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PLUS HEARTY RECIPES FOR A COUNTRY WEEKEND + HOW TO CHOOSE A FRUIT TREE

November 2018

Houses with history and RESTORED GEORGIAN SPLENDOUR IN SUSSEX MODERN GLAMOUR AT A VICTORIAN VILLA IN LONDON

INSIDER INSIGHT IDEAS FOR YOUR ENTRANCE HALL Choosing the right taps THE LATEST WALLPAPER TRENDS

ART SPECIAL WHERE TO GO, WHAT TO BUY AND HOW TO DISPLAY IT

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107

155

C ON T E N T S Art special

Edited by EMILY TOBIN

THIS MONTH THE ART-WORLD COGNOSCENTI DESCEND ON THE CAPITAL TO SEE THE VERY BEST ART DISPLAYED AT FAIRS AND GALLERIES. OUR INVALUABLE GUIDE TELLS YOU WHO TO KNOW, WHAT TO SEE AND WHERE TO GO IN LONDON AND BEYOND

November highlights

WHAT’S ON

ON THE COVER The sitting room of a London house decorated by Kerry Franses for her mother Jacqueline (pages 116–123), photographed by Paul Massey. 8 CONTRIBUTORS 20 FROM THE EDITOR

INSIDER 23 SHOPPING Charlie Porter selects stylish tap and mixer fittings for kitchens and bathrooms

29 NOTEBOOK Gabby Deeming shows us what has caught her eye this month YAYOI KUSAMA OCTOBER 3–DECEMBER 21 This October, Yayoi Kusama returns to Victoria Miro on Wharf Road, N1. The exhibition will feature new paintings, including works from her iconic My Eternal Soul series. Flowers and pumpkins have long played an important role in the artist’s work, and sculptures of both will feature here, as well as a mirrored room filled with polka-dotted paper lanterns. victoria-miro.com. For more about art, visit houseandgarden.co.uk/topic/art 컄

VOLUME 73 앫 NUMBER 11

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 61

ART SPECIAL STARTS ON PAGE 61

Must-see exhibitions; artist profiles; how to buy a picture; works for sale for under £500; and the latest art books

35 NEWS AND VIEWS Treasures from Horace Walpole’s collection on display at his Gothic Revival house in south-west London; plus announcing the winner of our KLC interior-design competition 41 OUTSIDE INTERESTS Clare Foster focuses on tulip bulb collections; plus an unrivalled autumn display of nerines at Exbury Gardens in Hampshire

161

44 OUT AND ABOUT Laura Houldsworth’s news and product round-up 50 THE IN CROWD A reader event in association with The Datai Langkawi hotel and Petersham Nurseries; plus The List 54 SPIRIT OF CHRISTMAS Laura Houldsworth’s pick of what to buy at the shopping event, which starts on October 29 at Olympia London

DE C OR AT I NG 85 SWATCH Ruth Sleightholme lines up the best of the new wallpaper collections 90 RITA NOTES Rita Konig considers the decorative details that help to make entrance halls appealing

LIFESTYLE 95 BACK TO BLACK A converted barn in the Sussex South Downs has allowed the talented family of the sculptor Hamish Black to realise their creative potential under one roof. By David Nicholls 컄 HOUSEANDGARDEN.CO.UK NOVEMBER 2018 5

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CONTENTS CONTINUED

144 EDIT: INTERIORS, GARDENS, STORIES 106 WINNING COMBINATION At Pitshill, Edward Bulmer’s work on the interiors celebrates the restored Georgian details and makes space for modern life. By Jeremy Musson 116 CITY SERENITY Kerry Franses has opened up the claustrophobic layout of her mother’s London house to create a calm setting for bold art and antiques. By Elfreda Pownall 124 INNER CALM A French couple has created an inviting family house with an unexpected air of seclusion at the heart of Beldi Country Club near Marrakech. By Dominic Bradbury 130 VOLUME BOOST Bunny Turner and Emma Pocock were given free rein to create vibrant, glamorous interiors in this large five-storey London villa. By Jennifer Goulding 136 THE KNOWLEDGE Inspired by the houses in this issue, Leanne Walstow gives directions on how to achieve similar style 138 ART IN DESIGN Gabby Deeming and Ruth Sleightholme explore creative ways to display artwork 144 HISTORY LESSONS The owners of Heale House in Wiltshire have embraced the creative endeavours of previous generations to create a timeless garden. By Caroline Beck 150 BRANCH LINES In the second part of her series, Clare Foster explains the different methods of training fruit trees

F O O D & T R AV E L 155 PERFECT WEEKEND Blanche Vaughan shares the recipes she turns to when cooking for family and friends 161 TASTE NOTES News, reviews and tips for food lovers 162 PRETTY IN PINK Clare Foster experiences the beauty of the cherry-blossom season on a cruise around Japan 164 DESIGNER HAUNTS Lighting designer Håkan Långstedt recommends places to shop, eat and stay in Helsinki 167 SPECIALIST HOLIDAYS Claire Wrathall visits an island off the French Riviera, which is an impressive showcase for a private collection of contemporary art

EV E RY I S SU E 154 SUBSCRIPTIONS How to subscribe to House & Garden in the UK and US 168 STOCKISTS 184 SELF PORTRAIT Yana Peel, the CEO of Serpentine Galleries, paints a picture of her life, work and inspirations 첸

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An Elegant Indu lgence for t he Home Timothy Corrigan FOR SA MU EL & SONS

I S T R I M. Design Centre Chelsea Harbour l London SW10 0XE l Tel 020 7351 5153 l samuelandsons.com

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T h i s m o n t hâ&#x20AC;&#x2122; s contributors

E M I LY TOBIN

Deputy features and arts editor

K E R RY FRANSES Interior designer

After she studied at Sothebyâ&#x20AC;&#x2122;s Institute of Art and then Inchbald School of Design, and did an apprenticeship with Selldorf Architects, Kerry Franses set up Franses Design in 2001. She lists Atelier AM, Axel Vervoordt and her mother, Jacqueline Franses, as key inspirations, and feels the London home she decorated for Jacqueline (from page 116) best represents her personal style: â&#x20AC;&#x2DC;Clean lines, natural fabrics and a mix of antique and contemporary furnishings.â&#x20AC;&#x2122; Her proudest undertaking is the â&#x20AC;&#x2DC;non-clinical, calm environmentâ&#x20AC;&#x2122; she designed for Jamesâ&#x20AC;&#x2122; Place, a male suicideprevention centre in Liverpool.

What are your most prized possessions? â&#x20AC;&#x2DC;My Pablo Bronstein prints. His illustrations of buildings look like architectural plans subverted with some bonkers twist.â&#x20AC;&#x2122;

HETTIE J U DA H Writer

Hettie Judahâ&#x20AC;&#x2122;s career started with the publication of cookery book Black Coffee & Cigarettes, while she was at Glasgow University in the Nineties. Since then she has shifted her focus to art, writing for The Guardian and ArtReview, among others. Her latest book, Vitamin T: Threads & Textiles in Contemporary Art, is due out from Phaidon next year. From page 79, she writes about the weaver and textile artist Anni Albers, having visited the Bauhaus in Dessau, where Albers studied and taught. When it comes to interiors, Hettie cites architect Erno GoldďŹ ngerâ&#x20AC;&#x2122;s modernist house in Hampstead as inspiration, with its deep window ledges accommodating sculptures and objects: â&#x20AC;&#x2DC;The design is a lesson in how to live with art.â&#x20AC;&#x2122;

Which is your favourite museum? â&#x20AC;&#x2DC;The Museum Mayer van den Bergh in Antwerp. Itâ&#x20AC;&#x2122;s a small building packed with wondersâ&#x20AC;&#x2122; ě˛¸

WORDS: LEANNE WALSTOW. PHOTOGRAPH: JOSHUA MONAGHAN (TOBIN)

What single thing can transform a room? â&#x20AC;&#x2DC;Artworks hung correctly and not too high.â&#x20AC;&#x2122;

After working for Time Out in Hong Kong, Emily Tobin joined House & Garden eight years ago as a PA to the then editor Susan Crewe. She took on her current role three years ago and edits this monthâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Art Specialâ&#x20AC;&#x2122; (from page 61). Having a mother with â&#x20AC;&#x2DC;immaculate taste and an indomitable zeal for doing it all on a budgetâ&#x20AC;&#x2122; meant a passion for art and interiors runs in the family. Her brother Guy is who she would most like to decorate her house: â&#x20AC;&#x2DC;He works for Rose Uniacke and has a brilliant eye.â&#x20AC;&#x2122; Emily has just returned from a sabbatical in Florence, where she â&#x20AC;&#x2DC;took Italian lessons, roamed the streets with a gelato in hand and peered through every open doorâ&#x20AC;&#x2122;.

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FOR THE F I N E S T C O N S E RV AT ORI ES, ORANGERIES AND ROOFLIGHTS

H AT TA B Y N G EDITOR ART DIRECTOR Jenny Lister

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CREATIVE DIRECTOR (INTERIORS) Gabby Deeming

PA TO THE EDITOR/EDITORIAL ASSISTANT Leanne Walstow ARTS EDITOR/DEPUTY FEATURES EDITOR Emily Tobin FEATURES WRITER Elizabeth Metcalfe DEPUTY DECORATION EDITOR Ruth Sleightholme DECORATION STYLIST Charlie Porter DECORATION INTERN Victoria Boards EDITOR-AT-LARGE Liz Elliot GARDEN EDITOR Clare Foster TRAVEL EDITOR Pamela Goodman FOOD EDITOR Blanche Vaughan DEPUTY CHIEF SUB-EDITOR Bethan Hyatt ACTING DEPUTY CHIEF SUB-EDITOR Sue Gilkes SUB-EDITOR Sophie Devlin DEPUTY ART DIRECTOR Joshua Monaghan ART EDITOR Eva Farrington PHOTOGRAPHY EDITOR Owen Gale CONSULTANT EDITOR Susan Crewe CONTRIBUTING EDITORS Lavinia Bolton, Virginia Fraser, Matilda Goad, Fiona Golfar, Rita Konig, Nonie Niesewand, Elizabeth Rees-Jones, Aude De La Conté (France) ONLINE EDITOR Emily Senior ONLINE SENIOR FEATURES EDITOR Alice Riley-Smith DIGITAL FEATURES WRITER Virginia Clark DIGITAL COMMERCIAL DIRECTOR Malcolm Attwells DIGITAL OPERATIONS DIRECTOR Helen Placito DIRECTOR OF EDITORIAL ADMINISTRATION AND RIGHTS Harriet Wilson EDITORIAL BUSINESS MANAGER Katharine Horsburgh SYNDICATION ENQUIRIES syndication@condenast.co.uk

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Copyright © 2018. House & Garden is published monthly by The Condé Nast Publications Ltd, Vogue House, Hanover Square, London W1S 1JU. Colour origination by williamsleatag. Printed in the UK by Wyndeham Group. All rights reserved. Reproduction in whole or in part without written permission is strictly prohibited. The title ‘House & Garden’ is registered at the US Patent Oice and in Great Britain as a trademark. All merchandise prices are approximate. The Mail Order Protection Scheme does not cover items featured editorially. SUBSCRIPTIONS The subscription rate to HOUSE & GARDEN is £58.80 for one year (12 issues) in the UK. Overseas airmail per year: €89 to the EU, £80 to the rest of Europe and £99 to the rest of the world. The US annual subscription price is $89. Air freight and mailing in the USA by agent named Air Business, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. Customer enquiries, change of address and orders payable to HOUSE & GARDEN, Subscriptions Department, Lathkill Street, Market Harborough, Leics LE16 9EF. Subscriptions: call 0844848 5202 (Monday to Friday, 8am to 9.30pm; Saturday, 10am to 4pm) or manage your subscription online, 24 hours a day, by visiting www.magazineboutique.co.uk/youraccount. In US, call 1-888-7379456 (toll free). US Postmaster: Send address changes to House & Garden, Air Business, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Subscription records are maintained at The Condé Nast Publications Ltd, Vogue House, Hanover Square, London W1S 1JU. Air Business Ltd is acting as our mailing agent. POST NOTE All editorial enquiries and submissions to HOUSE & GARDEN that require replies must be accompanied by stamped, addressed envelopes. House & Garden is a member of the Independent Press Standards Organisation (which regulates the UK’s magazine and newspaper industry). We abide by the Editors’ Code of Practice (www.ipso.co.uk/ editors-code-of-practice) and are committed to upholding the highest standards of journalism. If you think that we have not met those standards and want to make a complaint, please see our Editorial Complaints Policy on the Contact Us page of our website or contact us at complaints@condenast. co.uk or by post to Complaints, Editorial Business Department, The Condé Nast Publications Ltd, Vogue House, Hanover Square, London W1S 1JU. If we are unable to resolve your complaint, or if you would like more information about IPSO or the Editors’ Code, contact IPSO on 0300-123 2220 or visit www.ipso.co.uk. | The paper used for this publication is based on renewable wood ibre. The wood these ibres are derived from is sourced from sustainably managed forests and controlled sources. The producing mills are EMAS registered and operate according to the highest environmental and health and safety standards. This magazine is fully recyclable – please log on to www.recyclenow.com for your local recycling options for paper and board. HOUSE & GARDEN IS PUBLISHED BY THE CONDÉ NAST PUBLICATIONS LTD

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E M M A R E D M AY N E PUBLISHING DIRECTOR PA TO THE PUBLISHING DIRECTOR Charlotte Bailey ADVERTISING DIRECTOR Sophie Fairclough ASSOCIATE PUBLISHER EUROPE Christopher Daunt ACCOUNT DIRECTOR Lorna Clansey-Gramer ADVERTISING MANAGERS Georgina Penney, Marina Connolly DIGITAL SENIOR ACCOUNT MANAGER India Barclay SENIOR ACCOUNT MANAGER Nichole Mika ACCOUNT MANAGERS Olivia McHugh, Olivia Capaldi ADVERTISING INTERN Freya Hill HEAD OF SPECIAL PROJECTS Melinda Chandler ART DIRECTOR Joan Hecktermann ART EDITORS Richard Sanapo, Rebecca Gordon-Watkins SPECIAL PROJECTS EDITOR Arta Ghanbari PROMOTIONS AND PROJECT MANAGER Phoebe Wood REGIONAL OFFICE – SALES DIRECTOR Karen Allgood ACCOUNT DIRECTOR Heather Mitchell (020-7152 3279) HEAD OF THE PARIS OFFICE Helena Kawalec (00-33-1-4411 7880; helena.kawalec@condenast-europe.com) US OFFICE Nichole Mika (00-44-20-7152 3838; nichole.mika@condenast.co.uk) MIDDLE AND FAR EAST, ASIA PACIFIC Peter Jeffery (00-852-3910 6388; peterjeffery@asianimedia.com) INDIAN OFFICE Rachna Gulati (00-91-11-2373 0869; rachna.gulati@mediascope.in) GROUP PROPERTY DIRECTOR Fiona Forsyth EXECUTIVE EDITOR Laura Houldsworth EDITOR, THE LIST Charlotte Richmond EVENTS AND SALES COORDINATOR, THE LIST Natalie Loveless CLASSIFIED DIRECTOR Shelagh Crofts SENIOR CLASSIFIED ADVERTISEMENT MANAGER Lucy Hrynkiewicz-Sudnik CLASSIFIED SENIOR SALES EXECUTIVE Ellice Everett CLASSIFIED SALES EXECUTIVES Georgia Littlefair, Amelia Andrew MARKETING DIRECTOR Jean Faulkner DEPUTY MARKETING AND RESEARCH DIRECTOR Gary Read ASSOCIATE DIRECTOR, DIGITAL MARKETING Susie Brown SENIOR DATA MANAGER Tim Westcott SENIOR MARKETING EXECUTIVE Ella Simpson MARKETING AND RESEARCH EXECUTIVE Layla Faruque CIRCULATION DIRECTOR Richard Kingerlee NEWSSTAND MARKETING EXECUTIVE Olivia Streatfield SUBSCRIPTION DIRECTOR Patrick Foilleret CREATIVE DESIGN MANAGER Anthea Denning DIRECT MARKETING MANAGERS Lucy Rogers-Coltman, Brittany Mills DATABASE INSIGHT AND MARKETING MANAGER Alan Paterson ASSISTANT PROMOTIONS AND MARKETING MANAGER Claudia Long COMMUNICATIONS DIRECTOR Emily Hallie DEPUTY PUBLICITY DIRECTOR Harriet Robertson ACTING DEPUTY PUBLICITY DIRECTOR Emma Kelleher SOCIAL MEDIA AND PUBLICITY EXECUTIVE Sophie McKeesick PR MANAGER Sophie Mitchell PRODUCTION DIRECTOR Sarah Jenson COMMERCIAL PRODUCTION MANAGER Xenia Dilnot PRODUCTION CONTROLLER Dawn Crosby PRODUCTION COORDINATOR Lucy Zini COMMERCIAL, PAPER & DISPLAY PRODUCTION CONTROLLER Martin MacMillan HR DIRECTOR Hazel McIntyre HEAD OF FINANCE Daisy Tam CHIEF OPERATING OFFICER Sabine Vandenbroucke CHIEF DIGITAL OFFICER Simon Gresham Jones MANAGING DIRECTOR Albert Read CHAIRMAN Nicholas Coleridge DIRECTORS Nicholas Coleridge, Shelagh Crofts, Edward Enninful, Jean Faulkner, Simon Gresham Jones, Dylan Jones, Albert Read, Sabine Vandenbroucke CHAIRMAN AND CHIEF EXECUTIVE, CONDÉ NAST INTERNATIONAL Jonathan Newhouse

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Wallpaper background: ‘Meadow (Pratum)’ (115/13039), from Cole & Son

FROM THE EDITOR

he art critic John Berger talked about the pleasure of living with paintings in an essay he wrote for House & Garden in 1954: ‘Of looking at them deliberately when you happen to be in the right mood, of catching them out of the corner of your eye… of growing familiar with them.’ For me, pictures are vital in a room – unless it is deliberately designed to be devoid of art – bringing life, interest and huge pleasure. As Berger says, ‘Pictures are like extra windows.’ They add depth to a room. This month, to mark a busy time of year in the art world, we focus on art and living with art in its many forms – from investment pieces to works under £500 (from page 61). Such is the continued relevance and wisdom of Berger’s article, ‘How to buy a picture’, we have republished it on pages 74-75. I have always bought things even when I have had little money to spare. Like those interviewed by our arts editor Emily Tobin (from page 65), I remember my first acquisition distinctly. My grandparents gave me some money for my eighteenth birthday with the specific request that I buy a painting. For me as a student, this was hugely exciting and meant several months of looking before deciding on an early landscape by Sargy Mann. I spotted an exhibition at Cadogan Contemporary and got chatting to the gallery assistant, who led me upstairs to see

some of Mann’s smaller works. The one I purchased has now moved homes with me several times and I am looking at it on my wall as I type. In the houses chosen for this issue, we see different approaches to living with art. There is the house owned by the artist Hamish Black that is part home, part studio and part gallery for his work (from page 95). Two projects are owned by collectors and were designed around their pre-existing collection (on pages 116-123 and 130-135). While, for another – the magnificent Pitshill, owned by Charles and Lila Pearson – eighteenth-century landscapes and portraits were bought specifically to fit with the period of the house (from page 106). But we are far from art snobs. From page 138, Gabby Deeming and Ruth Sleightholme take an entirely different approach, devising clever ways to create their own art and artful displays spending relatively little. The six panels shown on page 141, painted by one of the decoration team to fit some off-the-peg Habitat frames, are now making a strong and satisfying statement in my office 첸

F O R M O R E D E C O R AT I O N I N S P I R AT I O N , V I S I T H O U S E A N D G A R D E N .C O.U K

20 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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INSIDER SHOPPI NG | N EWS | A RT SPECI A L | BOOK S

Put on the spout CHARLIE PORTER selects stylish tap and mixer fittings for kitchens and bathrooms PHOTOGRAPHS ANDERS GRAMER

FROM LEFT Brass and ceramic ‘The English Basin Pillar Taps’ (polished brass), 15.8 x 9.5cm spout reach, £360 a pair, from Catchpole & Rye. Brass ‘Acme 1-hole Kitchen Sink Mixer’ (scuffed brass), 31 x 19cm spout reach, £332.07, from Aston Matthews. Brass ‘Soho Wall Mounted 3 Hole Basin Mixer’ (polished unlacquered brass), 16cm spout reach, £777 (one tap pictured), from The Water Monopoly. Brass ‘No 10014 Snail Basin Set with Knobs’ (antique gold regular), 7cm diameter, £7,780 including spout (not pictured), from PE Guerin. Galvanised steel ‘Socker Plant Pot’, £1, from Ikea. ‘9-litre Galvanised Steel Bucket with Handle’, £26.21, from RS Components 컄

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 23

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INSIDER | SHOPPING

FROM TOP Nickel and ceramic ‘Rockwell Wall Mounted Basin Taps with Tubular Spout’ (powder), 16.5cm spout reach, £672 , from The Water Monopoly. Brass and onyx ‘No 13701 Onyx Basin Set with Levers’ (antique dark brass), 6 x 8cm spout reach (one lever pictured), £1,705.53, from PE Guerin. Brass and ceramic ‘Alsace Three Hole Sink Mixer with Crosshead Handles’ (chrome), 27 x 23cm spout reach, £544.32, from Perrin & Rowe. Brass ‘1901 Bath Pillar Taps’ (chrome), by Bristan, 20.2 x 8cm spout reach, £119.99 a pair, from Wayfair. ‘9-litre Galvanised Steel Bucket With Handle’, £26.21, from RS Components. Galvanised steel ‘Socker Plant Pots’, £1 each, from Ikea. Zinc ‘40cm Window Box’, by Round Wood Trading, £16.50, from Amazon 컄

24 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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FROM LEFT Brass ‘Style Moderne 3 Hole Lavatory Mixer with Pop-up Waste’ (chrome), 21 x 12cm spout reach, £1,064.64, from Samuel Heath. Brass ‘Dash Gooseneck Three Hole Deck Mounted Lavatory Faucet with Metal Cross Handles’, 20 x 30cm spout reach, £1,117, from Waterworks. Brass and porcelain ‘No 14560 Hot and Cold Handle Set’, 7 x 7cm diameter, £339.62, from PE Guerin. Chromeplated brass ‘Vattnet Kitchen Mixer’, 19 x 24cm spout reach, £50; powder-coated brass and ceramic ‘Hamnskar Wash Basin Mixer’ (black), 19 x 16cm spout reach, £75; both from Ikea. Stainless steel ‘Twist 2 Cross Head Mixer’ (brushed nickel), 33.5 x 19cm spout reach, £159, from John Lewis. Galvanised steel ‘Socker Plant Pot’, £1, from Ikea. ‘9-litre Galvanised Steel Buckets with Handles’, £26.21 each, from RS Components. Paper flowers throughout, from £35 per stem, from Language of Flora. For suppliers’ details, see Stockists page 첸

26 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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Wallpapers (from top): Pombal (emerald/sky), $165 a 9-metre roll; ‘Angelina’ (navy), $190 a 9-metre roll; ‘Bruno’ (emerald/sky), $140 a 9-metre roll; all 68.6cm wide, by Tilton Fenwick, from Hygge & West ‘Quill 550’ oak pendant light, by Tom Raffield, 16 x 55cm diameter, £295, from Heal’s

