptune carpet in Valley Shore Below: Poseidon carpet in Seabound, both £49.99 per m2

ASK THE EXPERT Douglas Kent, technical and research director at the Society for the Protection of Ancient Buildings (SPAB), answers your renovation queries

you advise on how to Qaren’tCould deal with damp patches? They at floor level and I think might be caused due to issues with the external walls.

In order to treat a dampness problem in a building effectively, it is important to accurately identify the cause and then, ideally, to treat it. Different forms of dampness will require different solutions to treat.

Start by looking for an obvious cause of dampness. You mention that you suspect problems with

I discard old timber QpoorShould sash windows that are in working order?

Old windows can contribute immeasurably to the special interest of a building but are often destroyed unnecessarily when simple overhauling or repair is possible instead. Work frequently involves replacing broken sash cords that prevent the window from opening or shutting properly. It may also entail refixing or renewing staff beads and parting beads (baton rods) used to position the sashes within their frame.

Other work required might be the repair of worn or grooved stiles that permit too much lateral movement, and the easing and adjusting of pulleys to ensure good operation. Be sure to seek out a good firm that specialises in such work.

If you have a renovation question for Douglas, email periodliving@futurenet.com*

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the external walls so I suggest you start by looking outside for signs of rainwater penetration.

It could be caused by overflowing rainwater goods, so be sure to take a look when it’s raining.

Not infrequently, the cause may be less obvious and in many cases additional factors may be compounding a moisture issue, not least the use of inappropriate materials on older buildings; for example, non-breathable cement mortar, and standard modern plaster and paint.

You may also need to seek professional advice. This should be obtained separately from quotations for work to address the dampness, to avoid vested commercial interests giving rise to recommendations to carry out more measures than are necessary. Free surveys are also best avoided. The SPAB can suggest the names of chartered building surveyors and other appropriately qualified dampness specialists over its free helpline (run Monday to Friday 9.30am to 12.30pm on 020 7456 0916).

Advertorial

Replacingyour wooden windows A Upgrade your period home with beautiful timber windows from The Sash Window Workshop

re your windows rotten or in an irreparable condition? It may be time to replace them with authentic new designs. When choosing windows, it is vital to ensure that they improve both the look and feel of your period home.

CONSIDER ENERGY EFFICIENCY New windows should be manufactured to be as energy efficient as possible. Assuming planning permission allows, double-glazed windows can make a big difference to the warmth of your home.

The Sash Window Workshop crafts all of its new windows in-house. New windows are double glazed as standard (where permitted), and draught-proofed during installation.

NEW SASHES INTO THE EXISTING FRAME If your window frames are in a good condition, you may be able to replace just the moving parts.

This offers several benefits, including reducing the cost and disruption of the project.

Right: New Accoya casement sashes crafted and installed into the existing window frames by The Sash Window Workshop. Price on application Below: Accoya 4-over-1 bay sash window with new sashes manufactured and installed into existing window frames.

Price available on application

WHY CHOOSE TIMBER? Replacement windows can make a big difference to the kerb appeal of your property; therefore, it is important to ensure they are period appropriate and suit the style of your home.

Don’t be misled into thinking that timber windows can’t offer the same benefits as other materials. They can still be double glazed, and windows made in durable Accoya, the timber that The Sash Window Workshop uses as standard, come with a 50-year anti-rot guarantee.

TRUSTED BY HOMEOWNERS AND VETTED

BY INDEPENDENT ORGANISATIONS It is important to ensure that any work is conducted by qualified craftspeople who have experience of working on period homes. This September, The Sash Window Workshop is celebrating its seventh year of being a Which?

Trusted Trader. Endorsed by Which?, Trusted Traders undergo rigorous yearly assessments and reference checks to ensure they provide top-quality products and service.

Established in 1994, The Sash Window Workshop specialises in the replacement of timber windows and has extensive experience of working with period properties. To obtain a quotation, contact 01344 868668; sashwindow.com.

Right: Traditional sash windows manufactured and installed by The Sash Window Workshop. Price on application

Softlyframed Dress your windows with our pick of beautiful curtains – from romantic cottage styles to pared-back, practical designs

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PATTERN PLAY Above: As private spaces, bedrooms offer a fantastic outlet to unleash your creativity, and curtains are perfect for adding bold pattern.

In a stunning autumnal palette, these Harlequin Flores curtains in Rust/Ruby/Nordic Blue, from £462 at Thomas Sanderson, add warmth and character to the room.

The hardwearing linen-blend fabric can also be used for upholstery or to create matching cushions, and features abstract watercolour florals for an artistic edge.

98 Period Living

SHORT AND SWEET Right: While for larger openings, floor-length curtains tend to work best, for small, cottage-style windows, cill-length curtains will look more in proportion. These pretty curtains are made in Moonflower linen in Reverse Smokey Blue, £62 per m from Susie Watson Designs, and finished with a Pom Pom trim in Light Beech and Ivory, £15 per m, for a playful touch. They are paired with a handmade weathered reeded curtain pole, from £195, which beautifully completes the look.

Curtains

DOUBLING UP Layering curtains and blinds is a flexible solution that offers greater control over both light and privacy levels. To prevent the look from overwhelming, pair a patterned fabric with a single block colour in complementary tones. These pretty pleated curtains are made in Sanderson’s Mauritius fabric in Fire and Coral, £49 per m, which is adapted from an early 19th-century design. The curtains softly frame Roman blinds in Tuscany fabric in Coral, £26 per m.

Period Living 99

WARMLY DRESSED Right: Wool curtains offer a cosy, classic look that is perfect for country homes. They look particularly striking in solid block colours, and are a popular choice for tartan prints, such as this Moorland II Glen Derry wool in Pink, £39.95 per m from Moon. Wool is a thick, heavy fabric so hangs beautifully and also improves insulation levels when the curtains are drawn, making it ideal for dressing original single-glazed windows.

SEAT WITH A VIEW Left: Create a cosy spot to curl up with a book by adding floor-length curtains to a window seat. These pretty curtains, made from Vanessa Arbuthnott’s Herbaceous Border Detail fabric in Soft Raspberry/ Pigeon/Lettuce/Charcoal, pair perfectly with the window seat cushion in her Dainty Daisy fabric in Soft Raspberry, both £57 per m.

The neat painted wood pelmet ties the look together, and is a good idea if you don’t like poles on show.

MAKING AN ENTRANCE Right: If you have an original door that lets in draughts, then a curtain will improve comfort and energy efficiency while making an attractive feature. This dainty floral curtain, made in Mathilde herringbone linen in Rose and Thyme on Cream, £85 per m, from Peony & Sage, features a ruffle top, and is at a length that pools on the floor for a soft, romantic look.

100 Period Living

Which curtain header style?

PINCH PLEATS feature sewn-in folds at the top,

for a traditional tailored look, and work with either poles or tracks. The pleats can either be double or triple, depending on the number of pleats that are sewn together.

PENCIL PLEATS are the most common type of header, and offer a relaxed look with a tightly gathered header and flowing fabric. They work with both poles and tracks.

COTTAGE PLEAT CURTAINS feature short, narrow pleats for a soft and less defined gathering. This type of header is suitable for smaller windows, and works well with pelmets.

EYELET CURTAINS are characterised by headings with equally spaced metal rings that create soft, uniform waves. They only work with poles.

TAB TOP CURTAINS feature a series of fabric loops that run over the curtain pole, instead of relying on rings. They work beautifully with sheer fabrics and are easy to hang.

RUFFLE TOPS create a soft, romantic feel that’s perfect for cottages and country homes. To achieve the look, the pleats are sewn at a lower height than typical curtains, which creates a gathered ruff or frill along the top heading.

Curtains

GO WITH THE CURVE Above: Bay windows are beloved features of period homes, and while curtains will beautifully accentuate their shape, they can be tricky to get right. First, your choice of pole or track is key – either invest in a bespoke design made to fit the shape of your window, fit smaller poles to cover different sections, or opt for a bendable curtain track that will perfectly follow the curve of the window. Here, stunning block-coloured Flax curtains in Sunset, £39 per m from Stitched, create a striking contrast to the elegant window.

The fabric is made from a combination of sustainable wool and flax, which has naturally strong fibres, and is a breathable material that improves with age.

A LIGHT TOUCH Right: Sheer curtains create a delicate window dressing with a soft, sophisticated look. Ideal for overlooked rooms at street level, light fabrics, such as voile or linen allow in diffused light while maintaining privacy when closed.

As they filter the glare from the sun, they also help to protect antique furniture and artwork. These Cream linen curtains, £89 from Piglet in Bed, are effortlessly elegant and will remain looking good for years to come. When paired with French or patio doors, they would also create a seamless transition between indoors and out.

PLEATED PERFECTION Left: Eyelet curtains are one of the most popular heading choices, and offer a more modern, pared-back look. They create neat, uniform pleats, which beautifully showcase heavier fabrics such as wool, allowing them to fall in deep folds.

As well as their elegant aesthetics, eyelet curtains are also a practical choice as their pole and ring design means they run more smoothly than on tracks. These blackout lined eyelet curtains in Aurea Red cost £30 per m from Loom & Last.

Curtains

CLASSIC ELEGANCE Below: Pelmets are a stylish way to conceal the top of windows, and create a more structured, traditional look in period homes. They can be custom-made using your chosen fabric, or can alternatively be made using wood painted to match the walls. These curtains are made in Eloise fabric in Ivory and Green, £76 per m, Colefax & Fowler.

FRINGE BENEFIT Right: Adding trims to curtains gives a handcrafted and personalised look, and can be a great way of revitalising existing window dressings. ‘Trimmings can really help frame the drop of a curtain or finish the bottom of a blind beautifully,’ says designer Kate Forman.

‘Not only does it add another layer of colour and interest but also, by adding this small but important detail, a far greater impact can be made.’ There are a range of fabric trimming styles to choose from, such as block fringes, pilot braids, pom poms, and beads.

These curtains are made in Antoinette fabric in pink, £90 per m, with Fan Edge trimming in red, £25 per m, both Kate Forman.

Period Living 103

Measuring up

TYING IT TOGETHER Above: Tiebacks are a versatile addition that can be used to fully draw the curtains away from the window, maximising the amount of light in the room, or allow them to be partially opened for a softer look. These pretty curtains are made in Molly Mahon’s Strawberry fabric in Copper, £181 per m, and

are finished with a frilly heading for a romantic feel. For a more subtle approach, use tiebacks in a matching fabric, or make a feature of them with a contrasting colour. For similar orange tiebacks, try the Victoria tieback, £10 from Dekoria. Alternatively, for a more understated look, opt for metal tieback hooks.

Rachel Rose, senior interior designer at Susan Watson Designs, shares expert advice on how to measure for curtains and the main considerations ‘When I am measuring for curtains, I first look at the window to see how they could be hung – for example, is there enough space to fit a pole or do I need to look at an alternative system?