PIXELATE IMAGING; SIMON BROWN

Ceramic tableware (clockwise from top left): ‘Daisy’ (night blue on black, white on white), 26cm diameter, £62 each; ‘Daisy’ (mint green), 20cm diameter, £48; ‘Dessert Plate’ (mint green), 19cm diameter, £22; and ‘Shallow Bowl’ (turquoise on buff), 20cm diameter, £36; all from Karin Hossack

GABBY DEEMING shows us what has caught her eye this month

Beech ‘Chippendale’ sofa, 89 x 196 x 83cm, from £3,010 excluding fabric, from David Seyfried; covered in ‘Gonfaloniere’ (grass), by John Stefanidis, linen, £176 a metre, from Tissus d’Hélène ‘The Rattan Leighton Table’ (green), 77 x 110 x 77cm, £5,300, from Soane 컄

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 29

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‘Tulip’, ‘Peony’ and ‘Rose’ cast-plaster panels, 51 x 36cm each, £5,400 for a set of three (limitededition run of 10), from Geoffrey Preston Brass-coated glass ‘Brass Bell’ pendant light, by Patrick Zulauf, 182.5 x 77.5 x 16.5cm, £1,063, from Ligne Roset

Cotton ‘Charcoal Napkins’, £45 for six, from The Block Hut

Beech, fir and poplar ‘Palermo’ sofa, 92 x 200 x 90cm, from £2,375 excluding fabric; covered in ‘Melton’(ochre), wool, £75 a metre; both from Designers Guild

‘Bodhi’ hardwood console table, 80 x 130 x 50cm, £850, from Oka 컄

JAMES MERRELL; GARETH HACKER

‘Maharajah Panel’ (02) and ‘Maharajah Tent’ (02) wallpaper, 315 x 70cm each (three shown), £220 a 6.8-metre roll (2 panels per roll), from No. 9 Thompson

30 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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Cotton cushions (from top): ‘Pop Venus Multicolore’, 45 x 60cm, £105; and ‘Sunset Mix Crepuscule’, 50cm square, £110; both by Christian Lacroix Maison, from Designers Guild

Lacquered poplar wood and MDF ‘Small Capri Vanity’ (fireworks), by Oomph, made to measure (82 x 100 x 70cm pictured), from £1,750 excluding basin and taps, from Nina Campbell

‘Miira Wall Optic’ glass and metal light, by Sofie Refer, €299, 28.5 x 17.5cm, from Nuura ‘Louis’ (901-01) wallpaper border, 17.5cm high, £38 a 10-metre roll, from Sandberg Wallpaper

‘Little Petra’ wooden and sheepskin armchair, by &Tradition, 75 x 79 x 83cm, £3,655, from Viaduct

32 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

PETER M MADSEN; YELLOWS STUDIO

‘Dogtown’ rayon/cotton tassels (bubblegum, chambray, sherbet, cherry), 15cm, £10 each, from Jessica Light For suppliers’ details, see Stockists page 첸

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HANDMADE – AN AGED BLACK AMERICAN WALNUT CHEVRON FLOOR (pictured - 140mm x 600mm x 16mm, bespoke sizes available)

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JULIAN CHICHESTER

JULIANCHICHESTER.COM LONDON

| NEW YORK

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By ELIZABETH METCALFE

KILIAN O’SULLIVAN; © THE SCHRODER COLLECTION, PHOTOGRAPH BY KEN ADLARD; © V&A IMAGES/VICTORIA AND ALBERT MUSEUM, LONDON; © PRIVATE COLLECTION C/O OMNIA ART LTD; © EARL OF WEMYSS AND MARCH, GOSFORD HOUSE, EAST LOTHIAN

CLOCKWISE FROM TOP LEFT The Gallery at Strawberry Hill. A 1550s crystal and silver-gilt jug. A cabinet of miniatures designed by Walpole. The main staircase. The exterior. A carved wooden cravat from 1690. Portrait of Catherine de Medici and her Children from the studio of François Clouet. A Roman sculpture of an eagle

The collector’s castle

Lost treasures from the eighteenth-century collection of Horace Walpole have been tracked down for a remarkable new exhibition at his Gothic Revival house in south-west London

n 1842, the contents of Strawberry Hill House – Horace Walpole’s flamboyant Gothic Revival mock castle in Twickenham – were auctioned off. It was, according to the catalogue, an ‘unrivalled and wondrous’ collection. The fact that the sale lasted for 24 days is proof of quite how much Walpole had amassed before his death in 1797 at the age of 79. It included everything from paintings, furniture and ceramics to rather more obscure pieces, such as a lock of Mary Tudor’s hair. The sale led to Walpole’s collection being dispersed across the world. A good proportion of these pieces has now been reunited for a new exhibition at Strawberry Hill House – Lost Treasures of Strawberry Hill: Masterpieces from Horace Walpole’s Collection (October 20–February 24). The show’s curators, Dr Silvia Davoli and Michael Snodin, spent almost five years tracking down the objects, and managed to find 200 pieces in public museums and private collections. More than 150 of these – including furniture, paintings, drawings and sculptures – feature in the exhibition,

and come from 55 lenders across the world. Several pieces were previously owned by American Wailmarth S Lewis, who amassed the world’s largest collection of Walpole-related objects and left it to Yale University as the Lewis Walpole Library after his death in 1979. In other instances, the owners of the pieces were not even aware of their links with Strawberry Hill. Objects on show include seventeenth-century Indo-Dutch ebony chairs, a neo-Gothic pier glass mirror, which was designed by Walpole, and an eighteenth-century rosewood wall cabinet, which was made to house his Grand Tour souvenirs. Visitors can also see a beautiful Elizabethan chair, which remained untraced from 1842 until it was sold in the Fifties. This has recently been purchased by the Strawberry Hill Museum Trust. Thanks to Walpole’s written account of the house and its contents, the pieces can be seen in their original positions. ‘This is an unparalleled opportunity to view Walpole’s objects in the setting he created to receive them,’ says Michael. Admission to the house is £12.50 and includes the exhibition; strawberryhillhouse.org.uk 컄 HOUSEANDGARDEN.CO.UK NOVEMBER 2018 35

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All the fun of the fair

KAREN SWAMI ‘I strive obsessively for pure and elegantly rounded shapes,’ says Paris-based ceramicist Karen Swami. You may have seen her sculptural vessels on Linda Pinto’s stand at PAD last year. Now Karen is exhibiting at the fair under her own name. Having worked as a film producer and property developer, she began making ceramics in 2009 when she set up a wheel in the corner of her office. Some of her pieces are glazed in bold blues and reds, while others are left unglazed and smoke-fired. ‘I love the quest for imperfection,’ says Karen.

SASHA SYKES The Irish artist and furniture-maker Sasha Sykes blends the organic and manmade in her work, in which she encases found and foraged materials in acrylics and resin. Having trained as an architect, she started experimenting with natural materials 16 years ago, and her striking screens, furniture, lighting and cubes are filled with everything from bird’s nests and straw to seaweed and feathers. Londonbased gallery Peter Petrou, which has worked with Sasha for three years, will be showing her work at PAD this year. ‘Sasha’s pieces offer us an intrinsic appreciation of a wider world of natural wonders,’ says Peter.

TRIBAL ART PAD always has a strong line of tribal-art specialists. Look out for two Paris-based dealers this year: Galerie Monbrison, which will be showing this Songye mask from the Democratic Republic of Congo, and Lucas Ratton, who specialises in African pieces.

FIVE BEAUTIFUL PIECES THAT WILL BE ON SHOW 1 Velvet and bronze ‘Papillia Armchair’, by Achille Salvagni. achillesalvagni.com 2 Lacquered metal and enamelled iron ‘Rare Table’, by Mathieu Mategot, from Matthieu Richard. matthieurichard.fr 3 Bronze ‘En Passant’ floor lamp, by Glithero, from Gallery Fumi. galleryfumi.com 4 Bronze ‘3 Leaves Lotus’ coffee table, by Franck Evennou, from Avant-Scène. avant-scene.com 5 Leather and mahogany sofa, by Frits Henningsen, from Modernity. modernity.se 36 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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5 For details and a full list of exhibitors, visit pad-fairs.com 컄

VINCENT GIRIER DUFOURNIER/GALERIE MONBRISON; ACHILLE SALVAGNI; MATTHIEU RICHARD; GALLERY FUMI; AVANT-SCENE; MODERNITY

PAD returns to Berkeley Square, W1 on October 1–7, with almost 70 dealers exhibiting the best in art, design, decorative arts, tribal art and antiquities.

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Make it yours ! Create individual furniture designs to fit your space with our 3D Configurator Tool.

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AUTUMN COLOURS

1 2

Farrow & Ball does not often add paint colours to its palette, so we were thrilled to hear there will be nine new ones this autumn. ‘Sulking Room Pink’ (above) is a dusty shade influenced by the colours used in boudoirs (named after the French word bouder, which means to sulk). There is also ‘Bancha’, a fresh green inspired by Japanese tea leaves; all £45 for 2.5 litres estate emulsion. farrow-ball.com Online store Rockett St George has teamed up with Craig & Rose on a new range of 18 paint colours. Below, from left, are ‘Ossian’, ‘Broderie’, ‘Emanuella’, ‘French Ochre’, ‘Azurite’ and ‘Dalloway’; all £35 for 2.5 litres chalky emulsion. rockettstgeorge.co.uk

B E S P O K E F LO O R I N G , F U R N I T U R E A N D STO N E WO R K T H E F R A N K L I N L O N D O N - S TA R H O T E L S C O L L E Z I O N E

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JAMES MERRELL

KLC WINNER

For the second year in a row, House & Garden launched a competition in our June issue in association with leading interior-design school KLC to win a place on its Certificate in Interior Design course. Impressed by her creative design for an open-plan kitchen, with dining and seating areas, the judges – House & Garden editor Hatta Byng, KLC principal Jenny Gibbs and the Certificate course leader Ruth Casserly – selected Zoe Allen (pictured) as the winner. ‘The five shortlisted entries were all exceptional, but there was a sense of cohesion, charm and creativity that made Zoe’s work stand out,’ says Jenny. ‘It was a unanimous decision.’ Zoe started at KLC in September. klc.co.uk 첸

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Matki EauZone Plus T h e e p i t o m e o f l u x u r y, b e a u t i f u l l y e n g i n e e r e d i n t h e U K

Shower Controls and Shower Head supplied by Swadling Brassware

F O R A B R O C H U R E A N D N E A R E S T B AT H R O O M S P E C I A L I S T C A L L 01 4 5 4 3 2 8 811 | W W W. M AT K I . C O. U K | M AT K I P L C , B R I S TO L B S 3 7 5 P L

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BESPOKE GARDEN TOOLS These investment buys will last a lifetime

This traditional D-handled garden spade and fork by My Garden Spade are made from polished straight-grained ash and high-carbon steel. Their handles can be engraved with a name or initials and they cost from £110 each, from landdesigns.co.uk.

JESSIE MOORE

These beautiful hammered-steel hand tools are forged in the US by blacksmith Tuli Fisher and set in walnut handles. The five-piece ‘Handcrated Gardening Tool Git Set’ includes trowels, hand hoes and a three-tined rake, and costs $246 plus $81 UK delivery, from isherblacksmithing.com.

Garden and Wood sources and restores antique and vintage garden tools, giving them many more years of use as they were built to last. Trowels and hand forks similar to those shown cost from £20. gardenandwood.co.uk

Outside Interests CLARE FOSTER finds fresh gardening inspiration

Green scene

These botanical prints, featuring the leaves and seeds of well-known trees, are based on nineteenth-century originals. Each one measures 58 x 42cm and is mounted and set in a distressed black-painted frame. A collection of six costs £225, from oka.com.

Go and see…

The unrivalled collection of nerines at Exbury Gardens in Hampshire makes an uplifting autumn display. Established by Lionel de Rothschild in the Twenties, the collection of tender Nerine sarniensis is now under the guardianship of his grandson, Nicholas, who has added his own hybridised strains. More than 100 of these flowering bulbs in shades of pink, salmon, crimson and white are on show in Exbury’s Five Arrows Gallery, throughout October until November 4. Open 10am–5.30pm; entry is free with garden admission, which costs from £10.35. exbury.co.uk 컄

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 41

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Focus on...

TULIP COLLECTIONS

SARAH RAVEN

Queen of tulips Sarah Raven has a bigger-than-ever range this year, including a handful of varieties she is introducing for the first time. Although expensive, her collections are worth it for her beautifully colour co-ordinated, tried-and-tested combinations and high-quality bulbs. Top of my list is her new Blackberry Smoke Collection (above), including last year’s favourite ‘La Belle Epoque’, which Sarah describes as ‘coffee mousse f lushed with deep pink’, combined with smoky pink ‘Mistress Grey’ and deep crimson-maroon ‘Black Parrot’. It costs £19.95 for 30 bulbs or £37.50 for 60 bulbs. The Romantics Collection is a close second, with ‘La Belle Epoque’, peachy ‘Apricot Foxx’, rich purple ‘Victoria’s Secret’ and new find ‘Vovos’, a frillier version of ‘Belle Epoque’ 42 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

with more apricot and purple tones; £24.95 for 20 bulbs or £47.95 for 40 bulbs. sarahraven.com

PETER NYSSEN I have used this company for years, as it supplies large quantities of top-quality bulbs for wholesale prices, and recently it has also started offering collections. The Harlequin Collection (£22 for 60 bulbs), which works brilliantly in pots, is full of bold clashing colours, with orange double ‘Sun Lover’, pink ‘Amazing Parrot’ and ‘Menton’, and the rich purples and carmines of ‘National Velvet’, ‘Attila’ and ‘Negrita’. In contrast, the Silk Handkerchief Collection (£14.50 for 40 bulbs) is pale and interesting, with three viridiflora tulips (‘Spring Green’, ‘Nightrider’ and ‘China Town’) mingled with the white and palest yellow narcissus ‘Rippling Waters’. peternyssen.com

THREE OF THE BE ST: BULB PLANTING TOOLS

[1] Ash and stainless-steel ‘Long Handled Bulb Planter’, 110cm long, £34.99, from Burgon & Ball. burgonandball.com [2] Ash and stainless-steel ‘Hand Transplanting Trowel’ marked with useful depth gauge, by Kent & Stowe, 32.5cm long, £6.85, from MyToolShed.co.uk. [3] Stainless-steel ‘Hand Bulb Planter’, 29cm long, €71.70, from Sneeboer & Zn. sneeboer.com 첸

J PARKER S For those on a budget, J Parkers offers plenty of collections, although most are bright and unsubtle. However, sift through the gaudiness and you can find some bargains: the ‘Salmon Dynasty’/ ‘Mistress’ Collection is only £9.98 for 30 bulbs, while ‘Green Star’/‘Dolls Minuet’ is £7.98 for 20. If you are feeling brave, you can try the Mixtures Collection, only £19.97 for 90 bulbs in a hotchpotch of tulip types and colours. jparkers.co.uk

JONATHAN BUCKLEY

f you struggle to make the decision which tulip varieties to try each year, let the experts do the hard work by buying a ready-curated collection made up of varieties that will f lower simultaneously in complementary colours. Here is my pick of the best this autumn.

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OUT AND ABOUT

Latest launches… chic showrooms… hot buys… LAURA HOULDSWORTH takes note Laura at Julian Chichester on the Fulham Road, SW3

REFLECTED GLORY Classic mirrors can be surprisingly hard to find. The new ‘Large Gertrude’ from Porta Romana, in forged steel with a decorative gilded finish and antiqued glass, fits the bill. It measures 136 x 96cm and costs £4,560. 01420-23005; portaromana.com

Top floor

BATHING BEAUTY

Hidden benefits Conceal a radiator with this attractive ‘Oak Leaf’ forged-metal cover from Cox London, featuring green leaves in a bronzed frame. The screen here is 82.5 x 90 x 20.5cm and costs £6,480; a made-to-measure option is also available. 020-3328 9506; coxlondon.com

This hand-crafted verdigris copper ‘Bateau’ bath from specialists William Holland comes in three sizes. The medium version, seen here, measures 69 x 170 x 72cm and costs £4,940. 01305-251930; williamholland.com

NEWS IN BRIEF New kitchen retailer Life has opened a state-of-the-art showroom in Newnham Terrace, SE1, where customers can visualise potential kitchens using virtual-reality technology. 020-3972 0150; life-kitchens.co.uk 컄 44 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

PHOTOGRAPH: JOSHUA MONAGHAN. LAURA IS WEARING A ‘MULTICOLOUR CASHMERE COAT’, FROM BOTTEGA VENETA (BOTTEGAVENETA.COM)

A rug can define and anchor a room. Shown here is ‘Fallow & Chalk’ from the new Berber collection at Luke Irwin. Made of hand-knotted wool, it costs £ 1,995 for 305 x 244cm. 020 7730 6070; lukeirwin.com

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G A R DENI A Prints & Embroideries romo-gardenia.com

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FESTIVE FAIR

New to Jane Churchill at Colefax and Fowler, these ‘Elektra’ cottons are a contemporary take on tweed. Seen here, from top, are red/blue and red/gold, both £65 a metre. 020-8874 6484; janechurchill.com

Finishing touch I could see this intricate new ‘Chevallerie Botanical’ border from Samuel & Sons embellishing a headboard, trimming curtains, or adding a decorative flourish to a plain cushion. Designed by Timothy Corrigan, it is an appliqué velvet on heavy satin, available in 11 colours (including bordeaux, seen here). 020-7351 5153; samuelandsons.com 컄 www.oa-london.com

info@oa-london.com

*OFFER ENDS AT MIDNIGHT ON OCTOBER 28, 2018. TRANSACTION FEE OF £2.20 APPLIES

TWEED WITH A TWIST

The Spirit of Christmas Fair returns to Olympia London from Monday, October 29 to Sunday, November 4. House & Garden subscribers can apply for a free standard ticket (one free ticket per subscriber, valid Tuesday–Friday), or upgrade to the premium options from £1.50 to attend on Monday, Saturday or Sunday. Subscribers will also receive 25 per cent off additional tickets for guests.* Go to spiritofchristmas fair.co.uk

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F U R N I T U R E • L I G H T I N G • D E C O R AT I V E A C C E S S O R I E S

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LIGHT MY FIRE The ‘Alpine 4 Series’ wood-burning stove by Chesneys comes in five colours, including atlantic blue. It is 59 x 41 x 31cm and costs £1,628. 020-7627 1410; chesneys.co.uk

go with the flow The ‘Flex’ tap from Quooker dispenses boiling, hot, cold and filtered water and is the world’s only boilingwater tap equipped with a flexible pull-out hose. A child-proof double pushand-turn handle and unique safe stop means it will not dispense boiling water when the hose is pulled out. Available in a chrome finish as well as this stainless-steel one, it is 35cm high with a spout reach of 20cm, and costs from £1,150. 020-7923 3355; quooker.co.uk

BARGAIN HUNT

PRANDINI

Knoll is hosting its annual sample sale on Saturday, November 17, in its showroom on Goswell Road, EC1. This is a great opportunity to purchase design classics by twentieth- and twenty-first century designers at heavily reduced prices. The ‘Saarinen’ dining table, seen below, is one of the sale highlights and will be reduced from £5,292 to £2,999. Designed by Eero Saarinen, it has a white Arabescato marble top and measures 72 x 137cm diameter. 020-7236 6655; knolleurope.com 컄

www.davidhuntlighting.co.uk

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A NEW WALLPAPER COLLECTION IN COLLABORATION WITH ARTIST

SALES: +44 (0) 161 230 0882 | paintandpaperlibrary.com | LONDON SHOWROOM: +44 (0) 20 7823 7755 Image shot on location in the Isles of Scilly

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HOUSE & GARDEN PROMOTION

UNLOCK YOUR HOME’S POTENTIAL

In crowd

COULD THE VALUE OF YOUR PROPERTY HELP YOU CREATE THE HOUSE OF YOUR DREAMS?

NEWS ON THE LATEST READER EVENTS

aking the most of your home is important because our surroundings influence our wellbeing. Your personal space should be somewhere you feel happy and relaxed, and provides an exciting blank canvas for creative expression. However, turning ideas into reality can be expensive. Designing the ideal extension, loft conversion or garden transformation can soon add up – but compromise needn’t be your only option. If you are a UK homeowner over the age of 55, you could unlock a significant portion of your home’s equity as tax-free money. With a Lifetime Mortgage, you retain full ownership of the property for life – and you have no obligation to make monthly payments. Lifetime plans are available which come with safeguards, so you have the peace of mind of knowing you cannot get into negative equity. Why not see if a Lifetime Mortgage could help you create the home of your dreams? 첸

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ACHIEVE YOUR GOALS To find out how you can unlock the wealth tied up in your property, request a 2018 guide from equity release specialist Responsible Life by calling 0800-756 3942. This is a Lifetime Mortgage, which may reduce the value of your estate and may affect your entitlement to means-tested state benefits. To understand the features and risks involved, ask for a personalised illustration. Responsible Life Ltd. is authorised and regulated by the Financial Conduct Authority.

oin House & Garden and The Datai Langkawi on Thursday, November 8, 12-3pm, at Petersham Nurseries Covent Garden. The event will start with a drinks reception, during which the Malaysian hotel’s resident naturalist, Irshad Mobarak (above left), will talk about the resort’s fascinating natural heritage in the heart of a 10-million-year-old rainforest, and how he came to be part of the family at this luxury hotel, which is celebrating nearly 25 years with a major refurbishment. A two-course lunch will be served in The Petersham restaurant (above), which focuses on seasonal, responsibly sourced ingredients. Petersham Nurseries’ new flagship in King Street, WC2, incorporates two restaurants, a delicatessen, a homewares shop and a f lorist around a central courtyard. Tickets cost £60* and include a glass of Prosecco, lunch with a glass of wine and coffee, a gift bag and entry into a prize draw to win a fivenight stay at The Datai Langkawi (excluding flights) and an afternoon tea for two at The Petersham. To book, visit house.co/datailangkawi 컄

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he test of time

hat’s what thoughtful design means to us. Furniture that will always look good, that will wear well, that will endure. Furniture that will stand the test of time.

neptune.com/adiferentperspective

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THELAMPCOLLECTION.COM

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GREAT LIGHTING IS AN ART

Designer insight

THE VINTAGE ENTERTAINER

AT TYSON.LONDON

Tania Fawcett, founder of The Vintage Entertainer and a member of The List, discusses her treasured finds with Charlotte Richmond.