‘Where possible the curtains should be full length and break slightly onto the floor by a couple of centimetres. If there is lots of space above the window, I fit the pole at least halfway between the ceiling and the top of the window. This is definitely a good idea if the window is small as it adds height to the room and makes the window appear bigger.

If there is a window seat or large radiator below the window that does not allow for full-length working curtains, I recommend using full-length dress curtains with a blind for privacy.

‘In cottages, the window size sometimes only allows for a shorter drop, so I try to make the finished length of the curtains sit at least 10cm below the windowsill. If there is a radiator below the window, where possible I would finish the curtains halfway between the radiator and the bottom of the windowsill.

‘I would always suggest extending the pole by at least 20cm either side of the window, and more for wider windows. This allows for the opened curtains to stack back clear of the window. It looks lovely if the leading edges of the curtains just slightly cover the window frame when open.

‘Finally, when choosing a diameter of pole I always follow the simple rule that the higher the pole will be fitted, and the longer the drop, the larger diameter of pole should be used to make sure the pole-to-curtain ratio is correct.’

SLEEP EASY Left: Blackout curtains comprise a dense lining material that blocks out natural light, making them ideal for bedrooms as they aid restful sleep. The lining can be used with almost any non-sheer curtain fabric, so doesn’t impact on style.

With a luxuriously velvety feel and shimmering gold finish, Hillarys’ Dusk Brass curtains, from £163, add a glamorous feel to this atmospheric space.

104 Period Living

Warm&cosy

Stoves

Create the perfect ambience for snuggling up on cold autumn nights, with an efficient new stove Feature Holly Reaney

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ith the mercury starting to drop, it is time to make sure your home is ready for autumn and winter, and to create a haven from the cold.Thick rugs, woollen blankets, flickering candles and a hot chocolate will all go a long way to creating a cosy atmosphere, but nothing makes a warm welcome quite like a stove. With the strike of a match or flick of a switch, it instantly transforms any space from cold and uninviting into the heart of your home.

Whether wood-burning, multi-fuel, gas or electric, your stove will have everyone gravitating towards its glow. Pets will bask in the warmth of the hearth, while you relax on the sofa, captivated by the dancing flames.

Furthermore, if you pick the right design and fuel type, a stove can also be one of the most sustainable ways to heat your home, especially when compared to open fires, so you don’t need to worry about the environmental impact of your seasonal sanctuary.

Salisbury 5 wood-burning stove, from £1,350, Chesneys Period Living 107

Do I need a chimney?

Fitting a new stove will be a lot simpler if you have a fireplace with a functional chimney or flue already in place. There are two main classifications of flue found in period homes. Class one typically covers traditional brick-built chimneys with a diameter of at least 7 inches; in theory these work with stoves of all fuel types, including coal and wood. Class two flues are usually prefabricated, and in older homes they may be used to line an existing chimney – look for a metal cowl on the roof. They have a narrower diameter of 5 inches, which limits the amount of fumes they can carry, making them only suitable for gas stoves. A chimney sweep can advise on the type of chimney and how best to proceed. If you are opening a previously boarded chimney, it is likely to need maintenance before a stove can be fitted, and no matter the style of chimney or fire, it is best to add a chimney liner to improve safety.

If you don’t already have a chimney, then don’t worry as it is not essential for installing a stove.

However, you will likely need a flue. Although some stoves do not require one – namely ‘flueless’ gas

Soapstone 856T wood-burning stove with log box base door, £2,455, Contura

What size do I need?

To ensure the stove provides the right level of heat, it is important you calculate the output required for your room. To do this, measure the volume of the space in cubic metres, then divide by 14. This will give you the necessary heat output figure – usually between 4-15kW – to help inform your purchase.

models, electric and gel – having a flue will drastically increase your options both in terms of the stove’s design and fuel type. Typically, flues are placed inside the chimney, but can also go through your roof or through a wall. A flue that goes through the wall can be almost invisible when the stove is fitted, although may be visible from the exterior.

Alternatively, a flue that goes through the roof can be left exposed, which is popular in homes with a more industrial edge, or it can be boxed in and paired with a mantelpiece for a traditional look.

How should I power my stove?

There are three main fuel types used for stoves. As a carbon-neutral fuel, wood is the most eco-friendly choice. However, for a clean burn it is vital that the wood has a low moisture content. Kiln-dried logs are widely available, and are often labelled ‘ready to burn’. But fresh green wood needs to dry out before Hoxton 7 wood-burning stove on low pedestal, £2,474, Arada Stoves

Herald inglenook wood-burning stove with high canopy, £1,794, Hunter Stoves

108 Period Living

Stoves Pioneer oven wood-burning stove with warming oven and hotplate, from £1,926, Clearview 6143 woodburning stove with log storage, £1,799, Morsø

use. Since 1 May, the purchase of small volumes of wet wood, with a moisture content above 20 per cent, is illegal, while large quantities must be sold with advice on how to dry it. This can take at least a year.

Gas is a good choice for homeowners that don’t need to rely heavily on a stove for heat but who still want a warming focal point to the room. It is also the tidiest option, and is convenient and controllable. However, gas is non-renewable and does release small amounts of CO2 into your home.

Finally, coal is an energy-dense fuel choice, yet it is one of the most polluting. As of 1 May, the sale of prepacked traditional house coal has been banned, in favour of coal with low sulphur content and reduced smoke emissions. Although, loose coal can still be delivered by approved merchants until May 2023.

Alternative fuel types

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ELECTRIC STOVES capture the ambience of a stove without the need for a flue or ventilation system.

However, the flames are not usually very realistic.

BRIQUETTE OR HEAT LOGS are made from wood byproducts like sawdust and offcuts that would have otherwise been sent to landfill. A popular source is the sawdust extracted when making dust-free pet bedding. The wood is then compressed together so

Chesterfield 5 gas stove, £1,779, Gazco

Maintenance checklist

Cranmore 5 wood-burning stove, from £1,700, Charnwood

l Inspect your stove weekly when in use. lRegularly empty the ash pan to prevent any

build-up of hot ash distorting the grate. l Make sure the door seals effectively, and replace the rope seal when needed as this limits airflow and prevents fuel burning too fast. l Clean the baffle plate to avoid it becoming full and blocking the flue. l Test carbon monoxide and smoke alarms at least once a month and change batteries every six months.

the fibres bind. Briquettes have a high energy content, so you need to burn fewer than conventional logs and they also require less storage space.

COFFEE LOGS are made from recycled coffee grounds – each log is made from the grounds of 25 cups of coffee. Highly efficient, they have a moisture content of 10 per cent and burn 20 per cent hotter and longer than kiln-dried wood. Coffee logs are one of the most sustainable options but are more expensive than other fuel types.

PELLETS are small in size and made from waste wood and grass. They emit very little pollution but you do need a specific pellet stove.

BIOETHANOL originates from crops and so is a renewable fuel source. When burnt it produces a real flame and efficient heat output for up to seven hours. It needs to be burnt in a specific stove but these don’t require a chimney or flue.

Can my stove heat the whole house?

There is a growing desire to make our homes more environmentally friendly. A proposed ban of gas boilers from all new homes by 2025 aims to replace

them with more sustainable alternatives. While this would not impact period homes, changes such as these are worth keeping in mind when renovating, as gas boilers may be phased out of all homes in the future. Wood-burning stoves provide a sustainable way to heat your home but their impact is usually limited to the room in which they are installed.

However, by installing a stove with a back boiler, it will also be able to heat water and power radiators.

‘A boiler stove will significantly reduce CO2 emissions produced from heating and will reduce reliance upon oil and LPG for off-grid properties,’ explains Jon Butterworth, director at Arada Stoves.

‘For example, a 25kw boiler stove can heat up to 25 radiators, produce hot water and heat the room it is located in. Boiler stoves offer a cost-effective and low-carbon way of introducing a renewable heating source into any existing heating system.’

Mendip Stoves Churchill 5 multi-fuel stove, from £1,192, Eurostove

6kW Phoenix Fireblaze Eco Convector multi-fuel stove, from £1,858, Woodwarm Stoves

Stoves Short Penguin Eco 5kW multi-fuel stove in Polar Bear Belly, £1,285, Chilli Penguin Off-grid, portal Go Adventure 5 wood-burning stove, £2,284, Charlton & Jenrick

SUSTAINABLE UPDATE

Erica Malkin from the Stove Industry Alliance (SIA) answers your questions about the new Ecodesign regulations coming into place next year

Q

What changes are happening?

Q

What does ‘Ecodesign Ready’ mean and how do I know if a stove will comply with the new rules?

Ecodesign Regulations come into force for solid-fuel heating appliances on 1 January 2022.

Appliances manufactured after this date will need to comply with new rules, which will see the minimum requirements for appliance efficiency rise from 65 to 75 per cent, and the permitted carbon monoxide emissions reduce by 88 per cent. The rules also set emission limits for particulate matter, organic gaseous compounds and nitrogen oxides.

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The term ‘Ecodesign Ready’ indicates that a stove meets the requirements of the regulations. Some manufacturers will specify this in the descriptions of their products or through a scheme such as SIA Ecodesign Ready, which was launched in 2017.

In August 2020, the SIA launched the clearSkies certification mark, an independently administered scheme that indicates which stoves comply with both Ecodesign and smoke control requirements.

It also highlights which appliances go beyond the requirements of the 2022 regulations in terms of even greater efficiency and lower emissions.

Q

If a stove is clearSkies certified, does it mean it’s also DEFRA-exempt?

The clearSkies scheme is the only appliance certification scheme that combines verification of Ecodesign compliance and DEFRA exemption into one easy-to-understand mark. All clearSkies

Level 3 and above appliances can be used to legally burn wood in a Smoke Control Area because the DEFRA exemption certification has been checked by the scheme administrator.

Q

Should I replace my existing fire or stove with an Ecodesign Ready design?

If you are currently burning wood on an open fire, then you should definitely consider upgrading to a more sustainable wood-burning stove. Open fires are the least efficient and most polluting way to burn wood for heat – 80 per cent of the heat from an open fire escapes up the chimney. By switching to a stove, especially an Ecodesign Ready product, you will be reducing particulate matter emissions by up to 90 per cent.

If you have a stove that is over 10 years old it is also worth considering upgrading. Stove technology has seen rapid developments in recent years and the latest models can reduce emissions by up to 80 per cent compared to a stove that is over a decade old.

Q

Will I use more logs on an Ecodesign stove?

No, you will in fact use fewer logs to produce the same amount of heat. For example, 16 logs burnt on an open fire provide the same heat output as six logs burnt on an older stove and five on a new Ecodesign Ready stove. Not only is this great news for the environment, it is good for your pocket, too. It is also worth noting that the quality of the wood fuel used plays a critical role in ensuring the maximum efficiency and minimum emissions of your stove.

If your central heating is thermostatically controlled, then the heat that your stove produces could replace part or all of your central heating needs, further reducing your carbon emissions.

Period Living 111

Competition

Win a Contura wood-burning stove

E

Get your home ready for autumn with this fabulous prize, worth up to £1,995

urope’s leading wood-burning stove manufacturer, Contura, is offering Period Living readers the chance to win a stove worth up to £1,995.

Designed and assembled in Markaryd, Sweden, Contura stoves are known for their timeless design, efficiency and high quality. One lucky winner will be able to choose a stove that adds rustic style and cosiness to their home.

For those with an existing fireplace, the Contura i7 cassette stove can be inserted for a classic look to brighten up any home.

Those wanting to add a touch of warmth with a more traditional design can opt for the freestanding Contura i5L – with shorter legs and the largest possible glass surface, offering an optimum view of the

flames; perfect for meditative evenings spent curled up in front of the fire.

Contura stoves are DEFRA Clean Air Act Exempt, meaning they are approved for installation in Smoke Controlled Areas.

They are also certified Ecodesign-Ready to meet all future stove requirements.

A wood-burner reduces particulate emissions by up to 90 per cent compared to a traditional open fireplace. Not only that, but the superior design of the Contura heat chamber means greater efficiency; two logs will burn for up to an hour in the stove, compared to only 15 minutes on an open fire; and while 80 per cent of the heat generated by an open fire escapes up the chimney, 80 per cent of the heat generated by a woodburning stove is radiated into the room.

HOW TO ENTER One lucky Period Living reader will win a beautiful Contura wood-burning stove, from a choice of designs, up to the value of £1,995*. For your chance to win this great prize, visit homesandgardens.com/ contura-competition and answer the following question: How long will two logs burn for in a Contura woodburning stove?

☛ Up to an hour ☛ 30 minutes ☛ 15 minutes

Terms and conditions: One winner will receive £1,995 worth of vouchers redeemable on select Contura stove models. If the stove model selected falls below £1,995 value, the difference will be invalid (not paid as a refund by Contura). The winner is responsible for installation of the stove and all associated installation/labour costs, delivery costs, logs, works to the flue/chimney and any additional features. For full terms and conditions, see homesandgardens.com/contura-competition. Competition closes midnight 11 October 2021.

Period Living 113

Turn uptheheat

Dating back to the Victorian era, radiators have become a vital part of our homes today.

Follow our buying advice, and discover the best designs to suit your period property Feature Holly Reaney

Antique Rococo cast-iron radiator in Anthracite, £820, Vintage Cast Iron Radiators

Classic radiator in Flame Red, from £521, Bisque

Rococo III 470 cast-iron radiator in Natural Pewter, from £491, Castrads

Ancona vertical bench seat, from £1,093, The Radiator Company

Narrow Eton 10-column radiator in Buttermilk, £402, Carron

Turin cast-iron radiator in Highlight Polish, from £234.99, Trads 114 Period Living

Oxford cast-iron radiator in Farrow & Ball’s Stiffkey Blue, from £880, Paladin

Pop six-colour resin surface radiator, from £4,987, Eskimo x Mirrl

W

Radiators

hether you are drawn to the classic elegance of column radiators or want to make a design statement, to keep your home toasty you must consider the materials and size of radiators, as well as the performance of the central heating system.

What material is best?

CAST-IRON column radiators are a timeless option.

Although they are heavy and take a while to warm up, they are good at retaining heat. Smaller models can achieve the same heat output as larger steel designs.

STEEL is the most popular material for radiators due to its light weight, responsiveness and design versatility.

It can be crafted into myriad shapes and finished in any colour or different effects. Stainless steel is more premium than mild steel, and will likely last longer.

ALUMINIUM is more efficient at conducting heat than steel, and is easily recyclable, making it sustainable.

However, it is not as strong or flexible, which limits the design options available for radiators.

Which type of radiator?

Hamlet towel radiator in Antique Bronze, £704, Vogue

COLUMN radiators are ideal for Victorian and Edwardian properties, and can either be simple school style or moulded with ornate designs. They come in a choice of finishes or can be painted in your preferred colour.

SALVAGED cast-iron column radiators add an authentic touch to a period home. They need cleaning, testing and their fittings updated to be compatible with modern heating systems, so purchase from a specialist supplier.

PANEL radiators are the most common type, and are very cost effective. They are usually white and, although not period-appropriate can work well in less-visible areas.

FLAT PANEL radiators, which don’t have grooves, are more minimalist and can blend into a neutral room scheme.

DESIGNER radiators have a contemporary edge, whether designed to fit in awkward spaces or camouflaged as mirrors, blackboards or artwork.

VERTICAL radiators are tall and narrow, which makes them ideal for rooms with limited wall space.

TOWEL radiators, as their name suggests, are designed for use in the bathroom to hang and warm towels.

How big does it need to be?

Cove vertical mirror radiator in Anthracite, from £348, DQ Heating

It’s important to buy the right size radiator to ensure that you aren’t cold or overheating. This is impacted by the size of the room, insulation levels and the heat output of the radiator in BTUs (British Thermal Units).

A heating engineer can work this out for you, but you can do a simple calculation yourself using the online heat output calculator at theradiatorcompany.co.uk.

Should I upgrade my boiler?

If your boiler is more than 10 years old, then updating it can make a huge difference to your radiators’ output and efficiency. Ask a heating engineer to help you decide whether a combi or system boiler is best for your home.

Ensure that your boiler gets serviced annually and that you have a working carbon monoxide detector.

The right valves will also aid efficiency, allowing you to control each individual radiator. Choose manual or smart valves, which are controlled over Wi-Fi. Valves will also impact your radiator’s appearance, so choose in-keeping designs that complement your décor.

Period Living 115

j Be inspired by the stories behind two DIY home renovations

Green and pleasant Victoria Miller explains how she and husband

Dene returned the character to their dilapidated flat with a stunning kitchen renovation Tell us about the property It is a split-level, top-floor

flat in a Victorian house in Maida Vale, London.

Dene found it online and booked a viewing. I hadn’t seen the photos before I turned up so it was a total surprise. It was in appalling condition and needed completely gutting, but I instantly loved it. The more dilapidated a property is, the easier it is to see its potential. What really sold it to us was the large private roof terrace on the top floor.

Did you purchase it with the aim of it being a project?

Yes, there is no way we could have lived in it as it was. As soon as we got home from the viewing, I printed off the floorplans and started to move things around to see if it could work for us. Our contractors started the day after we got the keys.

Right: The old kitchen was very small and one of its walls was taken up by a large 1970s-style serving hatch, which connected the kitchen and living space.

Victoria and Dene decided to remove this wall and create an open-plan kitchen-living area that would create the heart of their home

BEFORE

What was the kitchen like before the renovation? It was

Left: The flat’s original features had been removed by previous owners, so Victoria and Dene tried to reintroduce as many as possible, from the coving around the ceiling to the herringbone wood floor

a tiny room, with a large 1970s hatch on one wall, white laminate cupboards and a black laminate worktop; there was never a question of it staying.

We were gutting and remodelling the entire property, so it was one of the first things to go.

We removed, or moved, all of the walls on the top level of the flat in order to create a large, open-plan kitchen-living space, perfect for entertaining.

When did you design the kitchen? We chose bespoke kitchen brand Devol, and as soon as we had paid the deposit on the flat, we sat down with the designers to plan the kitchen. However, we didn’t have it installed until a year after we moved in as we spent a long time finalising the details.

What were your plans for the space? Since the kitchen

and lounge are open plan, we wanted the kitchen to be a striking feature, but we needed to ‘zone’ it so that it didn’t feel like you were sitting in the kitchen when relaxing on the sofa. I agonised over the appliances – I knew that I did not want an extractor fan on the wall, or handles on the ovens, 116 Period Living

DURING

Renovation as I felt that both of those things would distract the eye from the features we wanted to highlight, like the marble splashbacks.

What drew you to Shaker-style cabinetry? We wanted

AFTER This page: The L-shaped kitchen features deep green cabinetry, against which the marble worktop and splashback sing. Gold accents complete the look and include a boiling water tap, which was a must-have for Victoria. It sits alongside Devol’s Ionian tap in Aged Brass

AFTER AFTER

a timeless design that would look as good in ten years’ time as it does today, and Shaker-style was the answer. Originally, we planned to have black cabinets, but once we had lived in the property for a while we knew it wasn’t the right choice as it would be too dark. That is when we settled on green. Although it seems like a bold choice, green is reasonably neutral. It can be paired with almost any colour and works well with warm metallics and natural materials such as marble and wood.

What was the biggest decision? It sounds silly, but the colour. We tested 25 different greens before we came to a decision on this shade, which Devol mixed for us. It’s based on Farrow & Ball’s Duck Green.

How did you overcome the challenge of the small space?

The whole flat is only about 900 square feet so it was all about maximising the space. I took a Tipp-Ex pen to the floorplan and removed all the walls in the kitchen and living room to see what the space would be like if it was completely open plan.

Having done that on paper, we decided to bring it to life. We removed the old hot water tank and airing cupboard, and also got rid of the doorways to create a much larger open-plan living area. To further maximise storage options, we used the smaller leg of the ‘L’ to house a slimline dishwasher, sink and integrated bins. This means that, aside from the ovens and the fridge, the remainder of the space is available for storage.

Tell us a bit about the kitchen flooring? It is a lovely

engineered oak herringbone. This was a real splurge but it is one of my favourite things.

How much did your home’s heritage influence your design?

It heavily influenced our design choices. Sadly, over the years, all of the original features had been stripped out. We are lucky to have a wonderful neighbour who owns the house next door and was kind enough to show us around. This meant we saw all of the original features that should have been in our property. We have sought to reinstate as many as possible, such as the coving and woodwork. loveD )egap siht( segamI yenaeR ylloH erutaeF

Were there any must-have purchases? The sockets and switches were really important to me. I wanted the Forbes & Lomax unlacquered brass design, but Dene thought it was an extravagance. I managed to twist his arm and – reluctantly on his part – we went for them throughout the property. When we invited the estate agent back (who had sold the property to us) the first thing he mentioned was the beautiful switches and sockets!

What’s next for your renovation? A nursery! We are

expecting our first baby – a little boy – so we are going all out with a jungle theme.

Period Living 117

Reclaimed beauty

Jessica McKenzie reveals how she and husband Adam created a stunning front entrance while renovating their Victorian terrace BEFORE Above right: Jessica and Adam have completely lifted the house’s exterior by replacing the old front door with a secondhand design that they sourced through Ebay Right: The repaired stained glass looks as good as new Below: The project was full of challenges, but the finished door makes it all worthwhile

Victorian terrace in south-west London. Back in 2019, we were looking for our next project in this area and we knew we would have to take on a doer-upper to afford the jump in house prices from Surrey. After our usual Saturday evening Zoopla scroll, we found this gem.