ONE OF 1000 LAMPS IN STOCK

have always loved entertaining friends and creating events, and after years spent trawling auction houses and antique shops, I created a collection of unusual and decorative homewares, which I use to make my guests feel special. Antique wine glasses or art deco Champagne coupes offer a simple way to elevate an evening and provide an immediate talking point. I realised not many people specialise in this area and so The Vintage Entertainer was born. I am thrilled to have opened my first showroom this year at Lorfords Hangar One just outside Tetbury in the Cotswolds. It’s a magical space with more than 50 dealers showcasing antique collections in two vast Second World War aircraft hangars. They’re always full of interior designers, searching for the unusual and rare, and with so much room, I have now been able to expand into furniture.’ thevintageentertainer.com

London. Stop and smell the roses. October 4 – 7 th 2018

‘

‘ Visit our stunning collection of fresh floral couture dressed by London’s top florists MARKET BUILDING COVENT GARDEN FLEURSDEVILLES.COM

Visit The List today to find a design professional near you. Or perhaps you are a design professional and would like to be on The List? Sign up now to be a part of it. 020-7152 3639, or email charlotte.richmond@condenast.co.uk 첸

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THE ALCHEMY OF COLOUR

Discover Zoffany Paint S T Y L E L I B R A R Y. C O M / Z O F FA N Y PA I N T

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INSIDER | NEWS ‘Goldhawk Stitched Alphabet Clutch’ bags, £125 each, from London Velvet. londonvelvet.co.uk

‘Baron Bigod’ briestyle cheese, £7.95 for 250g, from The Truckle Cheese Co. trucklecheese.co.uk

‘Sophie’ cashmere and wool coat (camel), £395, from The Coat Co. thecoatco.com ‘Christmas Delights’ tea towel, £12, from Victoria Eggs. victoriaeggs.com

CHRISTMAS SHOPPING

‘Taj Weekender’ cotton and suede bag, £240, from Kapara. kaparalondon.com

‘Porcelain White’ soap, £9.80 for 120g bar, from Sevin London. sevinlondon.co.uk

Laura Houldsworth selects highlights of the Spirit of Christmas Fair at Olympia London, in association with House & Garden. The event from October 29 to November 4 will feature over 825 boutiques, plus expert-led workshops. Visit spiritofchristmasfair.co.uk for stand numbers.

‘Forest Fig and Vanilla’, ‘Frankincense and Bitter Orange’, ‘Frangipani and Orange Blossom’ and ‘White Grapefruit and May Chang’ scented candles, £15 each, from Abahna. abahna.co.uk

54 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

‘Lobster’ dinner plate, £20, from Pepper and Ink. pepperandink.co.uk 컄

TERRY LIVESEY; MARIO MACHADO; CAROLINE HANCOX; DITTE SOLGAARD/FIRST LIGHT

‘Buzz’ linen cushion cover, £40, from Juliet Travers. juliettravers.com

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INSIDER | NEWS ‘Garden 108’ and ‘Spice 94’ non-alcoholic spirits, £27.99 for 700ml, from Seedlip. seedlipdrinks.com

‘Hummingbirds’ mounted print, £75 unframed, from Anna Wright. annawright.co.uk

‘Leather Card Holder’ (gold), £38, from Eddie London. eddielondon.com

Rattan ‘Asho Pendant Lampshade’, £75, from Kalinko. kalinko.com

‘Christmas Woodland Half Wreath Stamp’, £26, from The English Stamp Company. englishstamp.com

‘Toucan’ velvet cushion, £50, from Elizabeth Scarlett. elizabethscarlett.com

READER OFFER House & Garden readers can buy discounted tickets from £18.38 each (25 per cent off). Quote ‘NOVREADER’ when you book at spiritofchristmasfair.co.uk.*

‘Andiroba Oil Candle’, £30, from Connock London. connocklondon.co.uk 56 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

‘Pine Cones Luxury Christmas Cracker’, £35 for six, from Nancy & Betty Studio. nancyandbetty.com 첸

PHOTOGRAPHS: DITTE SOLGAARD/FIRST LIGHT. * TRANSACTION FEE OF £2.20 APPLIES

‘Sansindo Tiger Print’ cotton pyjamas, £120, from Desmond & Dempsey. desmondanddempsey.com

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HOUSE & GARDEN PROMOTION

TIS’ THE SEASON

*£2.20 transaction fee applies. 25% discount applies to on-the-door prices. Advance box office closes at midnight on 28 October 2018

The Spirit of Christmas Fair at Olympia London is an unmissable event for finding rare gifts, inspiration and enriching workshops all under one roof Taking place October 29 to November 4, the Spirit of Christmas Fair is a not-to-be-missed experience to get you into the spirit of the season. Featuring over 825 independent boutiques, it is the ultimate shopping destination of its kind, where you will find rare, one-of-a-kind gifts, decorations and food and drink in the run-up to Christmas. This year’s Fair has a fresh new look and layout spread throughout the halls of Olympia London to make space for a larger Food Hall, which will include over 100 artisan producers, and exciting new features. Be inspired at the new Designers Gallery with the Prince’s Trust, where you can support and meet up-and-coming makers and learn about their craft first-hand. Take a welldeserved break from shopping and indulge in a specially created three-course meal and wine pairing in the new Mosimann’s restaurant, or grab a quick pick-me-up at ‘M’ Express and a selection of outlets in the Food Court. LEARN A NEW SKILL Get festive ready with a daily programme of interactive workshops on everything from wreath making and gift wrapping to food and wine tastings. Sessions include learning to decorate biscuits with Biscuiteers, frosting cupcakes with The Hummingbird Bakery and perfecting the art of gift wrapping with specialist Jane Means. There’s also the chance to create eye-catching floral pieces with the likes of Royal Wedding florist Philippa Craddock, The Real Flower Company, Wild & Bloom and Freddie’s Flowers. BOOK IT Spirit of Christmas Fair takes place from October 29 to November 4. House & Garden readers enjoy special discounted tickets from £18.38 (25% off*) when quoting ‘HGNOV’ when booking online at spiritofchristmasfair.co.uk. CLOCKWISE FROM TOP A selection of exhibitors products. Mosimann’s Restaurant. Winter Workshop.

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HOUSE & GARDEN PROMOTION

CLOCKWISE FROM LEFT A large screen in the Atrium of Viking’s ocean ships shows artwork by Edvard Munch. A piece by Gunnvor Advocaat in The Restaurant. An artwork by Amaldus Neilsen hangs in the entrance area to The Restaurant

State of the art Viking’s elegant, Scandi-style ships are f loating galleries displaying one of the largest private collections of Norwegian art The uniqueness of a cruise holiday lies in that each day unveils a new destination to explore, a new culture to discover, and a new view to take in, while only having to unpack once. From the comfort of your stateroom, you can watch whales swim below, mountains roll on past and turquoise bays open to greet you. However, on a Viking cruise, the experience on board is just as enticing as the places its ships take you to. Carefully curated and displayed around the ships is an enticing art collection comprising original pieces that reflect Viking’s Nordic heritage. Viking has the largest private collection of Norwegian art afloat, including works by such nota-

ble artists as Nikolai Astrup, Adelsteen Normann and Edvard Munch. Guests can interact with the artworks using the Viking app, and enjoy a nightly display of Munch’s work on the big screen in the Atrium. Curated by senior vice president Karine Hagen, the collection is designed to complement the elegant, Scandi-style interior of the ships. Featuring natural materials, a calm colour palette and exquisite furnishings, the interior design is as thoughtfully considered as the art that fills the rooms. From £2,090pp for an eight-day ‘Iconic Western Mediterranean’ cruise departing February 2019. Visit vikingcruises.co.uk or call 020-8780 6533 for more information 첸

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Art special

Edited by EMILY TOBIN

November highlights

WHAT’S ON

YAYOI KUSAMA OCTOBER 3–DECEMBER 21 This October, Yayoi Kusama returns to Victoria Miro on Wharf Road, N1. The exhibition will feature new paintings, including works from her iconic My Eternal Soul series. Flowers and pumpkins have long played an important role in the artist’s work, and sculptures of both will feature here, as well as a mirrored room filled with polka-dotted paper lanterns. victoria-miro.com. For more about art, visit houseandgarden.co.uk/topic/art 컄 HOUSEANDGARDEN.CO.UK NOVEMBER 2018 61

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Art Special

NICHOL AS POPE : SIN AND VIRTUES UNTIL NOVEMBER 10

Pope represented Britain at the 1980 Venice Biennale and yet a significant career hiatus due to illness saw the sculptor return to art only recently. This exhibition at The Sunday Painter, SW8, includes Pride (above), a detail from Pope’s extraordinary installation The Conundrum of the Chalices of the Seven Deadly Sins and Seven Virtues. thesundaypainter.co.uk -

SUSPENSION: A HISTORY OF ABSTRACT HANGING SCULPTURE UNTIL DECEMBER 15

Olivier Malingue in New Bond Street, W1, is showcasing more than 50 works created by 30 artists of 15 nationalities between 1918 and 2018. A forensic examination of an unusual form of sculpture, the show has pieces by Yves Klein, Alexander Calder, Man Ray and Joel Shapiro. oliviermalingue.com RIBERA: ART OF VIOLENCE UNTIL JANUARY 27

Dulwich Picture Gallery is holding Britain’s first exhibition devoted to Jusepe de Ribera, which

concentrates on his depictions of violence. With his rich, complex portrayals of human suffering, he pushed the boundaries of painting, drawing and printmaking and is often regarded as the heir to Caravaggio. dulwichpicture gallery.org.uk -

leading contemporary art galleries: look out for Social Work, a section celebrating the women artists who challenged the male-dominated art market of the Eighties. Frieze Masters, now in its seventh edition, will explore six millennia of art history from across the globe. Do not miss a rare presentation by the seminal American artist Richard Diebenkorn. frieze.com -

JULIAN TREVELYAN: THE ARTIST AND HIS WORLD OCTOBER 6–FEBRUARY 10

Pallant House Gallery in Chichester mounts the first survey exhibition in 20 years of the poet, painter, printmaker and designer. Trevelyan has arguably been overshadowed by his artist wife, Mary Fedden, but this show will provide him with some muchdeserved recognition. pallant.org.uk -

MANTEGNA AND BELLINI UNTIL JANUARY 27

Andrea Mantegna and Giovanni Bellini were two of the most talented artists of the Italian Renaissance. They also happened to be brothersin-law. This exhibition at The National Gallery provides a rare opportunity to compare their work and to examine the vital foundations they laid, which artists such as Titian, Veronese and Correggio would all later build upon. nationalgallery.org.uk -

1-54 CONTEMPORARY AFRICAN ART FAIR OCTOBER 4–7

Over the past five years, 1-54 has gained traction as a leading voice in the global discussion on contemporary African art. There will be 42 galleries showing at Somerset House, WC2, making this an important event in what can be a Eurocentric art world. 1-54.com -

FRIE ZE LONDON AND FRIE ZE MASTERS OCTOBER 4–7

Frieze London and Frieze Masters are the jewels in the crown when it comes to art fairs. Join the art-world glitterati in Regent’s Park, NW1 and take advantage of this rare opportunity to see museum-grade work for sale. This year, Frieze London brings together over 160 of the world’s

62 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

GAINSBOROUGH AND THE THE ATRE OCTOBER 5–JANUARY 20

The Holburne Museum in Bath brings together Thomas Gainsborough’s finest portraits of actors, musicians, playwrights, dancers and critics in an exploration of eighteenth-century celebrity. holburne.org

RICHARD POUSET TEDART: BEGINNINGS OCTOBER 23–JANUARY 6

Kettle’s Yard is holding the first UK exhibition of American Abstract Expressionist Richard Pousette-Dart. A key figure in the movement and an early influence on Jackson Pollock, Pousette-Dart met the founder of Kettle’s Yard, Jim Ede, in the Forties and the pair began a correspondence that lasted for decades. This Cambridge show will shine a light on the artist’s impressive legacy. kettlesyard.co.uk -

MODERN COUPLES: ART, INTIMACY AND THE AVANT-GARDE OCTOBER 10–JANUARY 27

This Barbican exhibition explores what it means to be a couple today and includes works by Dora Maar and Pablo Picasso; Barbara Hepworth and Ben Nicholson; Man Ray and Lee Miller; and Vita Sackville-West and Virginia Woolf. Challenging gender stereotypes, it celebrates the coming together of creative individuals, who forged new kinds of art and also ways of living. barbican.org.uk WHISTLER AND NATURE OCTOBER 20–DECEMBER 16

James Abbott McNeill Whistler’s close observation of nature and its changing moods underpinned much of his work. His depictions of natural and industrial landscapes are explored in this new exhibition at Compton Verney in Warwickshire. comptonverney.org.uk

EDWARD BURNE-JONES OCTOBER 24–FEBRUARY 24

Tate Britain hosts the first UK retrospective of Edward Burne-Jones in a generation. A pioneer of the symbolist movement, he was the only Pre-Raphaelite to gain worldwide recognition in his lifetime, rising from outsider status in British art to one of the great European fin de siècle artists. The Briar Rose cycle, which retells the story of Sleeping Beauty, is a highlight. The paintings caused a sensation when they were unveiled in London in 1890, with thousands queuing to see them. tate.org.uk 첸

C/O THE ARTIST AND THE SUNDAY PAINTER, PHOTOGRAPH BY LUKE UNSWORTH; 3D MODEL OF AN EXHIBITION VIEW OF SUSPENSION AT THE PALAIS D’IENA, C/O STEPHANE DELINE; THE VIRGIN AND CHILD BY GIOVANNI BELLINI © STAATLICHE MUSEEN ZU BERLIN, GEMÄLDEGALERIE, PHOTOGRAPH BY CHRISTOPH SCHMIDT; ORIENTAL WHITE IBIS WITH AURA BY GREG PARMA SMITH, C/O THE ARTIST AND DAVID LEWIS, NEW YORK; BASKET BALLER BY IAN MWESIGA, C/O THE ARTIST AND CIRCLE ART AGENCY; MARIE JEAN AUGUSTIN VESTRIS BY THOMAS GAINSBOROUGH © TATE LONDON; JOHN KASHETSIS, DOROTHEA TANNING AND MAX ERNST WITH HIS SCULPTURE ‘CAPRICORN’, 1947 © JOHN KASHETSIS; PHYLLIS AND DEMOPHOÖN © BIRMINGHAM MUSEUMS TRUST

INSIDER |

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Art Special

My f i r s t ar two rk

Artists, designers and curators describe the prints, paintings and objects that inspired them to start their own collection

PHOTOGRAPHS JOSHUA MONAGHAN

FROM LEFT The artist and Royal Academician Hughie O’Donoghue with a lithograph by Willem de Kooning. Sarah McCrory, gallery director at Goldsmiths Centre for Contemporary Art, with a print by Mark Leckey. Jo Stella-Sawicka, artistic director of Frieze Fairs, with a pencil drawing by Giles Round. The artist Ian Davenport holding an etching by Henri Matisse

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 65

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Art Special I A N DAV E N P O R T Artist

(pictured l ef t)

The first artwork I bought was for my wife, the artist Sue Arrowsmith. It was her birthday, so I was searching for something unique. Sue has always admired Henri Matisse and I had seen some etchings that he had made to illustrate a book by the poet Stéphane Mallarmé in the Thirties. One of these etchings was also reminiscent of the mural that Matisse painted for the Barnes Foundation in Philadelphia and I knew this was one of Sue’s favourite works by him. It was a special present because of her birthday, and also a thank you to her for supporting me through difficult times. The freedom of drawing and the use of line that Matisse masters is extraordinary. ‘Ian Davenport Colourscapes’ is showing at Waddington Custot, W1, until November 8

Ian Davenport with the Matisse etching he bought as a birthday present for his wife

ALLEN JONES

TIM MARLOW

Artist and Royal Academician

Artistic director at the Royal Academy of Ar ts

The first piece I bought was a lithograph by Sam Francis made around 1962. I was teaching lithography at the time, which as a printing process is the most direct manifestation of the artist’s hand outside the act of drawing and painting. I had cut my teeth on the American abstract expressionists and this print enabled me to possess an original artwork by one of its major protagonists.

I bought my first serious work of art in 1990 at the Royal Academy of all places. I was an impoverished post-graduate student at the Courtauld Institute and was working at the London Original Print Fair. As I schlepped around the fair, a small, dark etching of a mysterious forest kept catching my eye, so I bought it. The artist, Christopher Le Brun, is now the president of the Royal Academy.

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Director of programme a t Yo r k s h i r e Sculpture Park The first artwork that I bought was an oil painting on a small block of wood – 6cm high, 12cm wide and 2cm thick – by the Welsh artist Emrys Williams. It sits on my bedroom mantelpiece and I love to hold it in the palm of my hand. Tiny but gorgeous, it is a painting of folk huddled together against the wind on the Rhos-on-Sea promenade, their umbrellas almost blown inside out, with the beach and the Irish Sea beyond. It was the late Eighties and I was living in north Wales, which I really loved; Emrys precisely captured the essence of that place. Even in such a small painting, the wide, duck-egg blue sky shines – the same sky that Turner painted just a few miles further north. At the time, it marked a lovely friendship between me, Emrys, his girlfriend Nathalie and my (now) husband, Jonty. We were all involved in the visual arts, ate and talked endlessly together, and sometimes we cat-sat for them. I bought the painting directly from Emrys and, three decades later, it brings back memories of a happy time and a part of the world that still takes my breath away. I would buy it again if it were for sale today. 컄

PHOTOGRAPHS: EAMONN MCCABE; JONTY WILDE. MATISSE ARTWORK: © SUCCESSION H. MATISSE/DACS 2018

CLARE LILLEY

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Art Special JO STELLAS AW I C K A Artistic director of F r i e z e F a i r s (pictured bel ow)

MAGGI HAMBLING

JONATHAN ANDERSON

Artist

Creative director at Loewe

In 1980, as the first artist in residence at the National Gallery, I remember leaving my studio for the private view of a Roger Hilton show at the New Art Centre, then in Sloane Street. I had just sold a painting for the exact price of a late Hilton gouache entitled Two Elephants Fighting. My purchase was instant. The work enlivened my dining room for three months before I suddenly saw, almost indecipherably intermingled with the paint, the charcoal inscription: ‘Women and children last’. I then loved it even more, still do and would never part with it. I now point the message out for visitors (some of whom enjoy it) so that they need not stay for three months… Maggi Hambling’s work can be seen in ‘Michael Jackson: On the Wall’ at the National Portrait Gallery, WC2, until October 21, and ‘The Quick & the Dead: Hambling – Horsley – Lucas – Simmons – Teller’ at Jerwood Gallery, Hastings, from October 20 to January 6, 2019

The first artwork I bought was a vase by John Ward in black and white, which I found in a small gallery near the British Museum. I did not know his work, but I had been reading a lot about British contemporary ceramics and what drew me to the vase was the technical skill. I am still collecting Ward’s work – I think he is one of the most incredible potters.

‘I LOVE BEING GREETED BY THIS EVERY TIME I COME THROUGH THE DOOR – IT AMUSES EVERYONE WHO SEES IT’

MAUREEN PALEY Gallery owner and art dealer As a child, I had a number of collections, which included dolls and all things related to the sea and marine biology. However, the first thing I would consider part of my art collection was a photograph that I bought for 5p on a day trip to Brighton in 1977. The picture in question is a black and white portrait of the Bust of Nefertiti, which resides in Berlin nowadays but has had many plaster reproductions of it made. How was I to know that the city where I bought this talisman would become a second home to me? It marked my deep association with Brighton so many years before I came to live here. I cherish the photograph and have been happy to see it every day for the past 40 years. 컄 68 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

While I was at the Royal College of Art, I bought a pencil drawing on graph paper by Giles Round, who later co-founded The Grantchester Pottery. The drawing was the centrepiece of an exhibition we did together at Mark Aerial Waller’s studio and reminds me of my student days and the East End before it became gentrified. It now hangs at the top of my stairs and is visible from the front door. The artist drew the proclamation ‘Nothing Better to Do’ in a complex grid of thousands of tiny coloured squares. I love being greeted by this every time I come through the door – it amuses everyone who sees it.

Jo Stella-Sawicka with a drawing by Giles Round, which reminds her of her student days at the Royal College of Art

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Art Special

SARAH MCCRORY Gallery director at Goldsmiths Centre for Contemporary Art ( p i c t u red r i gh t )

The first work I bought was a limitededition screen print by Mark Leckey called Poster for ‘In the Long Tail’. It is printed on silver foil and was a nightmare to frame, but I would buy it again in an instant. The title refers to a lecture/performance the artist did in 2009 that I thought was incredible. The poster is both a reminder of the previous work and an artwork in its own right. Buying limited editions is a good way to collect works by artists who might be unaffordable otherwise. Leckey’s work has been important to me since I was an art student. It always feels like many of the references in his work are entirely and specifically relevant to the threads of various subcultures that were inf luential to me when I was growing up. It is nice to live with a work that reminds me of that.