Did you have reservations? This is our third renovation but we still had concerns. The price was already very close to the top of our budget without even thinking about renovation costs. However, we had already taken on two projects before, so had the right mix of Dutch courage and naivety to go for it.

Did your home’s heritage influence your design? The last

thing we wanted to do was remove the character – we’ve always loved period properties. Opting for reclaimed pieces over new is an affordable way to add personality back into the house.

How did you transform the front door? We knew we

DURING AFTER

Tell us about your home It is a soon-to-be three-bed

needed to change the door as it almost hit the bottom of the stairs when opened. Even though the new frame is bigger than before, we have centralised the door and brought it forwards to be in line with the house’s exterior brickwork, which gave it more space to open. We found our new door on Ebay; it had been part of an old gate house and had a lot of broken glass, but we just loved the style.

What next? We started by cleaning up the new door, sanding it, filling, and then priming it. We decided to paint it once it was in situ as we needed to rehang the door to open on the correct side, which would involve more filling. Adam and one of the builders carried the door through the house and lined it so we could start marking out the new frame. Then we removed the old door. As we took our eyes off the new door, a big gust of wind and bad luck pushed it onto the concrete and smashed around 65 per cent of the existing glass! It was absolutely heartbreaking. By this point it was 3pm on a Saturday afternoon, so we decided to fit the new door in its broken state and I desperately tried to find someone who could fix it.

How did you fix it? Thankfully, someone from a local

company came out around 5pm and saved the day.

He chipped out the entire pane, boarded it up for safety and took the glass away. This is how it stayed for the next six weeks. Then he brought the glass back and the door was completely restored using the shattered glass along with glass they had saved from previous projects. A lick or two of paint and it was all behind us.

See more of Jessica’s project @inside_the_doghouse

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U

pcycling unloved furniture is a sustainable, fun and cost-effective way to give it a new lease of life. As most projects don’t require any sophisticated skills, a combination of practice, preparation and the right tools will ensure you have a professional finish to your pieces.

WHERE TO START The first step is to select the item to transform.

It may be something that you already possess, or a secondhand treasure found at a car-boot sale or online. Be imaginative with your choice: wooden stepladders make great shelves; you could turn an old door into a small cupboard; or even use crates and pallets to create garden display areas.

PREPARATION IS KEY Start by ensuring you have all the right equipment to protect and prepare surfaces and apply the chosen finish. Then lay the Harris Seriously Good cotton dust sheet to protect your workspace.

Get your piece ready by cleaning and removing any handles or hinges, as replacement fixings may not fit the same space. You can use a paint stripper to remove old paint or varnish; but even bare wood should be lightly sanded to create better adhesion for new coatings – try the Harris Seriously Good medium sanding block. Remember to remove all the dust with a cloth – the Harris Seriously Good microfibre cleaning cloths are ideal. Finally, apply a primer and leave to dry before lightly sanding again. Now you are ready for the new colour.

Fitch brush pack includes three sizes - 12, 18 and 25mm – designed for detailed and intricate areas.

Together these sets will ensure you always have the right brush for the task at hand. So, the only question left is which piece to upcycle first?

Harris’ upcycling tools are available in all good DIY stores. For more details, visit harrisbrushes.com; Twitter, Facebook and YouTube all @Harrisbrushes and Instagram @harrisbrushes_uk

Above: Using the right tools for the job will make the world of difference to your finished upcycling project Below: The Harris Seriously Good Round brush pack costs £11.50

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GET PAINTING It is worth investing in decent brushes. Cheap ones can leave bristles in your work and tend not to give smooth coverage. Ideally you need a selection of shapes and sizes for the different parts of the task.

There are three types of ‘hobby and craft’ brush – flat, round and fitch. The Harris Seriously Good Round brush pack contains 11 sizes and the shape of each brush means it delivers great coverage on curved and flat surfaces. The Harris Seriously Good

Period Living 119

Renovation

Rainwatergoods HOME MAINTENANCE

Knowing how to fix problems with guttering and drainpipes is a must for any homeowner, so find out how to identify and remedy common issues

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Feature Roger Hunt, author of Old House Handbook

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ollectively known as rainwater goods, gutters, hopper heads and downpipes form the system designed to channel rainwater safely away from a building and prevent damage to its fabric and structure. The most common problems are caused by blockages, and defects due to inadequate maintenance.

These issues are sometimes made worse because of changes to the building, particularly the roof, that over time have resulted in awkward reconfigurations of the rainwater system. The problems are compounded by today’s more extreme weather events associated with climate change, which cause older systems to be compromised, as they have insufficient capacity to deal with the larger volumes of rainwater.

Always put safety first when working on rainwater systems at

height and ensure that contractors have relevant and adequate access, equipment and insurance.

Maintenance checklist

lClear debris from gutters lEnsure downpipes are free from

any blockages lIdentify the reason for plant growth or discolouration around guttering lRepair loose, broken or cracked sections of rainwater goods lCheck water is draining clear of the base of downpipes lRepaint cast-iron rainwater goods

Questions and answers

Matthew Wellesley-Smith, specialist surveyor and environmental scientist at Hutton+Rostron Environmental Investigations, answers some common questions about the maintenance and repair of rainwater goods.

Q

How often should rainwater goods be checked?

At least three times a year. Nothing beats physical ground and high-level inspection during rainfall to ensure the system is functioning as intended, but this isn’t always practical. Pole cameras and drones have their place where the use of ladders is unsafe. In the right hands, telescopic gutter cleaning poles are useful, but a heavy-handed approach can cause damage.

Q

What are the main causes of problems with the system?

Evidence of water overflowing or leaking from gutters and downpipes is often the first indication of trouble; algae growth and eventual plant growth indicates saturation of the structure behind. Lack of maintenance leads to rainwater goods becoming blocked or partially blocked by debris Period Living 121

lead hoppers, excessive loading on underlying downpipes and resultant splitting. Underside lead corrosion is a possibility for lead parapet and valley gutters where the lead sheet is weakened by a corrosion process that occurs as a result of condensation.

Left: Areas of damp appearing on the brickwork around guttering is a sign that the system is failing so should be investigated as soon as possible Right: Plant growth in hopper heads or guttering is a sign of saturation of the wall behind

and/or plant growth. Blockages also occur to gulleys and drains at the base of rainwater downpipes. Poorly levelled gutters will result in water overflowing rather than discharging via downpipes. Cracked, leaking, broken or missing sections of pipes or gutters and corrosion at joints are other common issues.

Q

What happens if rainwater goods are defective?

Damage to finishes such as paint, wallpaper and plaster is common.

It can quickly escalate to the growth of timber decay fungi and mould in affected structures. Corrosion to iron and steel elements will result in rust staining and eventual structural damage; there may also be corrosion and short-circuiting of electrical fixtures and fittings. Efflorescence and spalling to pointing, brickwork and masonry may occur externally.

A musty smell from floor voids is another indicator of leaks, especially where internal downpipes are present.

Q

What is the best method for removing leaves and debris?

Most important is safe and convenient access. Generally, this means that it is a two-person job, requiring a ladder and, for large properties, the use of an access tower or hydraulic platform.

A bucket or sack, a small trowel and protective gloves are generally required. Downpipes may need rodding equipment, although sometimes a hosepipe may be used to provide a water jet.

Q

How can debris be kept out of gutters and downpipes?

The most ‘failsafe’ way of keeping debris out of gutters and rainwater downpipes is to use high-capacity rainwater goods detailed so that they

122 Period Living

Q

When refitting rainwater goods, what are the most important considerations to be aware of?

‘self-clean’, in conjunction with regular inspection and maintenance.

Many systems and products have been developed in attempts to prevent blockage with debris, including perforated lead grilles, copper or galvanised steel mesh, grilles and balloons, plastic grids and brushes.

Unfortunately, these are not universally effective and, although they may be useful in certain circumstances, none of them eliminates the requirement for routine maintenance and cleaning.

Q

What should be considered when choosing new gutters and downpipes for an older property?

Maintainability is the first concern.

The largest capacity rainwater goods should be chosen that are practically and aesthetically acceptable. Generally, square section and other fancy profile rainwater goods should be avoided as these are more prone to blockage and overflowing. Where possible, incorporate failsafes, such as overflows, weirs and chutes and flashing details. These should discharge water clear of the structures beneath if the main rainwater system becomes blocked. Whether steel, cast iron, aluminium, plastic, lead or other materials are used is a decision based on aesthetics, planning requirements, service life and cost.

Q

Are there special considerations when working with lead?

Lead rainwater goods are vulnerable to physical damage and thermal movement. Long-term ‘creep’ (deformation under their own weight) of lead hoppers and downpipes can result in constrictions, partial blockage, sagging and splits. This is often exacerbated by the failure of the ferrous fixings used to secure heavy

Hoppers and downpipes should be refitted with an air gap between rainwater goods and the masonry behind to minimise the risk of any leaking or overflowing water draining back into the structure. Similarly, gutters should be relaid so that any overflowing water will drain clear of the structures beneath.

Useful contacts

ALUMASC – aluminium and cast-iron rainwater systems. Tel: 01536 383810; alumascwms.co.uk HARGREAVES FOUNDRY – manufactures and supplies cast-iron rainwater systems. Tel: 01422 330607; hargreavesfoundry.co.uk HAM BAKER RAINWATER - cast-iron fittings, including primed or prepainted options. Tel: 0161 231 9142; hambakerrainwater.co.uk HUTTON+ROSTRON ENVIRONMENTAL INVESTIGATIONS - specialist building

surveyors for damp penetration.

Tel: 01483 203221; handr.co.uk LEAD CONTRACTORS ASSOCIATION index of specialist contractors. leadcontractors.co.uk J & JW LONGBOTTOM - cast-iron rainwater products. Tel: 01484 682141; longbottomfoundry.co.uk RAINWATER DIRECT - heritage rainwater systems. Tel: 0800 888 6054; rainwaterdirect.co.uk TUSCAN FOUNDRY PRODUCTS – cast-iron rainwater goods. Tel: 0333 987 4452; tuscanfoundry.com YEOMAN RAINGUARD - rainwater systems in various materials. Tel: 0113 279 5854; rainguard.co.uk

IRONMONGERY DESIGN DETAILS

In his series celebrating our homes’ original features, conservation expert Lee Bilson highlights the importance of these practical yet decorative finishing touches

Above left: Elegant polished brass front door furniture to an 18thcentury home Above right: Parlour door knocker at 17th-century Hill Top in Cumbria, the home of Beatrix Potter

124 Period Living

I

ronmongery is the finishing detail to a period home and, I feel, key to achieving any sense of character or highlighting an interior style.

Despite being designed for functional purposes, the right piece of ironmongery, doorknob, or thumb latch can make any space.