FROM TOP Sarah McCrory with Poster for ‘In The Long Tail’ by Mark Leckey. Hughie O’Donoghue with High School Desk by Willem de Kooning

Artist and Royal Academician (pictured l ef t)

I started showing my paintings in the mid Eighties in a London gallery in New Bond Street run by an eccentric Swedish art dealer. He used to have a whisky every day at 5.50pm; he could never make it through those last 10 minutes. On one of those evenings, he told me about a cache of Willem de Kooning lithographs he had just acquired from the dealer Xavier Fourcade. Although I did not have the money, I immediately committed to buying one of these, and when they arrived at the gallery I bought a second. These two works, High School Desk and Landing Place, have been with me since then and have survived every rehang of our home. De Kooning is the great twentieth-century painter and his lineage is clearly evident through Chaim Soutine to Vincent van Gogh. In the 30 or so years that I have had these works, I have learned a great deal from them and never tired of their company 첸 70 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

HUGHIE O’DONOGHUE

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Fea ts o f c l ay EMILY TOBIN meets the winner of the Woman’s Hour Craft Prize, Phoebe Cummings, whose unfired clay creations challenge perceptions of fragility and durability PHOTOGRAPHS ANDREW MONTGOMERY

Phoebe works from her kitchen table at home

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ast autumn, Phoebe Cummings won the inaugural Woman’s Hour Craft Prize. She created a staggeringly beautiful fountain of raw clay at the Victoria & Albert Museum, where wild-looking blooms were meticulously moulded into an abundant towering sculpture. At midday each day, for a few minutes, a burst of water would dissolve the work. Clay petals, seed pods and tendrils of foliage gradually melted away until they had reverted back to their original state. Having studied Three-dimensional Crafts at the University of Brighton, Phoebe went on to do an MA in Ceramics & Glass at the Royal College of Art. She graduated in 2005 but, aged 24 and unable to afford the tools she had been working with, let alone a kiln or studio space, she moved back in with her parents in Stafford. Phoebe began to reimagine her way of making: turning her financial obstacles to her advantage, she experimented with ideas of ephemerality. She started working with raw clay and, short of a workspace, used her home to build her first installation. ‘I realised I wasn’t interested in making an object that sat on a plinth,’ she says ‘I transformed the way I worked, so I could keep making what I wanted to without a studio or facilities. I started to recycle clay and build my pieces directly on site.’ What started as a practical solution became an integral part of Phoebe’s practice. She responds directly to the space she is working in, the way the light changes and the atmosphere of the place. In 2013, she created a suspended sculpture of over ‘I TRANSFORMED 250,000 pieces for the University of Hawaii and in T H E WAY I 2016 her exquisite festoon of f lowers, Antediluvian Swag, was installed at the Summer House of Roche WORKED, SO I Court sculpture park and gallery in Wiltshire. COULD MAKE ‘The immediacy of clay is so important to me,’ says Phoebe. ‘I love it that there’s not much between me W H A T I WA N T E D and the material.’ The majority of what she creates WITHOUT is moulded by hand – when she presses a ball of clay into her hand, the curve of her palm might form a A STUDIO’ petal, while the lines on her skin become the threads of texture on the petal’s surface. Some elements are shaped with plaster moulds, which in turn are formed from hand-crafted clay models. Josiah Wedgwood would have used this method in the eighteenth century; it can take up to 60 hours to build a work. Much of the inspiration for these botanical forms comes from nature, but while her plant forms are often rooted in perception, the boundaries between fact and fiction tend to blur. For a recent project at the The Tetley gallery in Leeds, Phoebe summoned a world of imaginary plants that listened in on conversations to gather information – an eerie idea for which John Wyndham’s The Day of the Triffids was a resource. Eighteenth-century Rococo and Baroque design are regular reference points – particularly the ornate whimsy of Meissen porcelain. Unlike these historic pieces, which were fired at their inception and have survived hundreds of years, Phoebe’s work is as much about destruction as it is about creation. As time passes, her fine clay petals will dry, stems will crack, fronds will snap and leaves will shrink. When an exhibition finishes, she destroys the installation, packs up the clay and repurposes it further down the line. There is something poignant about the innate temporality of Phoebe’s work – it lingers in the space between performance art She creates most of her work by and studio ceramics. ‘I think of it like the briefness of a f lower,’ she moulding the says. ‘Part of a f lower’s beauty lies in the fact that it is f leeting’ 첸

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Art Special Phoebe’s unired pieces are not made to last, ref lecting the fleeting beauty of a real flower

clay in her hands

Phoebe Cummings: phoebecummings.com HOUSEANDGARDEN.CO.UK NOVEMBER 2018 73

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How to b uy a picture In the September 1954 edition of House & Garden, the art critic, essayist and novelist JOHN BERGER shared his sage advice on buying art. More than 60 years have passed and, while the prices might have soared, his words still ring true

THE ONLY GOLDEN RULE IS THAT EVERYONE SHOULD DEVELOP, AND BECOME CONFIDENT A B O U T, T H E I R OW N PERSONAL TASTE 74 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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aintings are unnecessary – as unnecessary as jewellery, flowers or presents. But just because they are unnecessary, one’s attitude to them can be more spontaneous and more personal, freer of preconceived considerations than anything else in the house. Good paintings cost quite a lot of money – though not so much as many people probably think. With that money, we buy what is best described as a sense of increased identity. The pleasure we get from having paintings at home is of two kinds. First, there is the pleasure of choosing work: the excitement of backing our own judgement by selecting a particular painting out of thousands of good, bad and indifferent pictures which exist. This pleasure continues after one has acquired the work, because it then becomes pride of ownership. Secondly, there is the pleasure – which can never be got in any gallery or museum – of actually living with paintings: of looking at them deliberately, when you happen to be in the right mood, of catching them out of the corner of your eye as you move past them, of noticing how they change in different lights and from different viewpoints; of speculating about the artist’s exact intentions, of growing familiar with them and, so, looking for what you expect, yet also discovering something new and unexpected; of suddenly finding a scene or event in everyday life, leaping vividly out at you, just because it reminds you of one of your own pictures. All these experiences emphasise and give body to one’s personal ideas and feelings. They extend the scope of one’s own life in one’s own environment; and it is that extension which brings a sense of increased identity. In this room in which I am writing, there are six pictures, all of which I know well: a nude, landscapes, a watercolour of a girl on a horse. All of these offer views, ways of thought, associations. It is an old but true commonplace that pictures are like extra windows. But this is not all that they do. Besides extending the room, besides breaking through the walls, they do also emphasise that particular character, that enclosed difference, the – for you – unique existence of your room. You have chosen them. They blend in with all the other familiar features; and, so, they increase your consciousness that this – unlike everything outside – is your home. Dogs before they lie down turn round several times – a habit that goes back to the day when they were wild and had to smooth down the grass or bracken. As I look round this room, the pictures, reflecting my own taste and personality more intimately than anything else, confirm that this is the space which – like a dog, but in a more complicated way – I have cleared for myself. The obvious corollary of all this – but something I consider less fundamental – is that, to other people, pictures give a house ‘personality’; far more people notice the pictures than the furniture. I have dealt at considerable length with the meaning of owning pictures, because it very much affects the practical business of how to choose and buy them. Because pictures are essentially personal things, there can be no set of rules about acquiring them, the only golden rule being that everyone should develop, and become confident about, their own personal taste. The best way to develop one’s taste – and this is often mostly a question of discovering it – is to spend time looking at paintings. In the West End of London there are at least 20 galleries constantly showing and changing their exhibitions of contemporary works. (In this article I am only considering contemporary art because, to most people, contemporary art rightly seems more relevant than the minor works of the past, and the old masters are

Art Special

obviously out of their reach.) Contrary to popular belief, one can wander around these galleries without the slightest obligation even to consider buying a painting. The variety of works shown is huge. They range from pictures which may strike some visitors as outrageously ‘modern’, to others that are good but quite conventional. Some of them will be by well-known artists, both English and foreign; others by younger, relatively unknown painters. Works by lesser-known artists probably offer a better opportunity for learning about one’s own taste, because they cut across any snob-values or the prejudice of reputation. Incidentally, buying paintings primarily for investment is a very dangerous business unless one knows a great deal about the art market. On the whole, it is much safer simply to buy pictures which one likes and sincerely believes are good. If they are good, they will then in the long run keep their original value. Having looked round the galleries and noted the sort of paintings or the names of artists you like, it is a good idea to go with the friend who calls himself an ‘expert’, because by arguing with him you will clarify your own ideas. But always remember Blake’s saying – ‘Every man ought to be a judge of pictures, and every man is so who has not been connoisseured out of his senses’. Having done this, how should you set about buying a picture? Should you decide that you can spend £5, or £15 or £50 (with each of these amounts one could buy something very worthwhile) on a picture for, say, the bedroom, and then go out and look for it? Or should you wait until you come across a picture that you really fall for, and then decide whether it is suitable for the room in question? On the whole, I advise the second method. If you go out to buy a picture, rather as you buy a lampshade, you will be tempted to get something in order not to come back empty-handed. But, in fact, one should never hurry oneself about buying a picture. If you see a painting you like, get it taken off the wall so that you can see in different positions. Then think it over well before you decide. Most galleries will ‘reserve’ a work for a couple of days. Also, if you go out with the fixed idea of buying a picture for a particular place on a particular wall, you will probably be inhibited about it ‘going’ with its surroundings. You will buy it for the room instead of for itself. There is a special kind of painting – essentially decorative painting – which must be considered very much in relation to its setting. But in all cases you must consider whether the mood of the picture is suitable (you won’t want bitter satires in the bedroom, or voluptuous nudes in the kitchen), but on the whole it is best to choose pictures on their merits – which means according to whether you like them for themselves. Nearly always, by moving things around a little or changing the colour of a frame, you can find a place for any picture you enjoy. Should you spend all your available money on one picture or on several? There can’t really be a definite answer to that. It depends on how strongly you want the single expensive picture. Generally, and especially when you haven’t much experience, it is probably better, and you will probably get more pleasure out of buying a number of works. There is a sort of superstition that oil paintings are ‘better’ than the watercolours, and that large pictures are more ‘important’ than small ones. This is quite false. So-called minor works, including drawings, lithographs and etchings, are more likely to suit the scale of one’s house and one’s bank balance – but one is also more likely to enjoy them. Small works are usually far more intimate in feeling than large ones and, as I have tried to show, the pleasure of collecting pictures, as we live today, is essentially an intimate pleasure. Patronage as the proof of wealth, a method of impressing, a way of glory, requires Renaissance palaces – and an attitude of mind which we haven’t got 첸 HOUSEANDGARDEN.CO.UK NOVEMBER 2018 75

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Art Special WISE BUYS

A fford a b l e a r t ANOUSKA CAVE displays unframed works under £500

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1 ‘Pink Angel’ etching, by John Byrne, 35 x 30cm, £480, from Glasgow Print Studio. 2 ‘Papier Dominoté No.31’ wood-blocked, hand-painted print, by Antoinette Poisson, 44 x 35cm, £95, from Choosing Keeping. 3 ‘17th Century Paintbox No.4’ gesso paper print, 30 x 21cm, £65, from The Shop Floor Project. 4 ‘Raoul Dufy 1877 – 1953’ lithograph, by Raoul Dufy and Atelier Mourlot, 74 x 53cm, £250, from King & McGaw. 5 ‘Hydrangea Walk (Isola Bella)’ photo etching, by Jennifer Dickson, 57 x 43cm, £425, from Royal Academy of Arts. 6 ‘When Life Gives You Lemons’ print, 42 x 30cm, £36, from Hôtel Magique. 7 ‘Dirty Rome (Flowers)’ oil stick on fabriano paper, by Jonathan Schofield, 84 x 59cm, £450, from Partnership Editions. 8 ‘5 Livres Gravés’ lithograph poster, by Eduardo Chillida and Galerie Maeght, 64 x 42cm, £25, from The Conran Shop 첸

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Art Special

Ma te r ial g i rl

Ahead of a Tate Modern retrospective on Anni Albers, HETTIE JUDAH considers the significance of the pioneering weaver and textile artist

With Verticals, a weaving made from cotton and linen, which Anni Albers created in 1946 HOUSEANDGARDEN.CO.UK NOVEMBER 2018 79

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THIS PAGE CLOCKWISE FROM TOP LEFT Design for a 1926 unexecuted wallhanging (detail), gouache with pencil on reprographic paper. TR II (detail), screenprint on paper, 1970. Rug (detail), nylon, 1959. Epitaph (detail), cotton, jute and Lurex, 1968. Eclat (detail), silkscreen on woven fabric, 1974. Necklace with aluminium washers and red grosgain ribbon, 1940. Intersecting (detail), cotton and rayon, 1962. Red Lines on Blue (detail), wool, designed for Modern Masters Tapestries, 1979. OPPOSITE Anni Albers in her weaving studio at Black Mountain College in North Carolina, in 1937. Albers and her husband Josef both taught at the college from 1933 to 1949. She was head of the weaving department; asked to characterise her as a teacher, one student at Black Mountain College summed her up in a single word: ‘Strict’.

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‘

t is quite surprising for Tate Modern to do an exhibition that’s predominantly textile work,’ admits Ann Coxon, the curator of displays and international art. ‘It’s something of a departure for us.’ The Tate’s atypical embrace of textiles celebrates the life and work of Anni Albers, the influential German artist and designer who studied and taught at the Bauhaus art school in Weimar, before moving to the United States with her husband Josef in 1933. Albers was, by necessity, a pioneer. Despite its supposedly egalitarian principles, the Bauhaus did not allow women to study painting. Having enrolled in 1922, Albers attended the weaving workshop. Alongside her fellow students, she received instruction from artists such as Paul Klee and Wassily Kandinsky. Briony Fer, professor of art history at UCL, who has co-curated the exhibition with Ann, explains that rather than allowing the medium of weaving to confine her, Albers aspired to be seen also as an artist. Even as a student, Albers’ designs were strictly abstract – arrangements of blocks, lines, grids and stripes that experimented with new combinations of colour and texture. She also used unconventional materials, including cellophane, jute and horsehair. In the most significant retrospective of her work to date, Tate Modern will showcase Albers’ works in the context of her broader historical research. The exhibition will explore the various arenas of Albers’ practice, including her writing and teaching. ‘There will be a room of pictorial weavings,’ explains Ann, as well as commercially commissioned textiles that were made in response to the hard edges and glass planes of modernist architecture. In place of sketches, we see the tiny fabric scraps through which Albers developed her ideas. The grid was an emblem of modernity for artists, designers and architects in the early twentieth century: it suggested mechanical, man-made order. A grid also forms the basis for weaving, making it, to Albers’ mind, ideal as a modern medium. ‘Anni Albers has been neglected as a modern artist – she’s one of many women who have been sidelined – but her idea of weaving as a modern project is exemplary,’ says Professor Fer. ‘We tend to think of modern art as obsessed with the new: Albers saw weaving as a modern process that dates back thousands of years.’ In preparing the exhibition, Professor Fer and Ann travelled from Germany to Chile, following Anni and Josef Albers’ journey from Europe to North Carolina, where the artists taught at Black Mountain College, then tracing their research trips through Central and South America. ‘They were great collectors of pre-Columbian textiles,’ says Professor Fer. ‘She was learning from them, even unravelling some of them to see how they were made.’ Albers’ embrace of both hand and industrial production,

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‘WE TEND TO THINK OF MODERN ART AS OBSESSED WITH THE NEW: ANNI ALBER S S AW W E AV I N G A S A MODERN PROCESS THAT DATE S BACK T H O U S A N D S O F Y E A R S’ craft and fine-art practices, ancient and contemporary influences, have all inspired subsequent generations of weavers. A central room will unite the various textile traditions that informed On Weaving, a book that ‘put in place a visual atlas of weavings from all over the world’, says Professor Fer. Published in 1965 – and still a foundational text for many contemporary practitioners – On Weaving was dedicated by Albers to ‘my great teachers, the weavers of ancient Peru’. The display brings together Coptic and Moroccan textiles, palm cloth and weavings from South America. ‘Her thinking process is in the middle of the show,’ says Professor Fer. ‘This is part of her tactile imagination’ 첸 ‘Anni Albers’ will be at Tate Modern, SE1 from October 11 until January 27, 2019. ‘Untitled (1926)’, £850, a limited-edition rug designed by Albers and made by Christopher Farr, will be sold exclusively at the gallery during the exhibition. tate.org.uk HOUSEANDGARDEN.CO.UK NOVEMBER 2018 81

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Art Special

Words and picture s What to read: the latest art books reviewed by ELIZABETH METCALFE

F u r th e r r e a d i n g A BUYER’S GUIDE TO PRINTS by Helen Rosslyn (Royal Academy of Arts, £9.95)

Prints tend to elicit confusion – can they ever be considered an original? Are they worth investing in? In this new book, Helen Rosslyn, director of the London Original Print Fair, provides the answers. Her aim? To ‘equip the potential collector with the confidence to start buying’. In the first section, she explains 14 techniques – from linocuts to mezzotints – each of which is accompanied by examples of prints from the Royal Academy of Arts collection. The section called ‘Buying Prints’ is full of useful advice on how to start a collection and the glossary of technical terms at the back is another helpful addition.

by Tom Morris (Frame, £32)

ritain seems to be experiencing something of a ceramics revival. Open-access studios – such as Turning Earth in east London – are f lourishing, Instagram is awash with ceramic celebrities and there are long waiting lists for pottery courses. As this book by Tom Morris illustrates, there is a new breed of ceramicist out there who straddles the disciplines of art, craft and design in their work, transforming clay into not only vessels and tableware, but also furniture, murals and temporary sculptures. Tom, a design journalist, profiles 55 of the most innovative and experimental ceramic designers across the world. Some are traditionally trained – the British-based ceramicist Dylan Bowen works in the studio-pottery tradition that was pioneered by his great-grandfather Bernard Leach, for example – but the book’s point is to show that formal training is not a prerequisite for creating ceramics today. Among those included are product designers, illustrators, sculptors, artists and interior designers. Ashley Hicks, who confesses to being a ‘terrible cheat’, makes his colourful ceramic sculptures from children’s clay and bakes them in his kitchen oven. You would be forgiven for questioning if this dumbs

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down ceramics, but that would be missing the point. As Tom writes in the introduction, ‘The boundaries and labels of who makes what and what it’s called have disappeared.’ Some of those included do not even make the ceramics: Swedish-born illustrator Lisselotte Watkins redecorates vintage pots that she finds in Italian markets. Others, such as the Dutch product designer Olivier van Herpt, adopt a more high-tech approach – he creates ceramic vessels using a 3D printer. It is about designers not just experimenting with techniques, but also playing with forms traditionally associated with ceramics. Chris Wolston, a product designer who splits his time between Brooklyn and Colombia, works with terracotta, traditionally used in brick-making, to create imaginative handmade furniture that nods to the human form. Clay artist Phoebe Cummings (who is featured in earlier in this Art Special) embraces something that ceramics are not usually associated with: temporality. She leaves her unfired intricate floral sculptures to erode slowly away. The profiles are on the brief side, but the full-page accompanying images more than make up for this. Essays and interviews by experts such as Edmund de Waal, Grayson Perry and Hella Jongerius help to add weight to the book.

ST IVES: THE ART AND THE ARTISTS by Chris Stephens (Pavilion, £26)

‘How do we come to terms with the fact that much of the best English art of the Fifties was produced so far… from where we would otherwise mark the salient,’ pondered art historian Charles Harrison in 1985. The ‘salient’ he is referring to is St Ives, the seaside town that became a hub for artists between the Thirties and Sixties. This forms the focus of this study by Chris Stephens, director of The Holburne Museum. The story begins in 1939, when Ben Nicholson and Barbara Hepworth moved to Carbis Bay, just outside St Ives, to escape the bombing of London. It goes on to look at how artists such as Peter Lanyon, Bryan Wynter and Patrick Heron, who arrived after the war, forged new artistic styles. It makes for a fascinating, comprehensive read. DAVID GILL: DESIGNING ART by David Gill (Vendome, £45)

When gallerist, collector and designer David Gill set up his first small gallery in 1987, he spearheaded an approach in which fine art and design morphed. This book examines David’s 30-year career. He has always nurtured new talent: as Francis Sultana, the artistic director of David Gill Galleries and also David’s partner, writes in his foreword, ‘Every artist and designer who has worked closely with David would say his mentoring and support have been invaluable to the development of their art.’ A chapter is dedicated to each of his three galleries, from his Fulham Road ‘jewel box’ to his current gallery on King Street, SW1. One section profiles 10 of the designers with whom David has collaborated, from David Chipperfield to Zaha Hadid 첸

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SEE IT ON THE APP. LOVE IT ON YOUR WALLS. With the Graham and Brown Augmented Reality App you can visualise 100s of wallpapers and paint colours in your own home and automatically calculate how much you’ll need all before your very eyes. Snap a picture, share or buy instantly. WOW.

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D E C O R AT I N G

Follow the rules RUTH SLEIGHTHOLME lines up the best of the new wallpaper collections FROM LEFT ‘Shinku’ (turmeric), by Scion, 53cm wide, £45, from The Style Library. ‘Kalamkari Vine’ (blue and white), by Anna French, 68cm wide, £99, from Thibaut. ‘Squares’ (smalt blue), by Gianpaolo Pagni, 68cm wide, £200, from Hermès. ‘Maidenhair’ (115/6019), 53cm wide, £85, from Cole & Son. ‘Jessup’ (sepia/indigo), by Oscar de la Renta for Lee Jofa, 61cm wide, £1,024, from GP&J Baker. ‘Topanga’ (navy and ochre on white), by Maison C, 76cm wide, £115.29 a metre, from George Spencer Designs 컄 PHOTOGRAPHS RACHEL WHITING

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DECORATING | SWATCH

FROM LEFT ‘Kirkby’ (azure), 133cm wide, £60 a metre, from Blithfield. ‘Trees of Derain’ (multi), by Wayne Pate, 68cm wide, £58 a metre, from Studio Four NYC. ‘Ananas’ (tropical), by Paul Poiret for Schumacher, 69cm wide, £1,092 an 8.2-metre roll, from Turnell & Gigon. ‘Sweet Pea’ (115/11032), 53cm wide, £100, from Cole & Son. ‘Taki Floral’ (indigo), by Schumacher, 69cm wide, £624 an 8.2-metre roll, from Turnell & Gigon. ‘Pomegranate’ (persian pink), 70cm wide, £190, from Totty Lowther 컄 86 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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C O L L E C T I O N

Designed by House & Garden. Handcrated by Arlo & Jacob. Reflecting over 70 years of the best in design and decoration, the House & Garden Collection is handcrafted in Britain by Arlo & Jacob.

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DECORATING | SWATCH

FROM TOP ‘Kantha’ grasscloth (ramayana red), 86cm wide, £78 a metre, from Phillip Jeffries. ‘Aurelie’ (98), 53cm wide, £89, from Sandberg. ‘Hunters’ (autumn), by Jet by Whiteworks, 52cm wide, £120, from Guy Goodfellow Collection. ‘Maîtres de la Forêt’ (sienna), by Gianpaolo Pagni, 53cm wide, £400, from Hermès. ‘Appleton’ (emerald green), by Sister Parish, 68cm wide, £318 a 3.5-metre roll, from Tissus d’Hélène. ‘Nykel Viken’ (paprika), by Astrid & Rudolph, 52cm wide, £114 a metre, from Nicholas Herbert. B100 marker pens, by Pentel, £19.50 for set of six; wooden set square, £6; all from Present & Correct. Wallpaper prices for a 10-metre roll, unless otherwise stated. For suppliers’ details, see Stockists page 첸 88 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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DECORATING | ADVICE Rita in the hallway of Veere Grenney’s London house

Rita Notes

RITA KONIG considers the decorative details that make entrance halls appealing

PHOTOGRAPH CRAIG FORDHAM

t is easy to forget that an entrance hall is a room. It often receives corridor status, but it is, in fact, an important space. As the place for arrivals and departures, it sets the tone for the rest of the house, so it needs to be welcoming. I have a rather Bob Cratchit feeling about entrance halls. I love the view as a London front door opens on a winter evening, revealing that golden light from lamps on a hall table, on either side of a stone bust sporting a Panama hat type of thing. The furniture here should be good. The hall table can be quite magnificent – just as it is in many of Robert Kime’s projects, and in William Yeoward and Colin Orchard’s house in Gloucestershire. It is all about inviting you in, whether you are in London or the country. A large hall can happily double as a dining room, something I learnt from my mother and she in turn learnt from the American decorator Elsie de Wolfe, who considered dining rooms to be dreary. A square hall will take a centre table that can double as a dining table. Even a long entrance hall, if wide enough, can accommodate a table and eliminates the need to dedicate valuable space to dining. Centre tables are lovely, especially if you can find a beautiful basket planted with fragrant seasonal flowers for the middle of it. The hall is even better when it smells good. Potpourri from Santa Maria Novella (smnovella.com) can help with this if you do not have green-enough fingers or the time to fill baskets and bowls with bulbs. The table also acts as a great landing station: parcels, handbags, keys or shopping can get dropped here on arrival. The space needs to be able to accommodate this traffic. And traffic is a consideration when you are decorating. The floor, for example, has to be practical while remaining in keeping with the style of the house. We are currently deliberating over wood or stone for the entrance hall of our Durham house. Stone takes the underfloor heating so well and is impervious to wet and muddy boots. Old flagstones are hard to beat, but if you cannot put down something really lovely, I would err towards wood, which is warmer than stone. Oatmeal carpets are a disaster, so if you want carpet, choose a pattern – I recently used ‘Peacock’,

A hall is somewhere you can be more exuberant or unexpected

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a multi-coloured coir from Sinclair Till (sinclairtill.co.uk), in a hall and up the stairs. It is fabulous looking, lovely and rough and is, I hope, going to hide a lot of grubby boot prints. The walls are also an opportunity to be seized. Anywhere that you pass through fleetingly is somewhere you can be more exuberant or unexpected. John Fowler did a wonderful hall once, with old hexagonal stone f loors and quite serious-looking antiques set against ‘Madras Violet’ wallpaper by Cole & Son (cole-andson.com). Entrance halls are a great opportunity for a dramatic, large-scale wallpaper that draws you up the stairs. It is also important to remember that what really decorates is stuff: pictures, objects, books, plants, lamps and rugs. It is often low on the priority list when the house is in the building phase. But the houses I want to be in are always the ones in which things are lovely and considered, more than whether I like the wall colour or the curtain fabric. These things are fun to accumulate over time and hard to find in a hurry. It is in entrance halls that you notice this. Because there is not a huge opportunity to use fabrics and upholstery, the furniture and all the stuff on it become all the more important 첸