Design evolution

As people in the late medieval and Tudor periods began to live in homes with more than one principal room, the need for room divides and ways of accessing and closing off different rooms became necessary. At first, these spaces would have been separated by woven hangings and fabrics, but gradually wooden doors hung on long wrought-iron strap hinges became more widespread. The forms of these were initially

quite rudimentary with any decorative detailing usually relating to the function of the hinge.

Before the advent of handles and knobs, the doors of our oldest period homes would be kept shut with a latch, bolt or lock. As only the wealthy could afford a lock and key, most people would have resorted to a much simpler form of timber latch with a latchstring.

In the homes of the wealthy, you would also find forged iron latches used alongside early forms of wrought-iron and brass rim locks. These pieces, along with hinges, would have been handmade by local blacksmiths. But in other homes of the period, you might find large wooden box locks with iron drop handles or sometimes turned wooden knobs.

As a result of the local nature of the manufacture of these early items, regional styles varied and

Design Details

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Top row, from left: ‘Man and Superman’ knocker at Shaw’s Corner, Hertfordshire, home of George Bernard Shaw; parlour knocker at renovated medieval house Stoneacre in Kent; rusted gate latch at Chirk Castle, Wrexham; ornate door handle at medieval Greyfriars, Worcestershire, all available to visit via the National Trust Second row, from left: Iron door bolt latch at Bangor Cathedral in North Wales; inner front door handle in the Cloister at Victorian gothic revival house Tyntesfield in North Somerset; and brass front door knocker

at Smallhythe Place, Kent, home of Victorian actress, Ellen Terry, both National Trust; gothic-style knocker Third row, from left: Door locks at baroque country house Dyrham Park, Gloucestershire, run by the National Trust; ornate cast-bronze door knob; decorative fingerplate, knob and escutcheon on Agatha Christie’s bedroom door at Greenway, Devon, National Trust; decorative door knob Bottom row, from left: Typical early 19th-century knocker; iron front door knocker at Stoneacre, National Trust Period Living 125

developed according to local tradition and would remain this way into the 18th century and beyond.

Georgian industry

With the beginning of the Industrial Revolution came an explosion in the manufacture of items for homeowners. The designs and patterns of blacksmith hinges and latches could now be simply copied on a vast scale, bringing ironmongery to the masses as hitherto unseen.

Building improvements in the Queen Anne period and the developments in architectural style towards classically inspired proportionality, saw ironmongery garner more attention in detailing than before. Whereas previously the decoration would have been relatively minor notations decided principally by the blacksmith, now the designs could better reflect the architecture of a home and the fashions of the day. So, with the improved availability and subsequent reduced cost, iron fittings would be used prolifically in all types of homes of the period.

Developments in window design meant the need for sash window fasteners and sash lifts, both commonly produced in brass. So, too, were the door handles of the day that were designed to work on the ubiquitous rim locks and latches, face-fixed to doors. The rustic latches and strap hinges were now well and truly out of fashion, being found in only the simplest of spaces or dwellings.

Victorian vigour

The era of prosperity under the Victorians saw ever more developments in manufacturing techniques, and with that came changes in the ironmongery used. Over the period, mortice locks and latches cut into the door grew in popularity, alongside more flamboyant stylistic choices such as gothicstyled lever handles. While brass rim locks and knobs were used plentifully in more important areas of the home, the lower-order room doors sported cast-iron or steel locks and simpler knobs.

In my own home renovation project, most of the period locks were removed in the middle of the 20th century, but the locks in the old servants’ attic thankfully remain. While only the cheaper style of late Georgian/early Victorian locks, their iron box, with small brass handle and bolt, add a delightful finishing touch to the doors in these spaces.

Another major change under the Victorians was the introduction of the Uniform Penny Post in 1840, soon requiring a letterplate on front doors for the first time. The letters of the day tended to be small, so early letter boxes were similarly sized, and as styles developed and fashions changed, letterplates started to be produced as a set with matching door knockers and pull bar handles.

A wider postal system also necessitated homes being more easily identifiable, so conspicuous house numbering became important, if a little haphazard. These could be found as either oval plaques of glazed ceramic or enamelled iron, or the number being painted on the door or the door surround. For exterior doors, solid brass door 126 Period Living

furniture still tended to be for the wealthy, with cast iron being the choice of the masses, finished in lacquered black or bronze.

Modern eclecticism

At the turn of the century there was a rediscovery of past styles under the revivalist Arts and Crafts movement. Simple wooden doorknobs were commonplace once more. But soon, more bold designs would occur, spurred on by changing fashions to reflect the industrial and glamorous Art Deco style. Brightly polished chrome handles, door knockers and letterplates were extremely popular, harking to the finest cruise liners and aerodromes. Bakelite also grew in popularity, perpetuated by its ease of manufacture and greater international trade in materials like never seen before. Modern door furniture became relatively homogenised in the homes of the period and would set the trend for decades to come.

Things to look out for

lThe smallest of design details can allow us to

read the history of our homes and help us when approaching renovation or decoration work. lIf the original fittings and ironmongery have been removed in your period home, look in the lower-status areas and you might find some examples that haven’t been lost to help you pick something that would suit. l Look at old doors and you may notice if previous locks or doorknobs existed. Where there might now be a mortice lock, filled-in key holes or holes for the door knob might point towards rim locks. l On the door frame you might find evidence of a keeper, which would have been directly fastened to the door jamb – the equivalent of a more modern door strike plate – and used with rim locks. lHinges were also often changed, so there might be the scars of previous hinges evident that will help you to pick new replacement styles.

Recreating the past

Ironmongery and door furniture are key details when considering the decoration of any room, but especially in a period home. All too often original forms were removed in favour of changing fashions, but there are plenty of fantastic sources to obtain period-appropriate or even modern ironmongery to suit an older home. Try to source locally, especially for cottage-style homes – talk to a blacksmith and they will craft you some pieces to suit your needs that will fit nicely with the local vernacular.

Craftsmanship is crucial to the finishing touches of our homes, and ironmongery is certainly an area you will see the benefits of spending a little more.

You can’t go wrong with Jim Lawrence, which designs and handcrafts beautiful products for the home; I particularly like its range of rim locks.

There are lots of smaller companies out there too – I’ve always found The Suffolk Latch company to be extremely helpful, with low-priced, good quality products, while Shropshire-based Holloways of Ludlow sells a fabulous selection of ironmongery.

Design Details

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Clockwise from top left: An ornate lock at Tudor manor house Barrington Court, Somerset, available to visit via the National Trust; door furniture designed by Robert Adam at the Georgian estate Osterley House, London, National Trust; engraved fretwork lockplate at 17thcentury Belton House in Lincolnshire, National Trust; Arts and Crafts latch in post-

medieval manor; letterbox at Sunnycroft, a Victorian villa in Shropshire, run by the National Trust; mahogany 18th-century door lock trimmed in brass with brass roundels and escutcheon plates, brass handle attached, with key, at Mount Stewart, County Down, National Trust; medieval-style hinge to an Arts and Crafts home in Letchworth Garden City

Period Living 127

Enjoy the fiery colours of autumn on a garden visit and start the seasonal process of tidying and clearing

TALL ORDER Autumn is the season that the garden starts to get a ‘short back and sides’ with pruning, cutting back, and general garden clearance, so make it the time for tidying garden tools and accessories, too. Made from eucalyptus wood, the ladder-style Burford shelf is suitable for outdoor use or in a potting shed. £179, John Lewis & Partners.

GARDEN TREASURES HEVER CASTLE, KENT The 125-acre gardens are the perfect backdrop for this 13th-

century castle – the childhood home of Anne Boleyn – which was restored and extended at the turn of the last century by William Waldorf Astor. The magical Italian Garden ends in a magnificent Loggia with views over the lake, and as we enter autumn, enjoy the russet and fiery tones on the woodland walks, the topiary chess set, and the peace and quiet of the secret Sunken Garden.

Open daily to 31 October, then Wed to Sun. Entry (gardens only) adult £15.85, child £9.95. (Tel: 01732 865224; hevercastle.co.uk)

PRIMAL COMFORT There is no need to retreat indoors

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as soon as summer ends. Wrapping up in blankets and sitting outdoors, watching the hypnotising flames and enjoying the sounds and smell of a crackling, comforting fire is one of the delights of autumn. Hand-forged in Norfolk, the durable steel Oxburgh fire basket is ideal for warming the cockles as you sup hot chocolate or toast marshmallows on crisp and chilly days. £225, Kindwood.

TURN OVER A NEW LEAF Leave garden dirt and debris at the door with this leaf mat, £36 from Anthropologie.

Period Living 129

HOW TO GROW WINTER JASMINE

AUTUMN COLOUR For colour and interest through

the colder months, plant up a hanging basket with a mix of evergreen ferns with foliage that changes colour through the seasons, plus perennial violas that will flower from autumn to spring, as seen here. This handcrafted hanging horseshoe, £60, is available from Straw Garden, a new nursery and garden shop set up by mother and son team, Helen and Cian, around their 18th-century farmhouse nestled in the foot of the Sperrin mountains in NI. Find them on Facebook.

HELP HEDGE THEIR BETS Wildflower specialist Seedball has teamed up with People’s Trust for Endangered Species to create a specially developed wildflower seed mix, £6, with the aim of growing hedgehog-friendly habitats to support the species’ struggling population. The flowers will provide essential shelter, as well as attracting insects such as beetles and worms for them to feed on. Scatter the balls in autumn to enjoy the flowers next spring and summer.

DIAMOND IN THE ROUGH A striking obelisk will provide height and a focal point in your garden border, lending support for evergreen or flowering climbers throughout the year.

This heavy-gauge steel diamond design is in a time-worn rust finish to perfectly complement a traditional garden style. £325, Wilstone.

ON THE BOOKSHELF If you are new to growing

edibles, you need jargon-free and easy to follow advice that sets out for you, step-bystep, what you need to do, which are the best crops to grow – whether in a pot, ground or on a windowsill – and how to avoid feast or famine. That is exactly what Anna Greenland sets out to do in Grow Easy (£20, Mitchell Beazley). Profiling her top 30 crop choices of vegetables, herbs, flowers and fruit, she advises on the principles of growing organically, then guides the reader on a year-round crop plan for two raised beds, sharing some recipes on how to use the homegrown harvest.

A vigorous climber, jasmine is a valuable addition to any garden, and evergreen varieties can be used to soften boundary walls or fences year round. Once you know how to grow jasmine successfully, you will find it is an adaptable, tolerant climbing plant that will reward your efforts with a show of delicate flowers that goes on for months.

Winter jasmine, Jasminum nudiflorum, is like a ray of sunshine throughout the long winter months, brightening the dark days with its masses of little yellow star-shaped flowers on dark green foliage. You may spot the first flowers as early as November, and they will keep coming right through to March.

Frost hardy and easy to grow, winter jasmine prefers full sun in fertile, well-draining soil, but copes well in part shade.