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L A

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LIFESTYLE Back to Black

A converted barn in the Sussex South Downs has allowed the talented family of the sculptor HAMISH BLACK to realise their creative potential under one roof TEXT DAVID NICHOLLS | PHOTOGRAPHS WILL PRYCE

Hamish Black (far right) with his wife Yvonne and their sons, Liam and Keir, at Brook House Studio, the family’s house in Sussex. The sculpture is ‘Shout’ by Hamish

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 95

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‘I

t’s a relatively recent thing, this idea of the nuclear family – where the kids grow up and go off to start their own independent families,’ muses the sculptor Hamish Black. We are driving along the narrow, winding lanes of East Sussex to visit James Price, a local blacksmith, at his forge. It is just across the field from where Hamish lives, and the two sometimes collaborate on projects. ‘Still to this day in countries like Italy, there is more emphasis on extended family relationships,’ Hamish continues. ‘Space for the different generations – intellectually, physically and socially. That doesn’t happen as often in this country today.’ Hanging in the air is the sense that Hamish considers himself fortunate that his family’s situation is the exception rather than the rule. This is more by design than chance, however. What is central to maintaining close family ties is a house whose very conception was intended to bring the Black family together. Hamish and his

wife Yvonne, whom he met at art school in the Sixties, live in a barn conversion that could not be more different from the sixteenth-century house next door in which they lived for 40 years. It was there they raised their two sons, Keir and Liam; the adjacent barn was used as Hamish’s workshop, affording plenty of space to make the large-scale sculptures he produces. The most visible of these is Af loat, the torus-shaped bronze that has been a feature on the Brighton promenade since 1998. They sold the house about 10 years ago and turned the nineteenth-century barn into a modern live-work space. It includes a gallery for Hamish’s sculptures on the ground floor as well as a studio for Yvonne, who has recently retired from a career in education. Having studied graphic design at college, and served a stint in the BBC’s costume department, she is enjoying reconnecting with her artistic side. Sliding doors separate these spaces from the kitchen and sitting room. On a mezzanine level there is a meeting area, where their eldest son, Keir, who is the founder and principal architect of Field Architecture, often 컄

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LIFESTYLE

THIS IS A HOUSE WHOSE V E R Y C O N C E P T I O N WA S INTENDED TO BRING THE B L AC K FA M I LY T O G E T H E R OPPOSITE The gallery on the ground floor of the barn opens onto the courtyard, where Keir’s daughters and Liam’s son climb on some of Hamish’s smaller sculptures. THIS PAGE Hamish (centre) is pictured in the gallery with John Booth, the chair of trustees at Pallant House Gallery in Chichester, and John’s partner Tim Ashley, who is a photographer and writer. On display are two ink drawings by Hamish: ‘TV Interior’ on the far wall and ‘Flexure’ on the right

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 97

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LIFESTYLE

ANTICLOCKWISE FROM TOP RIGHT Keir talks to Yvonne at the kitchen window; Hamish is seen in the garden with Gallery57 curator and writer Ann Elliott. Yvonne uses paper to make wall reliefs. Keir in the upstairs meeting area with his client Anna Garner, who founded artisan website The Garnered. The architect modernised the nineteenth-century barn for his parents

98 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

meets clients. Arranged on shelves are some of his scale models, including an early iteration of this conversion, which is called Brook House Studio. The project received recognition from the Sussex Heritage Trust for its residential design and won the award for Retrofit House (Under £500,000) at last year’s AJ (Architects’ Journal) Retrofit Awards. It is no wonder that Keir, who started his career at firms including Pentagram Design and Arup Associates, has begun to capture the attention of owners of dilapidated farm buildings dotted around the rolling hills, river valleys and heathland of the South Downs. There is something almost poetic in the fact that as a young boy Keir helped Hamish to restore the barn enough for it to function as a workshop. He also spent a great deal of time inside the barn assisting Hamish in the construction of his sculptures. I point out to Keir that this would have been dangerous work for a child, being in close proximity to a fired-up forge, not to mention the sparks that result when red hot metal gets in the way of hammer meeting anvil. ‘I suppose. But many of my classmates would have been working on the farms with their families,’ Keir replies. ‘That can be dangerous, too.’ He explains that the experience gave him an unshakeable taste for making things, which is perhaps why he became an architect. It also established a collaborative relationship with Hamish, which continues to this day. ‘I value his input,’ Keir explains. ‘Artists have an amazing way of looking at the world and at science. They help people to understand it.’ Likewise, Keir’s experience with engineering and complex projects through his work as an architect is helpful when 컄

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LIFESTYLE Hamish’s artistic ambitions require the laws of physics to bend – or seem to, at least. While the renovation of the barn was underway, Hamish and Yvonne lived in two smaller buildings on the site. One of them was designed from scratch by Keir. ‘It gave us a chance to get used to living with big plate-glass windows and the whole minimal feel,’ Hamish says. ‘And to sense this relationship between an invisible wall and the outside.’ This modern structure, clad in black recycled sheet material, has since been converted into a recording studio by Hamish and Yvonne’s younger son, Liam, a music producer. He lives with his wife Tina and their toddler son in Brighton, but spends several days a week at the studio, where he composes for film and advertising. He also writes as a solo artist, Sbliminal, and for his band The Qemists. It would not be uncommon for a guest to arrive at Brook House Studio to find Hamish at work (in another repurposed outbuilding), Yvonne in the main house creating three-dimensional wall reliefs from torn strips of coloured paper, Keir discussing plans with a client upstairs, and Liam sitting at banks of keyboards and miscellaneous gadgetry in the recording studio. Over the course of the two days that I spent with the Blacks, Keir explains 컄

‘A R T I S T S H AV E A WAY O F L O OK I NG AT T H E WOR L D. THEY HELP PEOPLE T O U N DE R STA N D I T ’

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CLOCKWISE FROM ABOVE Keir with Sophie Cameron of Simon Scott Landscaping on the site of a local project they are working on together. Liam, who is a music producer and composer, in the recording studio; it was designed by Keir as a relocatable building in which his parents lived during the renovation of the barn. Hamish and Yvonne walking in the South Downs

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LIFESTYLE

that central to the redevelopment of Brook House Studio was ‘an idea for an environment that would enable us to have space to pursue our own creative businesses’. Far more than that, it also acts as a hub that brings them together as a family. Yvonne and Hamish look after Keir and his partner Laura’s two daughters every Friday after school. And perhaps as a sign of the times, when Hamish invites them into his studio, he is more likely to have them experimenting with plaster of Paris than an angle grinder. Liam’s son is a bit young to be trusted not to eat the stuff, but he does seem to enjoy running around and climbing on Hamish’s sculptures that dot the courtyard. There is surely potential there for another creative in the family 첸 Hamish Black: hamishblack.com Yvonne Black: yblackstudio.com Keir Black: fieldarchitecture.co.uk Liam Black: liamblackmusic.com

CLOCKWISE FROM ABOVE Hamish at work in a converted outbuilding; he sometimes collaborates with the blacksmith James Price at his forge. The family in the courtyard. Hamish sculpting in plaster of Paris with his granddaughters. Yvonne in the kitchen garden with her friend Suzi Hopkins, who co-founded The Company site-specific theatre

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In s pirational inte r iors, beautif ul garde n s, fascinating people, compelling stories

PAUL MASSEY

HOUSES

From page 106: country houses in Sussex and Morocco; and city chic in London (pictured)

GARDENS

From page 144: Heale House in Wiltshire; and expert advice on training fruit trees

D E C O R AT I O N From page 138: colourful schemes illustrate creative ways to display art 첸

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TEXT JEREMY MUSSON | PHOTOGRAPHS PAUL MASSEY | LOCATIONS EDITOR LIZ ELLIOT

Win n ing c o m b inat i o n

At Pitshill – winner of a Georgian Group Architectural Award last year – Edward Bulmer’s work on the interiors celebrates the sensitively restored period details and makes space for modern life 106 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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STAIRCASE HALL (opposite) Charles Pearson, the owner of Pitshill, calls this room its ‘crowning glory’. ‘Tea Green’ paint by Edward Bulmer complements marbling by Hesp Jones & Co. A door under the stairs leads to the entrance hall. DRAWING ROOM (this page) Large windows offer views of the park. The furniture has a neo-classical feel; on the left is a sofa from Howard & Sons

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he area of Sussex around Midhurst holds many hidden valleys, combes and vistas which seem sometimes a little unreal – Tennyson celebrated the beauty of ‘green Sussex fading into blue’. Within this undulating landscape are timber-framed farmhouses, small stone manor houses and only a handful of really good Georgian country houses – and among the best of these is Pitshill. Gloriously sited above the shallow bowl of a combe, the sevenbay classical pedimented house has a crisp elegance about it that would have pleased fussy eighteenth-century travellers, who loved nothing better than seeing a fine house and passing comment on the taste of the patron. In this case, they would have revelled in the recent achievement of the Hon Charles Pearson and his wife Lila, who have carried out what can only be called a model revival of a handsome Georgian house, creating an elegant, comfortable and convenient family house. ‘I had known the house as a child, as I was at school with Edwin, the youngest son of Sir Colville and Lady Barclay, who had bought it in the Fifties. I think I was captivated by it even then,’ says Charles. His own father, the 3rd Viscount Cowdray, had inherited the nearby Cowdray Estate, so this part of Sussex was already important to him. Charles bought the house in 1997 (‘with considerable trepidation’) and lived in a nearby farmhouse while he and Lila planned the restoration. Work on the house and garden began in earnest in 2010 and was completed in 2016. ‘The house was much loved but in a poor state when we bought it – isolated and pale, with a backdrop of holm oaks. It had a ghost-like feeling,’ Charles remembers. ‘I dreamt of creating a neo-classical idyll. The project was not without its difficulties, but it was a privilege to be able to work from almost a blank canvas.’ Pitshill has a complex story; it was built in the 1790s by William Mitford, who had approached Sir John Soane but rejected the architect’s proposed designs for an addition to the east front of the original gabled Jacobean house. Instead, Mitford resolved on an entirely new building. It appears this may have been partly to his own design, although he also made use of Soane’s ideas and collaborated with John Upton, the Petworth estate surveyor. Further work was done to the interiors in the 1830s. In 1998, Charles engaged the architect Christopher Smallwood, who had been working at Goodwood House. Charles notes that the restoration ‘received great support from Historic England and the Chichester District Council – as well as our family’. Some big decisions had to be made along the way: ‘We had to take down the entire eastern façade, clean the stone and restore it. Happily, we saved 80 per cent of the original stone and renewed the rest, so you can’t tell the difference visually. We also re-used the original Coade stone balustrades and tympanum palmette decoration. The other elevations are rendered as before to match the Portland stone, but in a Keim paint that is similar to traditional lime wash but has greater longevity.’ The attic floor, which had been removed in the Fifties, was rebuilt within a new mansard roof containing four new bedrooms. For the front entrance on the western side of the house, Christopher designed a handsome porch with paired and fluted Doric columns in Portland stone. From this entrance, you pass through the entrance hall, staircase hall and garden hall to reach the new formal garden to the

‘I dreamt of creating a neo-classical idyll’ east, which was designed by Simon Johnson. The view through the house continues from here across a wide lawn and terminates with the swimming pool and pedimented Tuscan-style pool pavilion. The lawn is framed by clipped holm oaks, which echo the old holm oaks in the landscape. Philip Thomason supplied new Coade stone balustrading for the house and for the lion-mask fountain north of the pavilion. This formal area close to the house fades into traditional English parkland and then into the landscape beyond. Nature is echoed inside the house, too, in the stone and greens of the interior and the many carefully selected landscape paintings. Charles explains, ‘We chose a date span from around 1785 to 1835, which reflected the age of the house.’ That decision informed the choice of furniture and artworks. ‘I worked closely with Edward Bulmer, who went beyond the call of most interior decorators; his coloured drawings of the interiors helped us to visualise his ideas.’ The best portraits in the house – by Henry Raeburn, Joshua Reynolds and Thomas Lawrence – came from Charles’s previous house in Aberdeenshire, where he retains a large agricultural estate. Other paintings were bought especially for Pitshill – notably the vast Anton Hallmann of the Villa Medici in the staircase hall and the three paintings by Antonio Zucchi that hang above. ‘I had the space and was advised by the art dealer Simon Dickinson. The Zucchis were painted for Robert Adam’s entrance hall at Compton Verney, where they were displayed in plaster frames. Edward designed new frames based on Adam’s originals and these were carved by Julian Stanley and gilded by Simon Cooper.’ Edward speaks of the challenge of ‘sorting out a house for people to live in comfortably, while respecting the original architecture’. The house has a strong classical feel and, as Edward explains, this was ‘characteristic of the 1830s, when the last interior work was done’. Charles is evidently a patron with an unusual eye and an interest in all aspects of the design. ‘With this level of detailed attention, it is not surprising that we picked up some of the best craftsmen and makers in the country along the way,’ says Edward. Wallpapers were made by David Skinner and Hamilton Weston. The painting, gilding and marbling is by Hesp Jones & Co, and the plasterwork is by Stevensons of Norwich. The oak floors are by Weldon, with David Wilkinson supplying much of the lighting. Edward adds, ‘The electrified picture rails mean you can have any picture lights you want without damaging the historic walls.’ For Charles, the staircase hall is ‘the crowning glory of the house’. A domed ceiling, designed in the Soane spirit by architect Giles Quarme and his colleague Archie Walls, was installed above the original cantilevered staircase. The staircase hall is an elegant centrepiece from which the breakfast room, drawing room, dining room, morning room, study, entrance hall and garden hall are approached. This is a house which speaks of its owners’ love of architecture, art and furniture, but is also a home designed for the enjoyment of family and friends – ‘a neo-classical idyll’ indeed 첸 Edward Bulmer Interior Design: edwardbulmerinteriordesign.co.uk Simon Johnson Garden & Landscape Design: simonjohnson.co.uk Giles Quarme & Associates: quarme.com

DRAWING ROOM Landscape paintings from the Georgian period hang on the walls, which are painted in Edward Bulmer’s ‘Sea Green’. The hand-knotted carpet was specially woven in David Bamford’s workshop, while the blue silk-covered chairs are from Max Rollitt. Double doors open onto the garden hall and the formal dining room beyond HOUSEANDGARDEN.CO.UK NOVEMBER 2018 109

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‘We picked up some of the best craftsmen and makers in the country along the way’

BREAKFAST ROOM (top left) The chairs are from Sibyl Colefax & John Fowler. STUDY (top right) The Regency-style wallpaper is ‘Strokestown’ by David Skinner. BILLIARD ROOM (bottom left) An Aubusson tapestry hangs on the wall. STAIRCASE (bottom right) Stephen Pettifer sculpted the eagle decorations. DINING ROOM (opposite) The flocked wallpaper is by Allyson McDermott 110 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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The formal garden fades into traditional parkland and the landscape beyond

EXTERIOR AND GARDENS (both pages) The restored eastern façade overlooks a garden, designed by Simon Johnson, that has an expanse of lawn and clipped holm oaks. A swimming pool acts as a formal length of canal. Beds framed by box and yew feature planting that changes with the seasons. A restored ha-ha separates the garden from the parkland HOUSEANDGARDEN.CO.UK NOVEMBER 2018 113

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Charles and Lila have created an elegant, comfortable and convenient family house

BATHROOM (top left) The moulding is subtly neo-classical. FRENCH BEDROOM (top right) AT Cronin made a canopy for the Louis XVI-style bed. YELLOW BEDROOM (bottom left) The wallpaper is by Hamilton Weston. GARDEN HALL (bottom right) Teddy the dog with a view of the pool pavilion. MAIN BEDROOM (opposite) The Beaudesert bed is hung with a Pierre Frey fabric 114 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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CITY SERENITY Kerry Franses has opened up the dark and claustrophobic layout of her mother’s London house to create a calm and light-filled setting for eye-catching collections of fine art and antiques TEXT ELFREDA POWNALL | PHOTOGRAPHS PAUL MASSEY | LOCATIONS EDITOR LAVINIA BOLTON

KITCHEN/SITTING ROOM The warm natural tones and textures of parquet by Oak Artisans and a sisal rug by Tim Page soten the lines of the minimalist kitchen

116 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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DINING AREA (this page) A Barbara Brown Op Art Sixties screen-printed textile hangs on the wall beside the dining table with its Hans Wegner ‘Wishbone’ chairs. KITCHEN (opposite) Kerry designed the layout of the Bulthaup kitchen

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‘THERE IS ONLY ONE SOURCE OF NATURAL LIGHT IN THE HOUSE , SO I HAD TO MAKE THE MOST OF IT’

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 119

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he interior designer Kerry Franses has been going to art fairs since she was a baby. ‘My sister and I spent every October half-term in Maastricht,’ she says. Her father Michael, a respected textiles scholar, would man the family’s stand at the renowned European Fine Art Fair, while her mother Jacqueline took the girls to meet other dealers, who showed them their prize pieces. When her father retired in 2009, he was approached by the Emir of Qatar to become the director of special cultural projects in Doha. The couple decided to sell their large family house in Somerset in order to spend more time at their home in Florence, but they also wanted a London base so they could be near family and friends. The house Kerry and her mother found, near Regent’s Park, was a former wing of a larger 1890s house that had been added on in the Twenties. Its windows were tiny and its rooms dark, with a muddled arrangement. Jacqueline and Kerry recoiled at its abundance of pink marble and wroughtiron curlicues – and at the claustrophobic, windowless, mirror-lined dining room. Kerry opened up the ground floor into one big space, with the exception of a short entrance corridor, which she lined with a concealed coat cupboard. She divided the space into kitchen, dining and sitting areas, each with a f loor-to-ceiling metal door that opens onto the private courtyard at the front of the house. ‘This is the only SITTING ROOM (below) A forked wooden ladder by the Dogon people of Mali and a dark antique Aymara wool textile from Bolivia provide a striking backdrop for an eighteenth-century wing chair. MAIN BEDROOM (right) A portrait by Klimt hangs above Chinese Tang earthenware vessels displayed on a fruitwood lowboy

source of natural light, so I had to make the most of it,’ she says. Formerly a parking area, it is now paved with York stone and its walls are lined with tall evergreen shrubs. ‘My mother is a very calm person,’ explains Kerry. ‘Her watchwords for the house were: ‘‘Calm and no clutter’’.’ Plenty of understated storage took care of the latter and a simple combination of white walls and oversized pale oak parquet, with a chunky sisal rug by Tim Page in the sitting area, provided the requisite serenity. ‘There was no fireplace in the main room,’ says Kerry. ‘It needed a focus. So we created a chimney for it with the f lue concealed behind the top of the wall next to it.’ Shelves here display a collection of ceramics by Paul Philp. A portrait by the Belgian painter Leon de Smet, in its original frame, hangs above the fire – and the whole wall above the fireplace can be pushed to one side, portrait and all, to reveal a television screen behind. ‘We are big film buffs,’ says Kerry. The entire family can sit on the elegant sofa opposite, which Kerry designed herself. Its back marks the division between the kitchen and the sitting area, and she kept it deliberately low so as not to dwarf the Hans Wegner ‘Wishbone’ chairs around the island table behind. A pair of eighteenth-century wing chairs with Loro Piana linen slip-covers flanks the fireplace, with a simple wooden stool beside each of them adding a pared-back, rustic element. The open-plan space is the perfect setting for the pick of the Franses’ collection of art and antiques. Kerry has gathered pieces from different ages together to make some memorable vignettes. An English oak cricket table near the fireplace holds a Chinese Han dynasty funerary urn, made into a lamp base, and a modern bronze by Anna Shulman, with a painting of St Ives harbour by Charles J Praetorius hanging behind them. Elsewhere, a small Roman figure of a lion stands near some ancient glass and modern ceramics. Hanging at one end of the room is an Aymara textile from Bolivia, which appears entirely black at first, then dark purple stripes become visible as you continue looking. ‘It’s like a Rothko,’ says Kerry, who is on a mission to show how textiles work well in modern interiors. On the wall of the Bulthaup kitchen/dining area, a monochrome Op Art screen-printed textile by Barbara Brown makes her point. Upstairs in the main bedroom, cream earthenware vessels from China’s Tang dynasty stand on a George III fruitwood lowboy; their lids in the shape of birds with outstretched wings are displayed together. In the bathroom next door, smoked glass, polished plaster and a marble basin continue the restrained theme. When Jacqueline and Michael met in the early Seventies, they began collecting Japanese ink works, then under-priced, and there are some beautiful examples in the bedrooms. Chinese furniture is another favourite, with a handsome seventeenth-century chair in the spare room and a sixteenth-century sloping side cupboard on the landing. The Arts and Crafts movement reigns in the study with its 1903 chair by Frank Lloyd Wright. Kerry has grown up with the finest art and antiques but she says the most important part of her interior-design work is truly getting to know her client, their taste and the way they want to live. With this particular client, she has the advantage of having had all her life to do so 첸 Franses Design: fransesdesign.com

120 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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‘ T H E WAT C H W O R D S F O R T H E H O U S E WERE: “CALM AND NO CLUTTER”’

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POLISHED PLASTER, SMOKED GLASS, PALE MARBLE AND NATURAL STONE CONTINUE THE RESTRAINED THEME IN THE BATHROOM

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BATHROOM (opposite) Qian Dajing’s ‘The Steps’ hangs on the bespoke polished plaster wall above a Clearwater ‘Armonia’ natural stone bath. A weathered stool contrasts with the sleek smoked-glass shower screen. SPARE ROOM (above left) A Chinese Sung dynasty urn converted into a lamp base sits below an ink drawing by Japanese artist Ryohei Tanaka. STUDY (above right) An Arts and Crats desk attributed to Peter Hansen is paired with an oak chair by Frank Lloyd Wright. LANDING (below left) A Tibetan gilt plaque is among the objets on a sixteenth-century Chinese cupboard. BATHROOM (below right) Taps by CEA Design complement a basin from Marble City

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TEXT DOMINIC BRADBURY | PHOTOGRAPHS RICHARD POWERS

INNER CALM

An enterprising French couple has created an inviting family house with an unexpected air of seclusion, tucked among the trees at the heart of Beldi Country Club near Marrakech

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ENTRANCE (opposite) A wooden door, one of many bespoke pieces made for the house by Beldi’s artisans, leads from the back garden into a lobby off the sitting room. SITTING ROOM (this page) The sofa on the let is bespoke and the other is mid-century Danish. Vintage-inspired fabrics by Jennifer Shorto were used for the cushions. The photograph on the far wall is by Floriane de Lassée

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T DINING AREA (top left) At one end of the sitting room is a bespoke table with Ilmari Tapiovaara chairs. The painting is by Jean-Pierre Risos. KITCHEN (below left) Granito, a fine-grained Moroccan terrazzo, was used on the walls and floor. VERANDA (below right) Vintage pendants hang above bespoke seating