The best time to plant it is in autumn or winter.

Ideal for growing next to a wall for it to clamber up, dig a hole for the winter jasmine approximately 15cm from the wall, and add in some wellrotted manure or compost. The young plant will need a cane for initial support.

This winter shrub’s stems are stiff and do not twine, so it is best grown with some kind of support – either a trellis or wires. Keep tying in the new growth in order to create a more pleasing look. It can be pruned once the flowers have faded in the spring – and doing so gives the new growth time to mature and flower next year.

Unlike its summer cousin, winter jasmine has barely any fragrance, but bees love it, and it provides an essential source of winter pollen for wildlife during the cold months.

green

Forever

Gardens

Clipping evergreens gives year-round structure, especially in a formal garden.

Infill with seasonal highlights, such as spires of alliums and cascading wisteria

Forming the structural backbone of the garden, evergreens, with their foliage in shades also of greys, golds, reds, silver and variegated forms, should not be overlooked for the potential they offer Words and photographs Leigh Clapp Period Living 133

W

hether creating a towering hedge, an archway into a secret garden, or providing year-round interest in beds or containers, evergreens allow us to protect and divide areas as well as acting as a foil to ephemeral infill. They can provide impact, be used as specimens in containers or landscaping, as punctuation points and visual breaks in borders, or be clipped into fanciful topiary.

There are hundreds of varieties of evergreens, from dwarf to towering shrubs and trees, an array of flowering perennials and climbers, along with quiet little groundcovers, many of which are low-maintenance. Providing variety and versatility to enjoy throughout the year, an evergreen palette creates long-term interest.

Looking to the past

All through garden history evergreens have been relied on to create elegant gardens of lasting beauty. The clipping and moulding of plant shapes has a long tradition in both the East and West.

Hedges and geometric shapes of topiary in Roman and Renaissance gardens gave them form, while wander through a classical Italian garden, with few flowers but manicured geometric forms and hedges delineating the space and the emphasis on symmetry and proportion, and you can’t fail to be inspired. Formal French gardens made expert use of elaborate box parterres, rows of high clipped hedges and fine topiary for ordered perfection, while in Elizabethan knot gardens, hedges lent definition and sophistication to simple plantings of lavender, rosemary and cottage plants.

Defining boundaries

Hedging is an invaluable element to create privacy, divide space, provide wind protection for more tender plants or be a transition from formal to informal areas. As well as the classic evergreen tightly clipped hedging of plants such as yew, holly and box, a more informal softer hedging of mixed 134 Period Living

evergreen shrubs, such as glossy camellias, hebe, rambling roses or low-growing santolina and lavender, may suit your garden. Spiky grasses and tuft-forming plants, including carex or Ophiopogon planiscapus ‘Nigrescens’, can also look attractive as informal low borders to a space.

Think about the growth rate of the plant and what is manageable for you so that your hedging choice doesn’t get out of hand. To add visual depth, fringe hedges with other plants, such as dark green box with a ribbon of low-growing silver-foliaged Stachys byzantina, lamb’s ear, or the lime green froth of semi-evergreen Alchemilla mollis.

Planting ideas

In autumn and winter evergreens add reliable consistency of texture and contrast to beds and borders as herbaceous perennials die back. These year-round performers include an array of flowering hardy perennials, ornamental grasses and climbers, which can be mixed into existing beds, or used to create container displays.

Evergreens with variegated foliage are very versatile. Some are subtle, in combinations of green and white, ideal to light up a dark corner; others are showy with technicolour gold, orange, red and pink pigmentation as accents that pop out against dark-green foliage.

Variegated foliage can also be used to pick out the colours of accompanying flowers, to harmonise or form complementary contrasts. Some evergreen foliage changes hues through the seasons, such as abelia, which intensifies from lime green to dark green; nandina goes from tints of red or purple to intense bright red in autumn; or trailing euonymus that turns dark purple in winter, providing interest among a uniform palette.

Add highlights with flowering evergreens and those that have autumn and winter berries, their vibrant jewels a visual delight as well as providing a valuable and reliable food source for visiting birds to forage.

Evergreen climbers and wall-climbing shrubs are particularly useful in small gardens to cover walls, fences or pergolas. To avoid looking too similar in a swathe of green, choose evergreens with different-sized foliage, some with added splashes of colour from berries and flowers, or others with silver or variegated leaves.

Topiary accents are also a classic choice for visual punctuation through beds and borders and can be made with a variety of plants. Choose shrubs with an attractive form that won’t overpower, cut out the light or take nutrients from existing plants.

Gardens

Above: For drought-tolerant choices, use repeated domes of tough and reliable hebe and lavender. Trimming them prevents the plants getting woody and ensures better flowering Right, clockwise from top left: Variegated foliage, such as glossy Elaeagnus x ebbingei ‘Gilt Edge’ adds interest and light to a dark area; Camellia japonica ‘Hikarugenji’ blooms mid to late spring, is attractive to bees and, as with all camellias, can be used as a specimen, in a shrubbery or as informal hedging; edge semi-shade borders with silver foliaged Lamium maculatum, adding pops of colour with its purple flowers in summer; Heucherella ‘Sweet Tea’ forms clumps of lovely orange and lime green foliage

An architectural presence

Architectural evergreens become year-round living sculptures, acting as focal points or planted in groups for stunning massed displays. ‘Good husbandry is important; plants sometimes need a haircut and a makeover,’ advises Angus White, founder and former owner of Architectural Plants nursery in Sussex. ‘The true creativity begins about three years after the planting is complete. Clipping, shaping and manicuring of evergreens ensures that, come winter, they are looking shapely and beautiful. Knowing what to remove, what to shape and how to meld your beloved collection of plants into a gigantic piece of delicious sculpture, is important,’ adds Angus.

Now owned by Guy White, Architectural Plants specialises in evergreens such as European and Japanese topiary, including cloud-pruned Ilex crenata or Japanese holly, hardy palms, bamboos, plants for screening and many rare evergreen trees.

In winter, evergreens come to the forefront while other plants in the garden slumber, bringing interest to beds and borders, and presenting a glistening framework in early morning frost.

Left: Cloud-pruning Ilex crenata trees echoes the artistry of Japan and these slow-growing, densely foliaged plants do well in sun or part shade Top: Clipping ‘windows’ into evergreen hedges can provide tempting glimpses of garden areas beyond, as here, where the opening frames the view of a small wildflower meadow, while ribbons of lavender and allium fringe the boundary Above: Holly is a versatile evergreen, ideal for clipping into topiary or using in mixed hedging, with the added bonus of the jewel-like berries. The variegated foliage of ‘Ripley Gold’ adds another element 136 Period Living

Left top: Clipped evergreen parterres are often infilled with seasonal flowering plants, such as bulbs, although here seasonal containers are used as a creative alternative Left middle: Control unruly ivy by clipping along steps, and then further adorn with repeated sentinels of small topiary containers Left bottom: Standard lollipops of Photinia ‘Red Robin’ make a striking statement and are echoed in the burgundy foliage colours of bergenias and heucheras

Gardens

Some of the best evergreens

HEDGES – yew, holly, ceanothus, laurel, germander,

box, griselinia, pittosporum, photinia, berberis, camellia, privet, grevillea, cotoneaster, Viburnum tinus, Phillyrea latifolia, Lonicera nitida TOPIARY – yew, box, ilex, bay, ivy, privet, laurel, osmanthus, Phillyrea latifolia POTS – dwarf conifers, phormium, cordyline, yucca, calamagrostis, panicum, ivy, box, skimmia, coprosma, camellia, gaultheria, heuchera CLIMBERS – akebia, lonicera, Trachelospermum jasminoides or star jasmine, Clematis armandii, Hydrangea seemannii, Hedera helix, passionflower, pyracantha, solanum BORDERS – azalea, bay, camellia, ceanothus, choisya, heather, hebe, lavender, santolina, rosemary, pittosporum, erysimum, pieris, dwarf conifers, box GROUNDCOVERS AND ROCKERIES – ajuga, arabis, aubrieta, bergenia, carex, erica, festuca, iberis, liriope, ophiopogon, saxifrage, thyme, vinca, Viburnum davidii SHADE – ajuga, asplenium, aucuba, bergenia, choisya, euonymus, hedera, epimedium, liriope, podocarpus, skimmia SUN – lavender, santolina, erysimum, conifers, cistus, pittosporum, photinia, lavatera, grevillea, cordyline, ceanothus, phormium, rosemary, phlomis, myrtus, Fremontodendron ‘California’, leptospermum, callistemon, eryngium, thrift, cistus, armeria, erigeron VARIEGATED – elaeagnus, euonymus, agave, aucuba, osmanthus, pittosporum, ligustrum, phormium, ilex, lamium, hebe, photinia, coprosma, pieris, abelia, yucca, cordyline, daphne, hedera SILVER – eryngium, lavender, pittosporum, santolina, curry plant, artemisia, convolvulus, senecio, melianthus, perovskia, teucrium BERRIES – holly, berberis, cotoneaster, arbutus, nandina, pyracantha, skimmia, yew, gaultheria, hypericum SCENTED FLOWERS – choisya, daphne, muraya, osmanthus, sarcococca, Trachelospermum jasminoides, Magnolia grandiflora ARCHITECTURAL – cordyline, euphorbia, festuca, itea, Magnolia grandiflora, phormium, stipa, yucca, bamboo, palms, succulents

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Lasting presence Create interest in a container garden throughout the colder seasons with evergreens, adding splashes of colour with bedding plants and bulbs

138 Period Living

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Isabelle Palmer is a city garden designer and founder of The Balcony Gardener, experts in small space gardening. She is also a garden writer and author of Modern Container Gardening (Hardie Grant)

Gardens

A

s summer fades into autumn, the garden takes on a mellow loveliness, with the light softer and flowers more muted. Yet there is still much to look forward to in the container garden.

To prolong the interest in my containers, I like to provide a year-round planting structure by growing large evergreen trees and shrubs in big planters. This way, I get as much pleasure from my plants during the winter as I do in summer.

Planting large containers might seem daunting, but they have the advantage of being permanent fixtures that require less day-to-day care than more fleeting summer annuals and perennials.

Opposite: This stately planter provides a year-round display, yet is a lovely, simple combination.

The different sizes of the leaves of the evergreen Japanese laurel ‘Rozannie’ and ‘Green Spire’ spindle tree, adds a subtle textural aspect to the display, while the laurel also has the added interest of dark purple flowers in spring followed by large bright red berries Left: A pair of matching planters can make a strong impact, as here, planted with box, ‘Hameln’ Chinese fountain grass and trailing ivy

Container trees and shrubs

The key when growing trees and shrubs in containers is to use the largest planters you can afford, in terms of both cost and space. A few large containers can create a small garden oasis and, kept close by the back door, are easy to access as the weather turns colder.