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he family house that Alexandre and Julie Leymarie have created for themselves and their children in a tranquil, leafy oasis near Marrakech looks as though it has always been here. Sitting within an olive grove, surrounded by verdant and established gardens, this house made of pisé (rammed earth) and stone has a natural feel to it. It comes as a surprise to most of the couple’s guests when they find out that it is, in fact, completely new. ‘We built the house in the middle of the olive trees, but without taking down a single one,’ says Julie. ‘Some of the trees are 150 years old and had been planted with plenty of space in between, so we could work around them. The garden became another room for us. We are lucky to have the sun here, as well as water, so it’s quite easy to establish a garden – a year after we built the house, everything looked as though it belonged here.’ Although both Alex and Julie are French, they have travelled widely and lived in many different parts of the world before finally settling in Morocco in 2011. Having grown up mostly in Asia and the Middle East, Alex worked in finance and renewable energy. He followed Julie – who studied in England, Spain and Argentina – to India, after she was asked by L’Oréal to launch its luxury brands in the country. After 10 years, Julie left the company and co-founded her own business in Mumbai – a fashion and design boutique called Le Mill; she still goes back to India six times a year to look after the store, together with her business partner Cecilia Morelli. Having established his own renewable energy company in India, Alex then received a request from his family to come and

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VERANDA An antique table is teamed with rustic stools by a Beldi carpenter. Metal doors lead into the sitting room EXTERIOR The sitting room and veranda both open onto the rose garden. The roof terrace is just visible above the climbing vines and creepers that soften the outline of the house

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ANNEXE SITTING ROOM (above) A generous day bed allows this space to double as an extra bedroom. The vintage desk and photograph of elephants were bought in India. SPARE ROOM (below) This is the main bedroom in the annexe. The rug came from a boutique at Beldi and the chair from an antique shop on Ile de Ré in France

help look after the family business in Morocco. His parents had previously purchased a piece of land in the countryside not far from Marrakech. Here, they founded Beldi Country Club, which combines a hotel with gardens, a pottery, a glass factory and other elements, with a focus on craft and sustainability. ‘Our family has a long history in Morocco. When my parents bought the land, it wasn’t supposed to be a business at first, but that’s what it became,’ says Alex. ‘It has grown organically, and we have our own construction team, so we are always doing something new. I say I’m a hotelier, but we also support craft and design as much as we can.’ Alex and Julie decided to move from India to Morocco with their daughter Carmen, now nine. Salomé, now seven, was born the following year. When Alex and Julie started to think about building a house for themselves, Alex’s parents offered them a parcel of land right at the centre of the club. Together, they sketched out ideas in chalk on the ground and initial construction began even before the whole family arrived from Mumbai, followed by a period staying in the hotel itself while the first stage of building work was completed. ‘In the beginning, my father suggested that we build a small house here and then either extend it or create a bigger place elsewhere,’ says Alex. ‘The tricky thing was to build something completely private. But creating this garden house among the trees means that even though we are at the heart of a country club, it doesn’t ever feel like that when we are at home.’ The first phase saw the creation of the principal spaces, including the generous living area, with space enough for seating and dining areas. The use of architectural salvage, such as decorated ceiling panels and beams, adds to the character of the house. Working with Beldi’s own carpenters and artisans, Alex and Julie designed bespoke furniture but also mixed in vintage elements gathered in India and Morocco, as well as mid-century gems from Denmark and France. A sheltered veranda alongside is a favourite family spot overlooking the garden, while a roof terrace is used both for breakfast and evening aperitifs. Having settled happily into the house, Alex and Julie decided that they needed more space, particularly with the arrival of Vadim, now three. A second phase of work saw them adding a new main bedroom and extra space for the children and then, just last year, the family also created a guest annexe with two bedrooms, plus a sitting room with a day bed. ‘When you live in Morocco, you do find that you have a lot of friends who want to come and stay,’ says Alex, who also helps to manage Beldi’s two other hotels – Kasbah Beldi near Lalla Takerkoust, a lake to the south of Marrakech, and L’Iglesia in the northern coastal city of El Jadida – as well as looking after plans for a fourth. ‘But when you are a hotelier, you don’t always have space for personal visitors in the hotel itself – it’s a business after all – so we decided to build a guest house. And now we are thinking of extending again and adding an orangery, which would hold a separate dining room.’ For Carmen, Salomé and Vadim, certainly, it is a kind of paradise. Not only do they have their own home but they also have the run of the country club and its grounds, offering an amazing sense of freedom. ‘We weren’t expecting to raise our children like this, but they love it here,’ says Julie. ‘When we first arrived, we didn’t know if we would enjoy a peaceful life in the countryside because we have always lived in big cities – Mumbai, Paris, London. But actually it has been the most wonderful revelation for us all’ 첸 Beldi Country Club: beldicountryclub.com

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MAIN BEDROOM (right) Books are displayed on a vintage Moroccan architect’s table next to a pair of Pierre Jeanneret chairs. The curtain fabric is from Pierre Frey BATHROOM (left) An art deco bath and sink sourced from a Marrakech flea market are set of by cement tiles, made locally by Popham Design, and an agave in a vintage Moroccan terracotta pot. A doorway leads to the shower area

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DRAWING ROOM (this page) A Porta Romana brass ‘Luca’ chandelier and a rug by Luke Irwin add bespoke touches. DINING ROOM (opposite) De Gournay’s ‘Earlham’ hand-painted silk wallpaper in sky blue creates an opulent backdrop for metallic accessories

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Vo l u m e b o o s t

Bunny Turner and Emma Pocock were given free rein to create vibrant, glamorous interiors in this large five-storey London villa, with a traditional arrangement of rooms keeping the decoration focused TEXT JENNIFER GOULDING | PHOTOGRAPHS PAUL MASSEY | LOCATIONS EDITOR LIZ ELLIOT

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CONSERVATORY Lithographs by Andy Warhol and Julian Chichester’s ‘Dakota’ table make a strong statement in this new space, which overlooks the garden

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KITCHEN (this picture and below) Seating in a mix of styles, including bar stools from Cox & Cox, creates a relaxed feel. SITTING ROOM (bottom right) A sofa in Neisha Crosland’s ‘Zebra’ cut velvet sits below an artwork by Alexander Calder

alking along the west London street on which this house is located, I am so agog at the rows of enormous, immaculately kept double-fronted Victorian villas that I fail to notice a raised kerb. After the resulting fall, I am able to preserve my dignity as, happily, the street is also astonishingly quiet – a bonus of wandering one of the capital’s most exclusive areas. When this particular villa was bought by its current residents – a couple with young children – it had been divided into six f lats and was in a terrible state. ‘People tried to put us off, but we could see it could be a great family home,’ says the owner. The team they entrusted with the task comprised architect Alain Bouvier, who was recommended by friends, and interior designers Bunny Turner and Emma Pocock. ‘I fell in love with Bunny and Emma after a long search. As soon as I saw their website I thought, “That is exactly what I want”,’ explains the owner. ‘Their style is very designed, but also colourful and comfortable. They’re young and vibrant, with artistic backgrounds. That was key because art is hugely important to me.’ For Bunny and Emma the project was an especially creative opportunity. ‘It is incredibly rare to design the interior of a period house of this size in London from scratch,’ says Bunny. It is not just the number of floors and square metres that sets it apart, but also the height of the ceilings and grandeur of the windows. Everything here is super-size. ‘It allowed us to commission big pieces, such as the magnificent Luke Irwin rug in the drawing room,’ she enthuses.

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ENTRANCE HALL The dramatic black limestone and marble f loor is by Rockford

However, this freedom was not without its challenges. ‘It is easy to become rudderless,’ explains Bunny. Alain’s concept of a central, cantilevered stone staircase gave the design a crucial anchor. It was then a matter of arranging the rooms around this feature. ‘Everything was up for grabs – the three of us spent a long time playing with the spaces,’ she recalls. Broadly, they have adhered to a traditional configuration: major living areas on the raised ground floor; main bedrooms and bathrooms on the first floor; children’s rooms on the second; a spare room on the third; and snugs and playrooms on the lower-ground floor. ‘A blank canvas is all well and good, but it is nice to have some rules,’ Bunny notes. A similarly traditional approach has been taken with the architectural detailing. The most lavish cornices, skirting boards and door panels are on the raised ground f loor. Moving up the house they become progressively simpler. All the details are correct for the Victorian period of the building. ‘Clients often don’t appreciate the importance of this element of the design, but it is critical to the mood,’ says Bunny. In this case, reverting to the original style of the building – not strictly, but in spirit – gives it integrity and adds gravitas. It is also an excellent foil for the more adventurous and sometimes playful decoration. ‘The owners asked for something European and glamorous, but also comfortable and inviting,’ says Bunny. ‘I didn’t want a show home,’ says the owner. ‘I wanted a space the children could enjoy – a light, bright and colourful contrast to the grey London weather that was also chic and beautiful.’ Although they brought nothing from their previous home, bar a mirror and one small sofa, they did have a sizeable art collection to be placed. The owner also had specific requests for many of the rooms – for example, she asked for a blue and white scheme for the drawing room, inspired by American houses in the Hamptons. Likewise, for the entrance hall she was set on a dramatic black and white floor. ‘It was the only part of the house where I requested all-out glamour,’ she explains. She wanted the kitchen to be the biggest room and to include a large wooden table at which the children could do their homework. ‘These were useful starting points,’ recalls Bunny. Nevertheless, it took six months of full-time work to complete the proposed designs. It was worth the wait. Bunny and Emma’s ideas exploit the grand spaces in confident, imaginative strokes. As with all Turner Pocock interiors, the details are impeccable and give the house a very finished decorative look. However, they have not overfilled the rooms but, rather, focused on getting the proportions of the pieces perfect. This enhances the architecture and creates a sense of harmony, making the house feel welcoming and liveable. ‘I was worried we would all end up in our different quarters and not come together as a family,’ says the owner. It has not proved so and the generous kitchen has become the place where people gather. ‘This room is exactly the happy space I wanted. When we have visitors, they like to linger there all day’ 첸 Turner Pocock: turnerpocock.co.uk Alain Bouvier Associates: 020-7928 1288

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‘The owners asked for something European and glamorous that was also comfortable and inviting’

MAIN BEDROOM (this page) A lamp by Tyson and curtains and cushions in Kravet’s ‘Modern Elegance’ are offset by plain greys. DRESSING ROOM (opposite bottom) A red linen stool by Pierre Frey stands out against the pale silvery scheme HOUSEANDGARDEN.CO.UK NOVEMBER 2018 135

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The

K NOW L E D G E Inspired by the houses in this issue, LEANNE WALSTOW gives directions on how to achieve similar style

LIGHTING The brass chandeliers in the drawing and dining rooms are Porta Romana’s ‘Luca’ in a bespoke size. A 117 x 75.5cm diameter version costs £21,228. portaromana.com

VO LU M E B O O S T pages 130-135

ENTRANCE HALL The owner’s brief for ‘all-out glamour’ in this London house was met by installing a marble cantilevered staircase above a floor made from Belgian black honed limestone and white Emperador honed marble. Both the staircase and flooring were created by Rockford. 01606-841000; rockfordcompany.co.uk

FABRICS Kravet’s ‘Modern Elegance’ linen mix in mineral was used for the curtains and cushions in the main bedroom; it is £205 a metre from GP&J Baker. Turner Pocock also used Neisha Crosland’s fabrics, which have a modern feel. ‘Zebra’ in silver blue is seen on the ‘Minx’ sofa from Amy Somerville in the sitting room; a viscose/cotton velvet, it costs £194 a metre from Turnell & Gigon. kravet.com gpandjbaker.com neishacrosland.com amysomerville.com turnellandgigon.com

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FLOORING The large Luke Irwin rug pulls together Turner Pocock’s scheme for the drawing room. ‘Cato Blue & Ivory’ is similar and costs £2,025 a square metre. lukeirwin.com RIBBON DETAIL A clever finishing touch (much favoured by David Hicks), coloured braid adds tailored definition to the drawing room. Running along the top of the linen wallcovering, the smart dash of blue stops the room feeling too white and bright. Turner Pocock used edging from Samuel & Sons in a bespoke colour, but the ‘Flanders Border’ in polo linen can be used to create a similar effect. It is 3.8cm wide and costs £33 a metre. samuelandsons.com

STOOL The bar stools in the kitchen are Cox & Cox’s ‘Flat Rattan Counter Stool’ in natural, 89 x 53 x 50cm, which costs £225. coxandcox.co.uk

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CITY SERENITY pages 116-123

INNER CALM pages 124-129

LIGHTING This ‘Green Enamel Pendant’ light from Retrouvius resembles the one in the entrance to Julie and Alexandre Leymarie’s house in Morocco. It is 19 x 28cm diameter and costs £150. retrouvius.com

STEEL DOOR Interior designer Kerry Franses commissioned Nigel Saunders Windows to make the powder-coated steel doors throughout this London house. 01384-261521; nigelsaunderswindows.co.uk

PAUL MASSEY; JON DAY; MATTHEW BOOTH; RICHARD POWERS; PIXELATE IMAGING

CURTAIN FABRIC The steel doors have curtains made from ‘Linen Shade’ (stone) from de Le Cuona, which costs £150 a metre. delecuona.com

TILES Created by Marrakech-based Popham Design, the rectangular ‘Tate’ tiles in the bathroom were made in custom shades of dusky pink and blues ranging from pastel to inky. Popham’s founder Caitlin Dowe-Sandes describes the arrangement of tiles as evocative of ‘jazz syncopation, with unexpected colours and lines’. The tiles measure 20.3 x 30.5cm each and are available in the UK from Day True, from £225 a square metre. pophamdesign.com | daytrue.com

ASIAN ART Owner Jacqueline Franses collects Asian art, ceramics and furniture. On the landing, a nineteenthcentury Japanese ink drawing of a frog hangs on the wall. A similar work (below) is available from one of Kerry’s favourite dealers, Brooklyn-based Nicholas Grindley. It is part of an album of eight charming nature images, which costs $6,000. nicholasgrindley.com

CHAIR The rich terracotta coloured leather of the ‘Paulistano’ chairs in the sitting room highlights the earthier tones of the stonework and wooden furniture. Based on a 1957 design by Brazilian architect Paulo Mendes da Rocha, they are 70 x 70 x 82cm and cost £1,604 each from TwentyTwentyOne. twentytwentyone.com

PAINT ‘Imperial Chinese Yellow’ from Papers and Paints is similar to the shade used on the veranda wall. It costs £45 for 2.5 litres absolute matt emulsion. papersandpaints.co.uk 첸 HOUSEANDGARDEN.CO.UK NOVEMBER 2018 137

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Art in design From groups of prints and framed fabrics to collections of unusual objects, GABBY DEEMING and RUTH SLEIGHTHOLME explore creative ways to display artwork in a colourful decorating scheme PHOTOGRAPHS ALICIA TAYLOR

WALLS ‘Clunch’ paint, £45 for 2.5 litres matt emulsion, from Farrow & Ball. Partition walls in perforated, galvanised metal, £122.40 a 250 x 125cm sheet, from FH Brundle. Prints, taken from John Derian Picture Book by John Derian (Artisan, £60). ‘No. 204’ steel and aluminium wall lights, by La Lampe Gras, each £265, from The Conran Shop. Chimneypiece in ‘Terra Firma’ glazed clay bricks (husk, rust), from £3.92 each, from Balineum. Pencil drawings (above chimneypiece), £300 each, from Amy Green; hanging from ‘Sarson Blackened Simple’ metal knobs, £7 each, from Rowen & Wren. FLOOR ‘Waver’ mondrian flatweave wool rug (pillarbox red), by Adam Bray and Vanderhurd, £705 a square metre, from Vanderhurd. Hand-dyed wool kilim rug, from £2,750, from Designers Guild. FURNITURE ‘Victoria’ oak and Carrara marble console table, by Roberto Lazzeroni, £2,650, from The Conran Shop. ’Sussex’ hardwood chair, £1,740, from Susie Atkinson; covered in ’Citrus Garden’ (primary) by Josef Frank for Schumacher, linen, £419.60 a metre, from Turnell & Gigon. ACCESSORIES ‘Acrylic Photo Frames’, 44 x 30cm, £29.95 each, from Muji. Ceramic beaker, by Georgia Loizou, £70; ceramic lidded box, by Stephanie Bergman, £310; both from 8 Holland Street. ‘Little Eliah’ powder-coated metal table lamp (orange/green), £696, from Silvera. Patinated wrought-iron centrepiece (on chimneypiece), by Vincent Collin, £1,335, from Willer

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THIS PAGE WALLS ‘Clunch’ paint, £45 for 2.5 litres matt emulsion, from Farrow & Ball. Pencil drawings, £300 each, from Amy Green; hanging from ‘Sarson Blackened Simple’ metal knobs, £7 each, from Rowen & Wren. Chimneypiece in ‘Terra Firma’ glazed clay bricks (husk, rust), from £3.92 each, from Balineum. FLOOR Hand-dyed wool kilim rug, from £2,750, from Designers Guild. FURNITURE ‘Sussex’ hardwood chairs, £1,740 each, from Susie Atkinson; covered in ‘Citrus Garden’ (primary) by Josef Frank for Schumacher, linen, £419.60 a metre, from Turnell & Gigon. ‘Clay’ lavastone and polyurethane dining table, by Marc Krusin for Desalto, £5,845, from Heal’s. ACCESSORIES Patinated wrought-iron centrepiece, by Vincent Collin, £1,335; iroko wood ‘Triple Tray’, by Arno de Clercq, £1,200; both from Willer. Ceramic vase, by Stephanie Bergman, £480; early twentieth-century French yew wood tripod cup, £320; both from 8 Holland Street. OPPOSITE WALLS From left: ‘14D05’ paint, £46.50 for 2.5 litres matt emulsion, from Little Greene. ‘Trieste’ picture frame, £40, from Habitat. Elephant grass hand fans (natural), by As’Art, £32.95 each, from SCP. ‘Clunch’ paint, £45 for 2.5 litres matt emulsion, from Farrow & Ball. Oak-framed wall art mural, bespoke, hand painted by Anouska Cave. FLOOR Sixties wool flatweave rug, by Ingegerd Silow, £2,350, from Foster & Gane. FURNITURE ‘Dante’ metal side table (raw brass), £1,188; lacquered wood ‘Tribeca Side Table 3 Tier’ (pink), £1,088; both from Julian Chichester. ‘Ring’ shearling and walnut chairs, by Nanna and Jørgen Ditzel for Getama, £3,438 each, from The Conran Shop. ‘Gatsby’ beech-framed sofa, covered in linen and velvet, £8,406 including fabric, from Ochre. ACCESSORIES ‘Tiznit’ linen cushion cover (saharah), £85, from The Conran Shop. Ceramic beaker, £70; ceramic ‘Oval Dish’, £220; both by Georgia Loizou, from 8 Holland Street

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OPPOSITE WALLS ‘Matchstick’ paint, £45 for 2.5 litres matt emulsion, from Farrow & Ball. Tanzanian rings made from mixed African woods and rubber, from £22; and bangles, from £35; all from Nyumbani Design. FURNITURE ‘Victoria’ oak and Carrara marble-topped console table, by Roberto Lazzeroni, £2,650, from The Conran Shop. ACCESSORIES ‘Zou’ hand-forged iron animals (noir), €38 for a set of four; ‘Peetal’ brass tray, €25; both from Caravane. Fifties West African entwined carved wooden cup, £340, from 8 Holland Street. THIS PAGE WALLS ‘Matchstick’ paint, £45 for 2.5 litres matt emulsion, from Farrow & Ball. Madeto-measure wooden picture frames painted in air-force blue gloss, £35.78 each, from Eframe. Hand-block printed cotton bandannas, $25 each, from Les Indiennes. FURNITURE Midcentury teak sewing table, by Severin Hansen for Haslev, £725, from The Modern Warehouse. Oak ‘Moreau’ bed, £2,980 for double (excluding fabric), from Pinch; covered in ‘Fanello’ (01), viscose mix, £143 a metre, from Sahco. Leather-clad metal ‘Wisp’ bench with llama and merino-wool felt cushion, £2,868, from Ochre. ACCESSORIES ‘5321’ brass and rattan table lamp, by Paavo Tynell for Gubi, £455, from The Conran Shop. ‘Hera’ recycled glass carafe, €28; and water glasses, €9 each; hand-block printed khadi cotton ‘Naiad Sofacover’ (navy), €245; all from Caravane. Linen bed linen (chalk, soft pink), from £48 for a standard pillowcase, from Larusi. For suppliers’ details, see Stockists page 첸

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History lessons The creative horticultural endeavours of previous generations have been embraced and enhanced by the current owners of Heale House to create an enchantingly timeless garden beside the River Avon in Wiltshire TEXT CAROLINE BECK | PHOTOGRAPHS SABINA RÜBER

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Clipped yew blocks on the croquet lawn and the silver-grey foliage of Lavandula angustifolia ‘Vera’ balance the contrasting shapes and textures of Euphorbia characias and Helleborus argutifolius, which provide year-round structure and interest in the adjacent border

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aking on a big garden with an even bigger history can be a blessing or a curse. Heale House in Wiltshire, a perfectly proportioned country house built of Flemish brickwork and flint, has a lineage stretching back more than 450 years: a sanctuary for a young King Charles II f leeing for his life during the English Civil War; the scene of a devastating fire in 1835; and a convalescent home for part of the Second World War and just after. Add to this a distinguished Edwardian Arts and Crafts garden designer and a Japanese garden based on a Tokyo landscape beloved of a former owner, and you have a mixture as eclectic as it is quintessentially English. Somehow it retains that rare quality of being detached from the furious pace of modern life and, although timeless is an overused adjective, Heale House seems to stand both in and outside time. The addition of a haughty peacock who sits, sentry like, on the stone sundial adds to the feeling of having slipped down a rabbit hole. This compression of time and history has been used to full effect in the eight-acre garden by the owners, Guy and Frances Rasch, who have deftly blended its past with a contemporary planting scheme that feels completely right, bringing in elements of the surrounding countryside, such as wildflower meadows, that even the exiled king would have recognised.