My go-to containers for year-round enjoyment are large galvanised metal planters, dolly tubs, terracotta pots and planting troughs. Planted with architectural trees and shrubs, these can make a strong statement with the formal lines, architectural shapes and the colours of the plants really making a strong impact.

Period Living 139

Evergreen plants for small spaces

There is a wide range of evergreen trees and shrubs suitable for containers. Although many evergreens, such as laurel, bay and Fatsia japonica have dark, glossy green leaves, you don’t have to go without colour. If you are looking for colourful evergreen foliage, then turn to phormiums and cordylines with their brightly coloured or variegated leaves.

One of my favourite phormiums is ‘Sundowner’, which has leaves striped with grey-green, soft apricot and pink. For something a little moodier, I love Phormium ‘Maori Queen’ which has bronzegreen leaves with rosy-red stripes and thin cream edges. Cordylines are just as striking, ranging from the deep reddish brown Cordyline australis ‘Red Star’ to the purple-and-pink-striped C. australis ‘Pink Star’ – they are like fireworks erupting from the container.

Just as tropical-looking are evergreen ferns, which are fantastic for adding texture and shape to a container garden. Two of my favourites are the glossy-leaved Asplenium scolopendrium, hart’s-tongue fern, and Polystichum setiferum, with its arching filigree fronds.

For evergreens with a splash of colour, I use the snowberry Symphoricarpos albus, which has clusters of snow-white berries in autumn and pink, bell-shaped flowers in summer. Another stalwart 140 Period Living

of the evergreen garden is Skimmia japonica, with cultivars available bearing buds and berries in gorgeous shades of red and pink.

Form, shape and texture

One of my favourite evergreen schemes is simplicity itself – and works in a sunny or shady corner. Planting Aucuba japonica ‘Rozannie’, or Japanese laurel, which has glossy, dark green leaves, with Euonymus japonicus ‘Green Spire’ provides a difference in foliage shape that is more than enough to create visual interest.

Shade does not have to be a problem in the garden. For a darker corner, Fatsia japonica makes a marvellous statement plant in a large dolly tub, underplanted with ferns and euphorbia. Fatsias have incredible palmate leaves that reflect the light and make a shady corner seem brighter and more verdant. Try pairing them with the copper shield fern, Dryopteris erythrosora, and Euphorbia amygdaloides ‘Purpurea’.

If you are looking for a softer and less formal effect, then I suggest combining flowering evergreens, such as hebes, with grasses in a pale terracotta pot. I particularly love Hebe ‘Kirkii’ with its delicate white summer flowers, planted in combination with the wispy Mexican feather grass, Stipa tenuissima.

Above left: To add an element of colour to your evergreen potted displays, choose from one of the many varieties of phormiums, with their bright or variegated leaf options Above right: The lowmaintenance Hebe ‘Kirkii’ has interest year round, and combines well with chocolate cosmos and Mexican feather grass that puts on a display from summer into autumn

Gardens

Seasonal planting for bursts of colour

Below: To add a different aspect each season, underplant the evergreen pot displays with a succession of bulbs and bedding plants, which can add a welcome pop of colour

The joy of gardening with permanent plants in containers is that you can use underplanting to ring in the changes each season. Although large plants, such as date palms and phormiums, make a powerful statement all year round, you can create more of a splash by planting around the edges of the container with bulbs and bedding plants. It is best to use a narrow trowel to do this, to avoid damaging the main plant’s root system.

Crocus, grape hyacinth and fritillary bulbs planted in autumn provide cheerful colour the following spring. In summer, choose from the huge selection of bedding plants to provide further interest into the autumn. Choices include osteospermums, petunias, gazanias, marigolds, annual rudbeckias, violas and calibrachoa. Don’t forget about trailing plants like ivy and lobelia, which can spill over the edge of the container.

For winter, try the ever-reliable winter pansies, which are available in a wealth of vibrant colours, and as winter eases into spring, there are equally colourful polyanthus to lift the spirits as the sun begins to warm the garden once more.

Isabelle’s favourite year-round plants

Banana palm (Musa basjoo) Bay (Laurus nobilis) Chusan palm (Trachycarpus fortunei) Cordyline Date palm (Phoenix canariensis) Euonymus

Fatsia Japanese sago palm (Cycas revoluta) New Zealand flax (Phormium) Privet (Ligustrum) Skimmia Yucca

Take your plants through the winter

Here are a few tips to ensure your plants survive the winter and provide more pleasure next year: MOVE CONTAINERS to a sheltered spot, such as against a house wall or into a porch, unheated greenhouse or veranda, if the weather is going to be very cold at night.

TENDER SPECIMENS like sago palms may need to be brought indoors in winter. If the container is very heavy and can’t be moved, wrap it with an old blanket and protect the plant with a tent of horticultural fleece pegged to canes stuck into the compost. Remember, however, to remove the fleece during the day.

BANANA PLANTS won’t survive very cold spells, so remove the foliage once this has blackened after the first hard frost, wrap stems with chicken wire pushed into the compost and fill the gap with straw to provide insulation, ensuring this reaches the top of the stem.

REMOVE ANY DEAD, diseased or damaged stems from trees and shrubs. Cut out plain green shoots from variegated plants.

CONTAINER-GROWN TREES and shrubs won’t need much water over winter, especially dormant species. But keep an eye on evergreens and water them as required.

IN SPRING AND SUMMER, lightly trim evergreen shrubs such as box, privet and bay with topiary shears. Use a pair of secateurs for tougher stems.

GIVE THE PLANTS their last trim in late summer to leave them looking neat over winter.

PLANT SPRING BULBS in new containers or as an underplanting for permanent specimens and look forward to enjoying these next year.

TO PUT BULBS to bed for the winter, remove the flowers once they have faded (to stop the plant setting seed) and as the leaves start to die back, water and feed the plants to promote a good display of flowers the following year.

SOME BULBS can be left in their pots over winter, but you will need to lift dahlia tubers, for example, and store them in a cool, dry place for planting out again next year.

REMOVE DEAD LEAVES and spent flowers from permanent plants and from the compost.

Period Living 141

Writers’

Out & About

retreats

Be inspired by the spaces where some of the nation’s best writers put pen to paper and brought their timeless novels, poetry and plays to life Feature Holly Reaney hsorF yerffoeG/segamI tsurT lanoitaN© egamI

Rudyard Kipling’s Bateman’s, Sussex

When Kipling first set eyes on Bateman’s in 1902, he exclaimed: ‘This is she! Let’s make a good, honest woman of her quick.’

The Jacobean house was a period property even in its day, and he loved that it had no modern Victorian additions. It was here, sitting at the desk in the study, that Kipling wrote many of the works that would immortalise his name. In 1939, the house fell into the care of the National Trust and has been perfectly preserved as if the Kiplings have just stepped out. (nationaltrust.org.uk) Period Living 143

Dylan Thomas’ Boathouse and writing shed, Carmarthenshire

Thomas first visited the village of Laugharne in his teens, returning in 1938 to make it his family’s home and moving into the Boathouse in 1949. Filled with three noisy children, the house was no place to write but, teetering on the cliff above, was a garage that offered Dylan his sanctuary. It was here that he spent his most productive years penning his famous poetry. The shed later inspired Roald Dahl to create his own, identical in nearly every way, at the foot of his own garden. (dylanthomasboathouse.com)

Step back into 1816 and find yourself immersed in the world of Jane Austen. It was while living here, at Chawton Cottage, that Austen published all of her novels, and where she sat at a little table in the parlour and wrote Persuasion, Mansfield Park and Emma. While her novels are loved worldwide, her personal story is less well known. Explore the house and dedicated museum and discover the fascinating life of one of Britain’s most celebrated authors for yourself. (janeaustens.house) 144 Period Living

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Jane Austen’s Chawton Cottage, Hampshire

Out & About

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Virginia Woolf’s writing lodge, Sussex

Every writer dreams of a place to escape to – a room of one’s own. Indeed, Virginia Woolf wrote an entire essay on the topic, and that is exactly what she crafted for herself from a wooden tool shed at the bottom of her garden at Monk’s House. Commuting with the ‘regularity of a stockbrocker’ each day, she wrote her first drafts by hand on blue paper, while sat in an armchair with a thin piece of plywood on her lap, before turning to the typewriter on the desk to immortalise the results. (nationaltrust.org.uk) Period Living 145

Daphne du Maurier’s Jamaica Inn, Bodmin Moor

While there is no evidence that Jamaica Inn, which inspired du Maurier’s novel of the same name, was a house for smugglers, the gothic façade that greeted du Maurier when she was lost on the moor, clearly left a mark on the writer. The hotel is also home to a museum, which tells the story of both Cornwall’s smugglers’ cove and of du Maurier. It even features a room dedicated to her, complete with the Sheraton writing desk on which she wrote and a dish of Glacier Mints, her favourite treat. (jamaicainn.co.uk)

Left as though Potter has just ventured for a stroll along the fells, Hill Top is a childhood dream come to life. It is full of the things that inspired her, from the parlour window view seen in The Tale of Samuel Whiskers to her dolls’ house that was immortalised in The Tale of Two Bad Mice. The garden, too, looks as though it was taken straight from her watercolours. Fastidiously restored to Potter’s original design, you can almost see a little blue-jacketed rabbit racing through the onions. (nationaltrust.org.uk) 146 Period Living

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Beatrix Potter’s Hill Top, Near Sawry

Out & About

William Wordsworth’s Dove Cottage, Grasmere

‘I wandered lonely as a cloud’ is one of the most instantly recognisable lines of poetry in the English language and it was here, in Dove Cottage, that Wordsworth first penned these lines. Wordsworth lived here with his sister Dorothy from 1799 to 1809.

The house and garden have been restored back to their early-19th-century glory, guided by Dorothy’s diligent diarising, and the cottage is filled with the poet’s possessions, giving a real sense of their lives while living here. (wordsworth.org.uk)

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Thomas Hardy’s Max Gate, Dorchester

Designed by Hardy himself, who was also a trained architect, Max Gate is an impressive townhouse on the outskirts of Dorchester.

By the time the house was built in 1885, Hardy already had literary success with Far from the Madding Crowd - which he wrote while living at his childhood home, Hardy Cottage. Literary success continued while at Max Gate, as he penned both Tess of the d’Urbervilles and Jude the Obscure while sitting in one of the house’s three studies. (nationaltrust.org.uk) Period Living 147

Recipes

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La dolce Delight your sweet tooth with these tempting treats, inspired by delectable desserts found in bakeries throughout Italy Photographs Haarala Hamilton

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CRÈME CARAMEL Flan di latte

SERVES 8 FOR THE CRME CARAMEL l80g caster sugar l25g cornflour l400ml full-fat milk l397g can of sweetened condensed milk lGrated zest of one unwaxed lemon l4 eggs lEdible flowers for decoration You will need a 20cm shallow baking dish or 8 × 8cm pudding moulds

Preheat the oven to 325°F/160°C/140°C Fan/Gas 3 1. Place the sugar in a small saucepan with 3 tablespoons of water and heat until you obtain an amber-coloured caramel. Pour enough into the baking dish or individual moulds to cover the base.