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ABOVE The bright berries of Cotoneaster horizontalis provide a colourful contrast with the lines of lavender that flank the stone path through the parterres. OPPOSITE FROM TOP Large evergreen box balls make a striking focal point at the end of the fruit-laden apple and pear tunnel that bisects the kitchen garden. A stone sundial, assorted statuary and a pair of reflecting ish ponds bring a formal elegance to the west terrace

The house, which in Frances’s words ‘is ridiculously pretty’, dictates the garden. It was brought back to life by Guy’s mother, Lady Anne, after it fell into disrepair in the Fifties when being used as a nursing home. ‘She was such a good gardener, even though she’d had polio as a child,’ Frances says. ‘She opened it to the public in the Sixties and it’s remained open ever since.’ It was Lady Anne who planted the apple and pear tunnel that bisects the kitchen garden, which is at its best in autumn when laden with ripening fruit. After she died, Frances moved to Heale with Guy and ran her London-based gilding and lacquerwork business, but was constantly distracted by people asking her what to do in the garden. She gave in to its demands: after studying horticulture at Chelsea Physic Garden, she completed a diploma in garden design, then became Heale’s full-time custodian. One of their neighbours at that time was the garden writer and author of the bestselling book The Tulip, Anna Pavord, who helped Frances with ideas and practical help: ‘She held my hand right up to the point when she thought I could do it by myself. She was wonderful. And, of course, I was bitten by the gardening bug.’ Frances’s mother, Caroline Hulse, also an excellent gardener, had a friend called Victoria Wakefield who still

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gardens at Bramdean House in Hampshire – known for its mirror-image herbaceous borders and just an hour or so from Heale. Though Frances admits she probably did not recognise it at the time, she had a stellar female triumvirate of gardening expertise to draw on. ‘I had no idea how fantastic they were and no appreciation of how complex gardening was until I started doing it myself and making my own mistakes – that’s how I learned.’ When she was finally let loose on her own, inevitably a few miscalculations occurred. ‘I’d fall in love with a plant – perhaps an iris – use it throughout the garden, then realise it only gives a 10-day wallop and it’s over for the year.’ She makes the borders work much harder now over a longer period of time, emphasising the forms and texture of leaf, bark and seed head rather than just flowers. ‘If the garden wasn’t open to the public, I might be braver about doing certain things, but I’m always aware that other people are going to see my errors.’ It has been a steep learning curve as it is a complicated garden. The formal area on two sides of the house is in an Arts and Crafts style designed by Harold Peto, who worked on it from 1906 to 1911 – a golden age for country-house gardens before the First World War. York-stone balustrades, clipped yew and reflecting fish ponds, overlaid with roses, peonies and wisteria give it a dreamy quality. The owner of Heale House was then Louis Greville, Guy’s great-uncle, who worked as Second Secretary at the British Embassy in Tokyo and wanted a Japanese 148 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

ABOVE Swaying feathery plumes of ornamental grass Miscanthus sinensis ‘Kleine Silberspinne’ create a spectacular effect en masse, ofset by velvety turf and neat yew domes in the area known as the grass borders. OPPOSITE The burnished foliage of a Japanese acer, underplanted with exuberant clumps of Matteuccia struthiopteris, glows in the autumn sunlight beside a tributary of the River Avon

garden, complete with an original tea house set beside a stream and a copy of the red Nikko bridge. It sounds all wrong, but somehow the gentle topography of the landscape and the textured hostas, ferns and umbrellasized leaves of Gunnera manicata fringing the stream, a tributary of the River Avon that runs through the garden, make it look entirely right, especially when the mist rises off the river. ‘This is my favourite place when it’s hot, because it’s so peaceful and shady,’ says Frances. Autumn is all about the grasses. She has planted stands of tall Miscanthus sinensis ‘Kleine Silberspinne’, their silver seed heads catching the evening light. In the wilder parts of the garden, she is trying to tame the more competitive native grasses by sowing these areas with yellow rattle and eyebright, partial parasites that tap into the roots of the grasses, making them less vigorous. ‘I went to Great Dixter to see their meadows, and they filled the back of a truck with meadow cuttings so I could re-seed here. It’s been quite effective but is always a work in progress.’ But, then, aren’t all the best gardens? 첸 Heale House & Garden, Middle Woodford, Wiltshire: healegarden.co.uk. The garden is open from mid March to mid October (closed Mondays and Tuesdays)

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Trees series | Par t 2

Branch lines In the second part of her series, CLARE FOSTER explains the different methods of training fruit trees and suggests where to buy them PHOTOGRAPHS ANDREW MONTGOMERY

THIS PAGE A fan-trained apricot in late winter before the tree has come into growth. OPPOSITE Chris Pike of Branch Nurseries prunes an espaliered pear tree

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OPPOSITE CLOCKWISE FROM TOP LEFT Chris holds a Y-shape cordon apple tree. Another cordon apple – this time a double U-shape. Bamboo supports for training trees. Chris with a stepover apple tree. A modified palmette verrier apple with three layers instead of two. A pear tree trained in a pyramid shape. Chris with a fan-trained apricot. Three Y-shape cordon apples criss-crossed to make a Belgian fence. A U-shape cordon apple tree (centre)

culptural and decorative as well as highly productive, trained fruit trees such as espaliers and cordons are ideal for small spaces – either trained against walls or on a post-and-wire fence to create a screen. The word espalier, derived from the Italian spalla, meaning shoulder, was first used in seventeenth-century France when this and other shapes of trained tree were widely grown – famously in the vast walled kitchen garden at Versailles, the Potager du Roi. In Medieval Europe, trained fruit trees were grown in castle courtyards to save space, but the practice of training productive trees goes back way beyond this, possibly to Roman or even ancient Egyptian times. ‘There are so many benefits of growing these trained forms,’ says Chris Pike of Branch Nurseries, a grower specialising in trained fruit trees. ‘In addition to their decorative and space-saving assets, they can produce superior fruit. The pruned forms waste no energy producing growth. All the plant’s energy reaches the fruit, which improves the development of natural sugars and fruit colour. Many forms can be grown easily in pots or in gardens with restricted space, allowing fruit to be grown successfully by everyone, rather than just those with room for full-size trees.’ In theory, fruit trees can be pruned into any reasonable shape, from simple Y-shapes to circles, hearts and spirals, but the most commonly seen forms for apple and pear trees are espaliers, where a series of branches are trained horizontally outwards, and cordons, with a single stem trained vertically or at a 45-degree angle. Variations on the cordon theme include: the double cordon or W-shape cordon; the Y-shape cordon that can be criss-crossed with other Y-shapes to make a Belgian fence; and the palmette verrier, a double-layered U-cordon. The stepover, popular in Victorian kitchen gardens, is basically a one-tier espalier grown on dwarf rootstock. All these forms are suitable for most apples and pears, which bear their fruit on short, knobbly shoots or spurs that form from the main branches. They are not suitable for tip-bearing apple varieties, such as Bramley, and some pear varieties that produce their fruit towards the ends of the branches on new growth. These trees would be unproductive if pruned in this way, as the framework requires reducing the ends of the main branches by a third each year, which would cut off the fruiting buds. Stone fruit such as plums, apricots and cherries are also not suitable for these tightly trained forms, as their fruiting spurs are short lived, lasting only two to three seasons. As an alternative, stone-fruit trees can be trained into fans, in which the old fruiting spurs can be pruned out, allowing new ones to grow and bear fruit. ‘The aim is to encourage the tree to fruit as close to the main stem as possible so the sap has less distance to flow from the root system to swell the fruit,’ says Chris. ‘Restricting the size of the tree by pruning it can also improve flavour.’ The main pruning time for an established tree is in summer, but Chris also recommends a second prune in late winter. ‘In summer, you prune to let more light in and form more fruit,’ explains Chris. ‘By cutting back the shoots, you encourage latent buds to form, which will be next year’s fruit. In winter, you prune to maintain the shape of the tree.’ Chris advises pruning apples and pears in mid August in the UK, which is slightly later than most sources recommend. ‘If you do it too early, there is still enough day length left that the plant can shoot and start growing again. If you leave it too late, you haven’t left enough time for the tree to form the fruit buds, so timing is crucial.’ Ready-trained fruit trees are available from many sources nowadays, so all you have to do is plant them and prune them twice a year to keep their shape. But you can also start from scratch and train a one-year-old bare-root maiden, a young tree with no side shoots. To support the tree, either attach a system of horizontal wires to a wall with vine eyes, or attach the wires to posts if you want to make a living screen. The wires should be positioned 45cm apart, with the first wire 45-60cm above the ground.

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How to create a n e s p a l i e r, fan or cordon E S PA L I E R Plant your young tree in winter and immediately cut it back to about 45cm, above three buds. This will encourage side shoots to form, as well as a new leader (central shoot). In spring, when the first leaves appear, select the strongest three shoots and tie them in to canes secured on wires, one vertically and two side shoots initially trained at a 45-degree angle, which maximizes growth in the first year. At the end of the summer, lower these shoots until horizontal, tying them in along the first set of wires; cut back all other lateral shoots from the main stem and ‘arms’ of the espalier, leaving three leaves or buds to produce fruiting spurs. In winter the following year, cut back the leader above the second wire, just above three buds: this will form the next tier. Repeat each year to add more layers. FA N Start the tree off as you would an espalier, with the side shoots at 45 degrees. In the winter of year two, cut them back by two thirds. Allow these branches to produce shoots and, in summer, select the four strongest on either side: two above the branch, one underneath and one to continue the length. Prune back all other shoots to three leaves or buds. CORDON This is the easiest form to start with, as it is based on a single stem. Train the maiden onto a cane fixed to the wall or post-and-wire structure and, in summer, prune back all the side shoots to three leaves. Until the tree reaches its ultimate height, prune the leader every winter to encourage side-shoot production – if you prune it in summer, it will encourage fruit bud production rather than growth shoots. DOUBLE CORDON Plant your maiden and immediately cut it back to about 45cm, just above two buds, to produce two side shoots almost level with each other. Train these horizontally, then upwards in a U-shape at each end, pruning each side as you would a cordon.

W H E R E T O B U Y R E A D YTRAINED FRUIT TREES Branch Nurseries (branchnurseries.co.uk) is a Nottinghamshire wholesale supplier. Keepers Nursery (keepers-nursery.co.uk) sells mail-order trees 첸

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F O O D & T R AV E L R E C I P E S | T A S T E N O T E S | J A PA N | H E L S I N K I | F R A N C E

Pe r fe c t we e ke n d PHOTOGRAPHS ANDREW MONTGOMERY | FOOD STYLING EMILY EZEKIEL | PROP STYLING BLANCHE VAUGHAN AND ELIZABETH METCALFE

‘These are the recipes I turn to when I have family or friends to cook for during the weekend – easy dishes that can be made in advance or require little effort to serve,’ says our food editor BLANCHE VAUGHAN. ‘The butterflied venison cooks quickly and is easy to carve, and the kedgeree can be served for lunch or a light supper. The use of seasonal produce is inspired by the apples, quinces and squashes that grow in my garden.’ All recipes serve 6, unless otherwise stated 컄

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FOOD & TRAVEL | RECIPES

BIRCHER MUESLI I like to make a batch of this for the weekend. It is something I often do not get around to during the week, despite my best intentions, and it is always enjoyed by all. If you have any leftover poached quinces (see recipe overleaf), you can chop them up and serve on top of the muesli. 1 Put the oats, seeds and almond milk into a bowl large enough to leave room for the other ingredients and leave to soak overnight. If the kitchen is cool, I leave it out of the fridge. 2 In the morning, grate the apples and add them to the oats with the yogurt and honey. Stir well and serve.

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X 250g porridge oats X 2tbsp pumpkin seeds X 2tbsp sunflower seeds X 2tbsp sesame seeds X 400ml almond milk X 2 apples X 200g full-fat yogurt X Honey, to taste

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FOOD & TRAVEL | RECIPES

KEDGEREE

I know kedgeree is traditionally eaten at breakfast, but I like to increase the chilli and serve this for an easy supper or light lunch. The purée of split peas coats the rice and keeps the mixture saucy – more like a dhal. Serves 6-8 For the split peas X 200g yellow split peas X 1tsp ground turmeric X 300g basmati rice For the haddock X 500g smoked haddock fillet X 500ml whole milk X 6 peppercorns X 2 bay leaves For the spicing X 2tbsp light olive oil X 1 white onion, diced X 2 green chillies, diced (seeds in or out) X 6cm piece ginger, peeled and chopped X 2 garlic cloves, finely chopped X 2tsp cumin seeds To finish X Small bunch curly parsley, finely chopped X 6 poached eggs or chutney (optional)

1 Put the split peas in a pot with the turmeric, 1/2tsp salt and 1 litre water. Bring to the boil, then reduce to a simmer and cook for 40 minutes until soft. Liquidize the peas and their cooking liquid to make a smooth purée. 2 Wash the rice well and put it in a separate saucepan with 1/2tsp salt and 250ml water. Bring to the boil, then reduce to a simmer, cover with a lid and cook until soft (about 12 minutes). Turn off the heat and leave the rice to steam, covered, for at least 5 minutes before fluffing. 3 To cook the haddock, place it skin-side down in a wide, low pan – you may need to cut the fish into two pieces. Cover with the milk and add the peppercorns and bay leaves. Bring to the boil, then simmer for 10 minutes. Remove the fish to a plate and strain the milk into a jug. Clean the saucepan. 4 To make the spicing, heat the oil in the saucepan you used for the fish and, on a medium-high heat, fry the onion, chillies and ginger, until soft and starting to caramelise. Add the garlic and cumin. Cook until the garlic is beginning to colour. 5 To finish, remove the skin from the fish. Flake the fish and add it to the spicing. Stir in the rice and split peas, adding some of the reserved milk if necessary. Season and serve scattered with parsley and with either a poached egg or a spoonful of chutney.

APPLE AND ALMOND WELSH CAKE S

These are what I make when we decide we want something for tea but there is not enough time to bake a cake. They are incredibly simple to put together and are fried on the hob, so they are fun to cook with children. Like scones, they are best eaten straight away. Makes approximately 12 cakes X 130g self-raising

flour, plus extra for dusting X 100g cold, unsalted butter, cubed, plus extra for frying X 50g ground almonds X 40g caster sugar, plus extra to serve X 1/2tsp ground cinnamon X A few gratings of nutmeg X 40g raisins X 1 sweet apple, peeled, cored and cut into tiny dice X 1 egg, well beaten

1 Sift the flour into a mixing bowl and add the cubes of butter. By hand with the tips of your fingers, or with a few pulses of a food processor, rub the butter into the flour until the pieces are no smaller than petit pois. 2 Add a pinch of salt and the rest of the ingredients, except the egg. Mix together well. Stir in the egg with a fork until the mixture starts to form clumps. Bring the mixture together to form a dough, handling it as little as possible. 3 Wrap the dough in clingfilm and refrigerate for at least 30 minutes. 4 Dust a worksurface with flour and roll out the dough to about 1cm thick. Using a 6cm round cutter, cut out 12 circles, pressing any off-cuts together and re-rolling as necessary. 5 Melt some butter in a frying pan over a medium heat and fry the Welsh cakes in batches for 2-3 minutes on each side until golden brown. Sprinkle with caster sugar to serve. 컄

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FOOD & TRAVEL | RECIPES

S Q UA S H A N D C AV O L O S F O R M A T O

This is one of my favourite dishes to cook with ‘Crown Prince’ squash, a seasonal variety with rich, sweet flesh and a low water content. The custardy texture of this Italian baked dish contrasts nicely with the cavolo leaves inside.

M A R I N AT E D, R OA ST E D V E N I S ON Fallow, roe and red deer all come into season in November – I particularly like the gentle, gamey flavour of fallow deer. Butterflying the meat helps it to soak up the marinade; it also shortens the cooking time and makes carving very easy. For the marinade X 1 red onion, thinly sliced X 4tbsp pomegranate molasses X 1tbsp juniper berries, crushed X 1/2tsp ground cinnamon X Small bunch thyme X 2 large rosemary sprigs X 1/2 lemon, juiced X 2tbsp olive oil For the venison X 1.5kg butterflied haunch of venison X 1tbsp oil For the sauce X 150ml red wine

X 1.5kg firm-textured

squash, peeled, deseeded and cut into 3cm chunks X Small bunch oregano (or thyme), leaves only X 8 garlic cloves, unpeeled X 3tbsp olive oil X 200g cavolo nero (or curly kale) X 1tsp softened butter X 50g Parmesan, grated X 500g ricotta X 200g crème fraiche X 8 eggs X Dried chilli flakes X A few gratings of nutmeg

1 To cook the squash, heat the oven to 180°C/fan oven 160°C/mark 4. 2 Put the squash in a large baking tray with the oregano leaves, garlic and oil. Toss everything together and season with salt and pepper. Arrange into a single layer and bake for 30-40 minutes or until completely soft when pierced with a knife. Remove from the oven and set aside to cool. 3 When cool, squeeze the cooked garlic cloves from their skins (discard the skins) and pass the squash, herbs and garlic through a potato ricer or mouli-légumes. If you do not have either of these, use a sieve with large holes. 4 To make the sformato, strip the cavolo nero leaves from the stalks and discard the stalks. Boil the leaves in plenty of well-salted water for 3 minutes, until tender, then drain and refresh under cold water. Squeeze dry and chop roughly. 5 Turn up the oven to 200°C/fan oven 180°C/mark 6. 6 Brush a medium baking dish (around 30cm long) with the butter and sprinkle with a few tablespoons of the Parmesan to coat the inside of the dish. 7 Beat the ricotta and crème fraiche in an electric mixer or by hand with a wooden spoon, until creamy. Add the eggs, one by one, beating well after each addition, then add the squash, cavolo nero and remaining Parmesan. Season to taste with chilli flakes, nutmeg and more salt and pepper. 8 Pour the sformato mixture into the prepared dish and bake for 35 minutes until the top puffs up slightly and browns and the centre is just set.

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1 Mix all the marinade ingredients in a bowl large enough to hold the meat with 1tsp fine salt and 1/2tsp ground black pepper. Place the meat in the bowl, massage the marinade into the meat and chill for at least 6 hours or overnight. Remove from the fridge at least 1 hour before cooking. 2 Heat the oven to 200°C/fan oven 180°C/mark 6. 3 Remove the meat from the bowl and spread the marinade over the base of a roasting tray. Season the meat with 1tsp flaked salt. Heat the oil in a frying pan and sear the meat on both sides for a few minutes to give it some colour. Then lay it out flat in the roasting tray, on top of the marinade. 4 Roast for 25–30 minutes for rare to medium rare. Remove the meat to a plate and leave for at least 20 minutes in a warm place before slicing. 5 Meanwhile, add the wine to the marinade in the roasting tray. Place on the hob over a high heat and scrape the caramelised sediment with a wooden spoon. Let the sauce reduce slightly, then strain it into a warm jug. Add any juices from the resting meat to the jug before serving.

R O S E M A RY A N D GA R L IC R OA ST P O TAT O E S X 1kg roasting

potatoes, peeled X 150ml olive oil X 4 sprigs rosemary X 8 garlic cloves, unpeeled To serve Carrots and turnips vichy (see recipe overleaf in ‘Taste Notes’)

1 Cut the potatoes into 4cm chunks. Bring a saucepan of well-salted water to the boil. Add the potatoes and boil until tender, then drain. 2 Heat the oven to 200°C/fan oven 180°C/mark 6. 3 Choose a roasting tray big enough to fit the potatoes in one layer with some space around them. Pour the oil into the tray and heat in the oven for 5 minutes until very hot. Carefully add the potatoes, rosemary, garlic and a generous sprinkle of flaked salt. 4 Roast for 25–30 minutes, until the potatoes are well browned and crisp. Serve with the carrots and turnips. 컄

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FOOD & TRAVEL | RECIPES

WINE NOTES

P OAC H E D Q U I NC E S W I T H WHIPPED CREAM AND HAZELNUTS This recipe will leave you with leftover poached quinces, which are good to eat with the Bircher muesli for breakfast. It is worth enjoying this fragrant fruit during its short season. For the quinces X 6 quinces, peeled and cored X 1 vanilla pod X 2 bay leaves X 1 cinnamon stick X 130g caster sugar X 200ml Marsala wine For the topping X 150g hazelnuts X 500ml double cream X 1tbsp icing sugar

1 Cut each quince into 6 wedges and place in a large saucepan. Scrape out the vanilla seeds and add to the quinces with the vanilla pod, bay leaves, cinnamon stick, sugar, Marsala wine and just enough water to cover. 2 Bring to the boil, then simmer until the quinces are soft but still holding their shape. This will take 20–30 minutes, depending on the ripeness of the fruit. 3 Remove the quinces from the cooking liquid. Strain the liquid into a jug and set aside both fruit and liquid to cool. 4 To make the topping, heat the oven to 150°C/fan oven 130°C/mark 2. Roast the nuts on a baking tray for 10 minutes until lightly browned. Cool and roughly chop. 5 Pour the cream into a bowl. Sift the icing sugar over it and whip to soft peaks. 6 Put the poached quinces into a separate bowl, pour over enough of the liquid to almost cover and then smooth the whipped cream over the top. Scatter with the chopped hazelnuts before serving.

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With the kedgeree, I suggest the LUGANA IL GRUCCIONE 2017 by Nunzio Ghiraldi, a light, fruity, unoaked white from the shores of Lake Garda. Its lively f lavours would offset the smoky creaminess of the haddock, rice and split pea purée beautifully (£12.99; cellarand kitchen.adnams.co.uk). I have chosen a stunning Syrah from the Northern Rhône to accompany the roast venison. The SYRAH LA ROSINE 2015 by Domaine Michel et Stéphane Ogier offers concentrated, spicy, dark cherry and blackcurrant fruit to complement the gentle gamey flavours (£18.33 a bottle for a case of 12; millesima.co.uk). Donnafugata’s BEN RYE PASSITO DI PANTELLERIA 2015 is a favourite of mine, and its luscious, honeyed, dried-fruit character would provide a spectacular finale with the poached quinces (£41.10 for a 375ml bottle; hedonism.co.uk) 첸

B y An n e T u p k e r, M a s t e r o f Wi n e

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FOOD & TRAVEL | NEWS

Into the wild

The Wild Meat Company is my trusted source of game, including wild venison. Unlike farmed deer, the animals roam freely in their natural environment on estates in Suffolk, producing a leaner and more flavoursome meat. The quarry is butchered and packed onsite, not in an abattoir. The Wild Meat Company supplies a butterflied haunch, £46.80 for 3–4kg, which suits faster cooking (see my recipe for roasting in ‘Perfect weekend’ on the previous pages). At this time of year, you can also buy hares, wild duck, woodcock and squirrels. wildmeat.co.uk

C a r r o t s a n d tu r n i p s v i c hy This is such an easy way to cook vegetables and I find that it brings out their best flavour. It is a method of cooking that goes so well with the richness of venison. Serves 6 as a side dish

PLAYFUL POTTERY Ceramics brand Bordallo Pinheiro has created a fun series of animal pitchers (including a duck, above). There is also a cow butter dish (below). From £56.50 for a pitcher, from Sous Chef. souschef.co.uk

Taste Notes PIXELATE IMAGING; STOCKFOOD/SARAH COGHILL; BRIAN BUCHARD

BLANCHE VAUGHAN shares her news, reviews and tips for cooks and food lovers

X 4

large carrots X 4 large turnips X 50g butter runny honey X 20g parsley, finely chopped

X 2tsp

Peel the carrots and turnips if the skins are very tough, or just scrub clean. Cut the turnips into wedges and the carrots into wide batons. Put into a pan large enough to fit them in one layer. Cover with 1 litre spring water and add the butter, honey, parsley and ½tsp sea salt. Bring to the boil and cook over a high heat at a rapid boil, uncovered, for 10 minutes until the carrots are tender when pierced with a knife and the vegetables are covered in a reduced cooking juice.