2. Place the cornflour in a bowl and mix with the milk using a hand whisk. Add the sweetened condensed milk, lemon zest and eggs, then blitz with a stick blender.

3. Arrange the baking dish or moulds in a deep-sided roasting tin, and fill with the crme. Carefully pour boiling water into the roasting pan so that the water comes two-thirds up the side of the dish or moulds. Bake in the preheated oven for 1 hour for a large dish, and 40 minutes for individual dishes, or until just set.

Remove the dish or moulds and leave them to cool, then put them in the refrigerator for 6 hours.

4. If cooking in a single baking dish, serve slices on individual serving plates with some caramel from the base of the dish spooned over the top. If cooked in individual moulds, turn out the crme caramels onto individual serving plates, pouring over any caramel in the base of the moulds.

Decorate with edible flowers before serving.

150 Period Living

ALMOND MILK TARTLETS WITH EGG-FREE CUSTARD Crostata con crema senza uova e latte

SERVES 8 FOR THE BASE lButter for greasing l250g wholemeal pastry flour, or an equal mix of plain flour and wholemeal pastry flour l80g caster sugar l60ml sunflower oil lGrated zest of one unwaxed lemon lPinch of salt l60ml ice-cold water FOR THE CUSTARD l50g cornflour l80g sugar l1 vanilla pod l500ml almond milk

TO DECORATE

l400g strawberries lIcing sugar, for dusting lEdible flowers

You will need 8 × 10cm fluted tartlet tins

Preheat the oven to 350°F/180°C/160°C Fan/ Gas 4 and grease the tartlet tins with a little butter 1. To make the pastry, place the flour, sugar, oil, grated lemon zest, and salt into a food processor, then blitz to coarse crumbs. Add the water and continue to blitz

until a dough forms that sticks to the blades. Shape the dough into a small block, wrap in cling film, and leave to rest for 30 mins at room temperature.

2. To make the custard, place the cornflour in a bowl, add the sugar and the seeds from the vanilla pod.

Slowly pour the almond milk into the bowl, mixing continuously with an electric whisk as you do so, until combined.

3. Transfer the mix to a saucepan and bring to a boil

Recipes over a low heat, stirring, then simmer for about 5 minutes, or until the cream is thick enough to coat the back of a spoon and when you draw a finger through the custard, it doesn’t flow back immediately. The custard should not have a floury taste. Pour into a bowl and cover with cling film, ensuring the film is touching the surface of the custard, and leave to cool.

4. On a lightly floured surface, roll out the pie pastry to 3mm thick. Using a tartlet tin as a guide, cut out pastry disks slightly larger than the prepared tins. If necessary, re-roll any scraps to give enough disks. Press down firmly on the base and sides, then prick the base of the pastry with a fork. Using a sharp knife, trim away any excess that is overhanging the sides of the tartlet tin to neaten.

5 Line the pastry cases with greaseproof paper, fill with baking beans, and place in the lower part of the preheated oven for 20 minutes to blind bake.

After 20 minutes, remove the baking beans and paper and return to the oven for a further 10 minutes, or until the pastry cases are golden.

Remove from the oven and leave to cool slightly in the tins, then remove the pastry cases from the tin and leave to cool completely on a cooling rack.

6. Using a stick blender, blitz the custard until light and smooth, then pour into the tart cases.

7. Wash and hull the strawberries. If they are large cut them into slices, or leave whole if they are small, and arrange on top of the custard. Leave to rest in the refrigerator for 30 minutes, then dust with icing sugar and decorate with some edible flowers before serving.

WAFERS WITH PISTACHIO CREAM AND FOREST FRUITS Cialdine con crema di pistacchi e frutti di bosco

SERVES 8 FOR THE WAFERS l60g unsalted butter l60g caster sugar l60g egg whites (approximately 2 large egg whites) l60g plain flour lPinch of salt FOR THE PISTACHIO CREAM l60g unsweetened pistachio paste l200ml whipping cream TO DECORATE l100g mixed berries or forest fruits l2 tbsp dried rose petals You will need 3mm plain piping nozzle and 3cm round petit-fours silicone moulds

Preheat the oven to 400°F/200°C/180°C Fan/ Gas 6

1. Line the baking sheet with greaseproof paper. Cut the butter into small cubes, place in a bowl, and bring to room temperature to soften.

2. Using an electric whisk, beat the softened butter with the sugar until smooth and creamy. Add the egg whites, sift the flour into the bowl, add a pinch of salt, and mix until you have a smooth, runny mixture.

Transfer to the piping bag fitted with a 3mm plain piping nozzle.

3. Working in batches, pipe the mixture onto the prepared baking sheet in very thin discs, about 6cm in diameter, and leave a 5cm space between each disc to allow for them to spread during baking. Bake the

wafers in the preheated oven for 5–6 minutes, until they start to turn golden at the edges.

4. While still warm, carefully remove the wafers from the greaseproof paper and place in the silicone moulds, gently shaping them into cups with your fingers. Leave to cool.

5. To make the pistachio cream, place the pistachio paste and cream in a bowl and blitz together with a stick blender to make a smooth cream. Place half a teaspoon of pistachio cream into each wafer. Top with one or two berries or forest fruits, then scatter over the dried rose petals. Serve the wafers immediately.

Period Living 151

APRICOT AND VANILLA CAKE Dolce di albicocche alla vaniglia SERVES 8 FOR THE CAKE l110g unsalted butter, plus extra for greasing l600g apricots l½ lemon l300g plain flour

l15g baking powder l130g caster sugar lPinch of salt l1 vanilla pod l4 eggs

l400g apricots l100g caster sugar l1 lemon

TO SERVE

Preheat the oven to 350°F/180°C/160°C Fan/Gas 4

l200g Greek yoghurt

You will need a 25.5cm Bundt tin

1. Cut the butter into small cubes, place in a mixing bowl, and leave to soften.

Grease the bundt tin with butter and dust lightly with a little flour.

2. Wash and stone the apricots, place half in a food processor with the strained juice of ½ lemon and process to a puree. Chop the remaining apricots into small cubes.

3. Place the cubes of softened butter in the bowl of the stand mixer, add the sugar, a pinch of salt, and the seeds from the vanilla pod, then mix on a medium speed using the flat beater attachment, until it looks pale and fluffy.

4. Sift the flour into a separate bowl along with the baking powder. Add the eggs, one at a time, alternating them with a spoonful of flour, whisking continuously.

Add the remainder of the flour and use a silicone spatula to fold in the ingredients to form a batter.

Add the apricot puree and cubed apricots, then mix together to combine.

5. Pour the cake batter into the prepared Bundt tin. Bake the cake in the preheated oven for 1 hour, or until lightly golden, risen, and just firm to the touch – a skewer inserted into the centre comes out clean. Leave the cake in the tin to cool a little, then remove and leave to cool completely on a cooling rack.

6. Wash and stone the remaining apricots, place in a food processor with the remaining sugar and the strained juice of a lemon, and process to a puree.

Serve the cake cold with the Greek yoghurt and apricot puree. The cake can be stored in an airtight container for up to two days.

TOP TIP Bundt tins can be intricately shaped. Make sure the pan is thoroughly greased and that the butter gets right into any corners or sharp edges, so that the cake can be turned out easily.

152 Period Living

Recipes

AMARETTI MARQUISE Marquise agli amaretti

SERVES 8 FOR THE BASE l130g crisp amaretti biscuits l60g unsalted butter FOR THE CHOCOLATE PARFAIT l300g dark chocolate l4 eggs l180g unsalted butter l50g icing sugar TO DECORATE l20g unsweetened cocoa powder l20g crisp amaretti biscuits l40g pink chocolate pralines (or use pink sugared almonds) You will need 8 × 8cm round cake tins or ring moulds and acetate sheets

1. Line the inner sides of each cake tin or ring mould with an acetate sheet, cut to fit. If using moulds, place on a lined baking sheet.

2. Melt the butter in a small saucepan and set aside to cool slightly. Place the amaretti biscuits in the food processor, add the melted butter, and process until you obtain a fine, even mix. Divide between the individual tins or moulds and press down on the base with the back of a spoon to compress.

3. To make the chocolate parfait, cut the butter into small cubes, place in a bowl, and bring to room temperature. Finely chop the chocolate and melt in a bain-marie, then take off the heat and set aside to return the chocolate to room temperature.

4. Separate the egg yolks from the whites. Beat the

softened butter with the icing sugar in a stand mixer or with an electric whisk until pale and fluffy. Add the egg yolks and stir with a silicone spatula, then add the melted chocolate and mix well. Whisk the egg whites into soft peaks and gently fold into the chocolate mix using a spatula, taking care not to deflate it. Divide the mixture between the tins or moulds, level the surface and leave to set in the fridge for 12 hours.

5. Remove the marquise from the tins or moulds, remove the acetate sheets, and place on individual serving plates. Dust each marquise with cocoa powder, sprinkle over some crushed amaretti biscuits and add a few pink chocolate pralines.

This is an edited extract from The Italian Bakery: Step-by-Step Recipes with the Silver Spoon by The Silver Spoon Kitchen (Phaidon, £35) Period Living 153

Don’t miss the nextissueof

PERIOD L IVING OUT 7 OCTOBER

lHome & Garden of the Year revealed lAutumn decorating inspiration lFireplace design ideas lUpdate electrics lPlant bare-root trees and roses

mahgniB erialC ,rezsiF aisaK ,serutaeF ocoC ,rolyaT nageM ,htimS leahcaR segamI

154 Period Living

In the Picture

This Grade I-listed Tudor manor was home to William Morris, and its gardens and riverside setting inspired some of his best-loved fabric and wallpaper designs

K

elmscott Manor was William Morris’ country home.

Set on the edge of a quiet village in West Oxfordshire, it was the place to which he retreated when life in London became too busy. He would frequently escape here until his death, 125 years ago this month. Morris described the 16th-century manor house as ‘heaven on earth’, admiring the craftsmanship of its construction and the way it fitted in with the village and surrounding countryside. It appeared to him a perfect part of its setting, as if it ‘had grown 162 Period Living

up out of the soil’. The story behind Morris’ country retreat is not so idyllic, however. He took the property on a shared lease with the poet and painter Dante Gabriel Rossetti in 1871 in order to stifle growing gossip about Rossetti’s affair with Morris’ wife Jane. Their affair continued at Kelmscott for over 10 years and yet Morris continued to call it home, in spite of the unorthodox set-up, drawing inspiration from it for designs such as Strawberry Thief, Kennet and Willow Bough.

Kelmscott Manor is closed for conservation until 2022

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