Classy kettle

I am always on the lookout for aesthetically pleasing alternatives to mundane kitchen equipment, so the cordless ‘Emma Electric Kettle’ from Stelton caught my eye. You could easily mistake it for an attractive water jug, except this one boils water. It fulfils the basic requirements – it switches off at boiling and has a limescale filter – while also looking great on your kitchen counter. It comes in five colours and costs £139. stelton.com FROM LEFT The ‘Emma Electric Kettle’ in nude, with cups, saucers and vacuum jugs from the same range

DANISH FAVOURITES House & Garden contributor Trine Hahnemann focuses on her home city in her latest cookbook. Copenhagen Food: Stories, Traditions and Recipes (Quadrille, £25) includes specialities such as cinnamon kringle, liver pâté, and prawns with dill. Trine also takes us on a photographic journey from markets and food stalls to bakeries selling sweet raisin buns 첸

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FOOD & TRAVEL | BOTANICAL CRUISE

Pretty in pink CLARE FOSTER EXPERIENCES THE INTENSE BEAUTY OF THE CHERRY-BLOSSOM SEASON ON AN INTIMATE CRUISE AROUND THE MAIN ISLANDS OF JAPAN AND ALONG THE SOUTH KOREAN COAST

apan is a country bound together with deeply held customs, With a window into the Japanese way of life and its traditions and values traditions and rituals, and the festival of cherry blossom, – enhanced by a couple of fascinating evening lectures by Botanica tour guide known as hanami, is one of the most important and joyous Simon Rickard, an Australian with a phenomenal knowledge of the culture celebrations of the Japanese year. At the end of March and and flora of Japan – I also began to understand the country’s gardens. From beginning of April, the cherry trees start to bloom, starting in the pristine raked gravel and mossy rocks of temple gardens such as the the south and spreading north east along the central island famous Ryoan-ji in Kyoto, to the mirror-glass lakes and cloud-pruned trees of of Honshu towards Tokyo and beyond. Yoshino cherry trees, the strolling gardens, these beautiful spaces are about restraint, spiritualism which have the palest pink, almost translucent blooms are planted along and symbolism rather than opulence and grandeur. Plants play a minor role, picturesque canals and streets, and in public parks up and down the country. with massed groups of a single plant or tree to enjoy and focus on at any one Symbolising the fragility and serenity of life, the blossom or sakura is revered time – the antithesis of the Western garden. by young and old, who come out in droves to walk and picnic under the trees. Each day, we were whisked off to a different garden, castle or heritage site, Witnessing this annual event is very special and if you time it right, you can with two excursions sometimes scheduled, and a Japanese bento-box lunch chase the blossom from one end of the country to the other, as I did on in between. The ship also has a fleet of Zodiac inflatable boats, onto which the Botanica’s Cherry Blossom, Culture & Sights of Japan Cruise last April. more adventurous passengers clambered for an excursion to the tiny island Specialising in top-end garden and botanical cruises, with adventurous itiner- of Miyajima, a picturesque spot known for its Shinto and Buddhist shrines. aries to far-flung destinations, Botanica offers four tours to Japan, three in One of Japan’s most iconic landmarks rises up from the shallow waters spring and one in autumn. For this 12-day cherry blossom tour, we looped just offshore: the 53 foot-tall torii, or shrine gate, built in 1875, which marks around a large area of coastal Japan, from the ancient capital Kyoto on the the entrance to the Itsukushima Shrine. central island of Honshu, to Nagasaki on Kyushu, the westernmost of Japan’s At Hiroshima, I was moved to tears when the guide pointed out several four main islands, and then around the north coast of Honshu via South Chinese parasol trees that had survived the atomic bomb. Originally just a Korea. We travelled in style aboard the MS Caledonian Sky, a boutique ship kilometre from the epicentre, they were broken and badly charred, but they with 57 spacious suites. Covering such miraculously came into bud the following Moss-covered mounds large distances without having to pack spring. A symbol of hope for the people and raked gravel at and unpack every few days was a luxury, of Japan, they were replanted in the Tofuku-ji, a temple in Kyoto and it was a pleasure to wake up in a city’s Peace Memorial Park in 1973, and different place most mornings, eating their twisted, fissured trunks, set against breakfast on the lido deck as we docked. the clouds of cherry blossom, make the I was not prepared for the impact the horrors of that period seem very real. cherry blossom would have on me; it is With more time spent on shore than difficult to understand without visiting on board, this was less an indulgent the country. I knew it would be beautiful, cruise and more a purposeful journey but it was the human element that made based on a varied, interesting and wellit so moving. Our first excursion took us thought-out itinerary. Nevertheless, I to the Philosopher’s Walk, a 2km-long, came back a convert to the small-ship tree-lined path along a canal in northern cruising idea, wooed by the elegance of Kyoto where more than 400 trees were the Caledonian Sky and the enjoyable in full flower. The timing was perfect. regime of cocktails at 6pm followed by The sakura was at its peak, the pale pink a delicious three-course meal. But as I blossom seen against charcoal branches took the bullet train back to Kyoto and and a brilliant blue sky. Locals strolled up watched the landscape whizzing past at and down the canal, many in traditional 175mph, I reflected on the trip and felt kimonos, parading dogs in pushchairs, more than anything that it had opened posing for iPhone snaps and eating my mind to this fascinating country and cherry-blossom ice cream. left me hungry to see more.

Ways and Means Clare Foster travelled as a guest of Botanica (botanicatours.com). Its next 12 Day Cherry Blossom, Culture & Sights of Japan Cruise runs from March 25 to April 5, 2019. Prices start at £9,295, including all sightseeing tours and most meals, but excluding flights 첸

162 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

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JEROME GALLAND; GETTY IMAGES/YANIS OURABAH

CLOCKWISE FROM TOP LEFT Paper lanterns among the cherry blossom. Ginkaku-ji, another temple in Kyoto. The Philosopher’s Walk. The shrine gate at Miyajima. Pale pink and dark crimson blossom. An iconic Japanese bullet train. A woman wearing a traditional kimono in Kyoto. The MS Caledonian Sky. Women enjoying the blossom in Tokyo (centre)

HOUSEANDGARDEN.CO.UK NOVEMBER 2018 163

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ANTICLOCKWISE FROM RIGHT Håkan. Design shop Salakauppa on Postikatu. The Johanna Gullichsen Textile Crat & Design flagship store. Helsinki’s attractive harbour

SHOPPING

ask a local Helsinki THE CEO OF DESIGNER LIGHTING COMPANY SAAS INSTRUMENTS HÅKAN LÅNGSTEDT SHARES HIS FAVOURITE PLACES TO SHOP, EAT AND STAY IN THE FINNISH CAPITAL PHOTOGRAPHS ØIVIND HAUG

The Design District of Helsinki covers 25 streets in the areas of Punavuori, Kamppi, Kaartinkaupunki and Ullanlinna. It is the creative hub of the city, bringing together the best in Finnish design, food, fashion and art, so my advice to anyone visiting Helsinki is to wander round on foot. Three of my favourite shops in the Design District are: Fasaani (fasaani.fi) for vintage furniture at good prices; Johanna Gullichsen Textile Craft & Design (johannagullichsen.com) for an extensive range of modern textiles following Scandinavian weaving traditions; and Nomen Nescio (nomennescio.fi) for simple, black, gender-neutral clothing. In the historic area of Helsinki, a good place to start shopping is Torikorttelit (torikorttelit.fi) – 12,000 square metres of regenerated space in the neoclassical buildings between Senate Square and Market Square. It is a bit touristy, but you will find numerous small shops selling Finnish brands. Within easy walking distance from here, head to Aleksanterinkatu, one of Helsinki’s most famous streets and home to celebrated shoe designer Minna Parikka (minnaparikka.com), as well as My O My (myomy.fi), an interesting fashion outlet, and Stockmann (stockmann.com), the city’s oldest, best-loved department store. Around the corner on Keskuskatu, do not miss Artek (artek.fi), Finland’s most famous interiors and lifestyle brand, where furniture, lighting and accessories are displayed in a vast, warehouse-style showroom. For more Finnish and Nordic design, head to World of Tre (worldoftre.com) on Mikonkatu and on to Postikatu and Salakauppa (salakauppa.fi) – the name means ‘secret shop’. Housed in a glass kiosk, it is the smallest design shop in the city and sells highly original products curated by the artist and design duo Aamu Song and Johan Olin.

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FOOD & TRAVEL | DESIGNER HAUNTS

DON’T MISS A sauna is an essential part of Finnish culture. While there are more than three million saunas in Finland, the number of public saunas has diminished drastically. Löyly (loylyhelsinki.fi), therefore, on a beautiful stretch of regenerated industrial waterfront on the Helsinki peninsula, is a must-see destination in the city. This award-winning building is at once an architectural masterpiece and an urban oasis, comprising a public sauna, restaurant and vast area of outdoor terracing split over three levels.

ACCOMMODATION

CLOCKWISE FROM LEFT Fusion food at Pontus. Inside the pine-clad Löyly public sauna. Enjoy a cocktail at Bar Bronda. On the waterfront

Hotel St George is set in a newly restored nineteenth-century landmark across the road from Old Church Park in the centre of the city. The hotel is both a showcase for art (the collection on display is run in collaboration with the Helsinki Art Museum and Finnish National Gallery) and for local interior design. Carola Rytsölä was the guiding light behind the calm and elegant decoration – think pale, parquet floors and a muted palette of mint greens, greys and blues. Some rooms come with integrated sleep monitors, allowing guests to evaluate the quality of their night’s rest. The focal point of the hotel is the Winter Garden, dominated by a suspended six-metre-long brass bird sculpture by Finnish artist Pekka Jylhä, which is a great place for a drink. The restaurant, Andrea, and the Bakery & Bar are also interesting new social hubs in the city. Hotel St George is part of Design Hotels (designhotels.com); double rooms cost from €179.

WAYS AND MEANS The House & Garden team flew to Helsinki with Finnair, which offers up to five flights a day from Heathrow. Economy fares start at £97 return. For additional information and reservations, visit finnair.com or call 020-800 10101 첸

FOOD AND DRINK Café Kuuma (kuumahelsinki.com) in the Punavuori district has a huge following locally, not least because it serves delicious breakfasts all day. It has a simple Nordic style and ambiance, and serves great coffee. Maxill (maxill.fi), which offers light, Scandinavian cooking at its best, is the perfect place to pause for lunch after browsing round the shops of the neighbouring Ullanlinna area. Or try nearby restaurant Pontus (ravintolapontus.fi), which offers excellent Italian/Scandinavian fusion food in a lively atmosphere. On Friday evenings, Bar Bronda (ravintolabronda.fi) is a favourite of mine for a hand-crafted cocktail. Or I might have a glass of Champagne at Salutorget (salutorget.fi) – the bar at this beautiful restaurant, which overlooks the bustling seafront in the heart of historic Helsinki, is a hidden gem. A short walk from here is Ultima (restaurant-ultima.fi), the current talk of the town. This new restaurant, where we created the lighting concept, is overseen by two young, futuristic chefs, Henri Alén and Tommi Tuominen, who are pioneering a new concept of sustainable food production. It is not cheap, but it is worth every penny both for its experimental cuisine and its stunning design.

ANTICLOCKWISE FROM TOP Sample fresh local flavours at Restaurant Andrea in the Hotel St George. Behind its nineteenth-century exterior, the rooms, including the St George Suite, have parquet loors, modernist furniture and Finnish artworks HOUSEANDGARDEN.CO.UK NOVEMBER 2018 165

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DESTINATIONS

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FOOD & TRAVEL | FRANCE

specialist holidays

modern art CLAIRE WRATHALL SHEDS HER SHOES AT A GALLERY ON AN ISLAND JUST OFF THE FRENCH RIVIERA, WHICH IS AN IMPRESSIVE SHOWCASE FOR A PRIVATE COLLECTION OF CONTEMPORARY ART

MATTHIEU SALVAING © FONDATION CARMIGNAC; THE ESTATE OF JEAN-MICHEL BASQUIAT/ADAGP, PARIS 2018; MAURICIO GUILLEN, COURTESY OF MAURIZIO CATTELAN’S ARCHIVE; MARC DOMAGE; © COLLECTION CARMIGNAC/THE ESTATE OF ROY LICHTENSTEIN, NEW YORK/ADAGP, PARIS 2017

F ANTICLOCKWISE FROM TOP Fondation Carmignac. Zing by Jean-Michel Basquiat. One of Les Trois Alchimistes by Jaume Plensa. Untitled by Maurizio Cattelan. Inside the gallery. Mother Nature by Olaf Breuning. Collage for Nude with Red Shirt by Roy Lichtenstein. Edouard Carmignac (right) and his son Charles with La Couvée by Nils-Udo

ifteen minutes by water taxi from Hyères on the French mainland, the island of Porquerolles is a classic Mediterranean landscape of fragrant maquis, umbrella pines, olive groves and vineyards, with a wild coast, a string of alluring beaches and a single exquisitely picturesque village, where people play pétanque in the main square. Mostly one comes for its nature – much of the 7km-long island is a national park – to hike, bike, spot wild flowers and swim in the cool, clear sea. But the opening in June of the Fondation Carmignac – a 15-hectare sculpture park and a gallery showing 78 works from the 300-strong collection amassed by Edouard Carmignac, founder of one of Europe’s leading asset-management companies, means there is now a cultural imperative, too. His is a stellar collection of modern and contemporary art by many of the most expensive artists de nos jours: Jean-Michel Basquiat (not least a painting inspired by a sketch the artist made of Edouard, when they knew each other in New York in the Eighties), Andy Warhol, Gerhard Richter, Ed Ruscha, Yves Klein, Alighiero Boetti, Mark Rothko and Willem de Kooning. Not to mention a dozen substantial sculptures by the likes of Miquel Barceló, Jeppe Hein (do not miss his maze of mirrored columns near the northern perimeter), Nils-Udo (whose clutch of giant marble eggs in a woodland glade is another highlight), Jaume Plensa and Ugo Rondinone, which have been expertly integrated into the grounds by French landscape gardener Louis Benech. Back inside, each space has been given a title. ‘Heritage and Transgression’, for example, juxtaposes two paintings by Botticelli – a Madonna with pomegranate and a portrait of Venus – with half a dozen Roy Lichtensteins, to prompt visitors to consider the way both artists ‘revised the archetype of feminine beauty’. This is a place where one needs to park any sensitivity to pretentiousness at the gate (a 10-minute walk from the harbour), itself a handsome screen of perforated Corten steel at which, on arrival, you are handed a paper cup containing a fashionably bitter, locally brewed infusion of verveine and basil. This is the first stage in the ‘ritual’. For you are not here just to look at the art, you need to experience it. Hence the requirement to leave your shoes at the door of the gallery, the better to feel the subtle contours of the grey sandstone floors underfoot. I am not sure quite what is to be gained by this except cold feet. But architecturally the museum is a triumph. From the ground all that is visible is the Provençal mas (traditional farmhouse) that was here when Edouard bought the estate. Planning restrictions forbade any visible extension to the house, so Parisian architects GMAA dug down to create a cruciform exhibition space underground. This is lit by a central rooflight, which doubles as a glass-bottomed pool on the terrace that filters the sunlight and animates the space below with dancing dappled shadows. It is a visual treat as compelling as the art that fills the galleries beyond.

Ways and Means

Fondation Carmignac (fondationcarmignac.com) is open until November 4 and reopens for the 2019 season at the beginning of April. Admission is €15 and booking is essential. There is limited accommodation on Porquerolles, so stay at Villa La Coste on the mainland (villalacoste.com). A 90-minute drive from Hyères, the hotel is part of the Château La Coste estate, another great art foundation and sculpture park 첸

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STOCKISTS

Merchandise from these companies is featured editorially in this issue. Information is checked at the time of going to press, but House & Garden cannot guarantee that prices will not change or items will be in stock at the time of publication 8 HOLLAND STREET 020-7430 0150; 8hollandstreet.com

‘Model 572’ walnut and leather rocking chair, by Cassina, from a selection, from 88 Gallery at PAD London

A AMY GREEN amygreen-art.com ARTISAN artisanbooks.com ASTON MATTHEWS 020-7226 7220; astonmatthews.co.uk B BALINEUM 020-7431 9364; balineum.co.uk BLITHFIELD 020-7460 6454; blithfield.co.uk THE BLOCK HUT 07969-283786; theblockhut.com C CARAVANE 020-7486 5233; caravane.fr CATCHPOLE & RYE 020-7351 0940; catchpoleandrye.com CHOOSING KEEPING 020-7613 3842; choosingkeeping.com COLE & SON 020-7376 4628; cole-and-son.com THE CONRAN SHOP 0844-848 4000; conranshop.co.uk D DAVID SEYFRIED 020-7823 3848; davidseyfried.com DESIGNERS GUILD 020-7893 7400; designersguild.com E E FRAME 01480-214777; eframe.co.uk F FARROW & BALL 01202-876141; farrow-ball.com FH BRUNDLE 01708-253545; fhbrundle.co.uk FOSTER & GANE 01494-269829; fosterandgane.com G GEOFFREY PRESTON 01392-811421; geoffreypreston.co.uk

GEORGE SPENCER DESIGNS 020-7584 3003; georgespencer.com GLASGOW PRINT STUDIO gpsart.co.uk GP&J BAKER 01202-266700; gpandjbaker.com GUY GOODFELLOW 020-7352 9002; guygoodfellowcollection.com H HABITAT 0844-499 1122; habitat.co.uk HEAL’S 020-7896 7451; heals.com HERMÈS 020-7098 1888; hermes.com HÔTEL MAGIQUE hotelmagique.com HYGGE & WEST 00-1-855-982 9280; hyggeandwest.com I IKEA 020-3645 0000; ikea.com

J JESSICA LIGHT 020-7256 1157; jessicalight.co.uk JOHN LEWIS 0845-604 9049; johnlewis.com JULIAN CHICHESTER 020-7622 2928; julianchichester.com K KARIN HOSSACK etsy.com/uk/shop/ KCHossackPottery KING & MCGAW 01273-511942; kingandmcgaw.com L LANGUAGE OF FLORA languageofflora.bigcartel.com LARUSI 020-7428 0256; larusi.com LES INDIENNES 00-1-51 85 37 37 35; lesindiennesshop.com LIGNE ROSET 01494-545910; ligne-roset.co.uk

LITTLE GREENE 0845-880 5855; littlegreene.com M THE MODERN WAREHOUSE 020-8986 0740; themodernwarehouse.com MUJI muji.eu N NICHOLAS HERBERT 020-7376 5596; nicholasherbert.com NINA CAMPBELL 020-7225 1011; ninacampbell.com NO. 9 THOMPSON no9thompson.com NYUMBANI DESIGN nyumbanidesign.com NUURA 00-45-5373 8460; nuura.com O OCHRE 020-7096 7372; ochre.net OKA 0844-815 7380; okadirect.com P PAD LONDON pad-fairs.com PARTNERSHIP EDITIONS partnershipeditions.com PE GUERIN 00-1-212 243 5270; peguerin.com PERRIN & ROWE 01708-526361; perrinandrowe.co.uk PHILLIP JEFFRIES 0844-800 2522; phillipjeffries.com PINCH 020-7622 5075; pinchdesign.com PRESENT & CORRECT 020-7278 2460; presentandcorrect.com

168 NOVEMBER 2018 HOUSEANDGARDEN.CO.UK

R ROWEN & WREN 01276-451077; rowenandwren.co.uk ROYAL ACADEMY OF ARTS 020-7300 5757; shop.royalacademy.org.uk S SAMUEL HEATH 0121-766 4200; samuel-heath.com SANDBERG WALLPAPER 00-46-321 53 16 60; sandbergab.se SCP 020-7739 1869; scp.co.uk THE SHOP FLOOR PROJECT 01229-584537; theshopfloorproject.com SILVERA 020-3196 7960; silveraltd.co.uk SOANE 020-7730 6400; soane.co.uk STUDIO FOUR NYC 00-1-212 475 4414; studiofournyc.com STYLE LIBRARY 020-3903 3700; stylelibrary.com SUSIE ATKINSON 020-7835 5525; susieatkinson.com T THIBAUT thibautdesign.com TISSUS D’HÉLÈNE 020-7352 9977; tissusdhelene.co.uk TOTTY LOWTHER tottylowther.co.uk TURNELL & GIGON 020-7259 7280; turnellandgigongroup.com V VANDERHURD 020-7313 5400; vanderhurd.com VIADUCT 020-7278 8456; viaduct.co.uk W THE WATER MONOPOLY 020-7624 2636; thewatermonopoly.com WATERWORKS 020-7384 4000; waterworks.com WAYFAIR 0800-169 0423; wayfair.co.uk WILLER 020-7937 3518; willer.co.uk 첸

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I recently discovered the work of TOYIN OJIH ODUTOLA, who came to our annual Summer Party at the Serpentine Gallery. The Nigerian artist makes exquisite ictional portraits (such as Picnic on the Grounds, below). American writer Claudia Rankine is among her fans.

One of the biggest challenges we face at the Serpentine Galleries is learning how to embrace technology in a way that makes culture deeper. HITO STEYERL’s Actual Reality app, which launches this autumn, will cast a new light on London life.

If I hired an interior designer, it would be FRANCIS SULTANA, who has been a dear collaborator for over a decade. I love how he blends historic narratives with future classics. We set up The Design Fund at the V&A with Ben Evans and are now cochairing the PAD London Prize Jury.

I love the motto that my cherished and absent friend ZAHA HADID lived by: ‘There are 359 other degrees – why limit yourself to just one?’

Yana Peel

I was born in Saint Petersburg and FRANCESCO BARTOLOMEO RASTRELLI’s vivid Baroque architecture (let) no doubt informed my passion for colour. I also love the Hermitage Museum – MATISSE’s brightly coloured ‘Dance’ panel (below) is amazing.

Twentieth-century BRAZILIAN FURNITURE is a particular interest, fuelled by my friend Ulysses De Santi, who had a pop-up in Hollywood a few years ago. Jorge Zalszupin’s ‘JZ’ tea trolley (above) and Sergio Rodrigues’ ‘Mole’ chair are real favourites. Nilufar in Milan also always has great pieces.

HEBREW is my second language, honed over a decade working with technology companies in Israel when I was at Goldman Sachs.

THE SERPENTINE GALLERIES CEO PAINTS A PICTURE OF HER LIFE, WORK AND INSPIRATIONS I’ve recently been to two brilliant retrospectives of the Belgian fashion designer MARTIN MARGIELA, both of which were in Paris, at the Musée des Arts Décoratifs and Palais Galliera. LINA KANAFANI’s Mint in North Terrace, SW3 is such an inspiring shop to visit. I admire her ability to ind and support young talent. Through her, I discovered Maarten Baas (‘Clay’ chairs, above), Fredrikson Stallard and Hella Jongerius. She is very generous to her collaborators.

Alice Rawsthorn’s DESIGN AS AN ATTITUDE (JRP Ringier, £16) is a brilliant book I turn to oten. I also love WOMEN DESIGN by Libby Sellers (Frances Lincoln, £15.99), which celebrates female pioneers 첸

AS TOLD TO ELIZABETH METCALFE. PHOTOGRAPHS: ALAMY; CAIO GALLUCCI FOTOGRAFIA; OLIVIER YOAN PASSEBECQ; FRANK TIELEMANS; ETIENNE TORDOIR; PICNIC ON THE GROUNDS © TOYIN OJIH ODUTOLA. COURTESY OF THE ARTIST AND JACK SHAINMAN GALLERY, NEW YORK; THE STATE HERMITAGE MUSEUM, ST PETERSBURG, PHOTOGRAPH © THE STATE HERMITAGE MUSEUM /PHOTO BY VLADIMIR TEREBENIN; © SUCCESSION H MATISSE/ DACS 2018

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