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PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

HOMES

FEBRUARY 2017

l DECORATING l GARDENS l ANTIQUES & VINTAGE l RENOVATION

Old meets new

Pure indulgence Warming recipes for a comforting feast

ARTS & CRAFTS Decorate like William Morris with flora and fauna prints

TAKE FRESH INSPIRATION FROM 42 PAGES OF BEAUTIFUL HOMES

HOW TO GO OPEN PLAN Make a modern layout work in an older house FROM PLOT TO PLATE Create your own kitchen garden

DESIGN DETAILS Mid-century chairs Marble motifs Pendant lighting

Made in Britain Upholstery, bespoke kitchens and tiles – invest in the best homegrown craftsmanship

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WINTER PROMOTION TO FIND OUT MORE, CALL 01380 850 007

Experience the world’s finest handmade furniture.

Kitchens, dressing rooms, libraries and wine rooms. www.mwf.com A member of the Canburg Group

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Illustration Sarah Overs Photograph David Lloyd

Editor’s Letter

reat Britain has a long and illustrious history of quality design and manufacturing, and never has this been more evident than in recent years, when we have increasingly opted to eschew soulless, mass-produced things in favour of cherished pieces individually made by hand. A diverse and talented array of homegrown craftspeople have risen up to meet the demand and, this month, we’ve launched a new feature series, ‘Made in Britain’, to celebrate their unique work and give an insight into the process of creating everything from fixtures and fittings to home furnishings. To kick it off, we go behind the scenes of Froyle Tiles in Surrey, where Richard Miller and his team design and make the most beautiful hand-painted tiles (starting on page 36). If that’s not enough to get you feeling patriotic, we also have inspiring features on British upholstery (page 86) and handmade kitchens (page 102).

Another very British ideal is the ‘grow your own’ movement. Instead of buying all our fresh produce from the supermarket, which may have a big carbon footprint and be contaminated with pesticides, we are increasingly turning into a green-fingered nation and experimenting with growing our own crops. This month’s feature ‘From Plot to Plate’ (page 132) offers expert advice on creating a kitchen garden, from how to prepare the soil and the types of beds to use, to plant selection.

With Valentine’s Day on the horizon, you might also be tempted to start bedding in more romantic flowering plants – but before you do, take a look at the hidden language of different varieties (page 178). I was fascinated to discover their unspoken meanings – and I’ll be moving my geranium and basil plants to more discreet locations as a result! However, there’s no taking away from the classic English rose. Whatever its colour, the meaning always seems significant, and so we have honoured this most symbolic and bewitching bloom with themed pieces on page 131.

Finally, you may notice that Period Living has a new look. I’ve been working closely with the exceptionally talented art and editorial teams over recent months to evolve the design and content. We wanted to made the magazine as inspiring as possible and showcase the most beautiful period properties, but with a modern twist, reflecting how you are mixing old and new in your own homes. We’ve also added new decorating, advice and lifestyle features to get your imagination going. I feel hugely proud of the result and would love to know your thoughts. Enjoy!

Melanie Griffiths Editor, Period Living Period Living 3

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PERIODLIVING EDITORIAL Editor Melanie Griffiths Content Editor Rachel Crow Chief Content Sub Editor Emily Hawkes Homes Content Editor Karen Darlow Content Producer Pippa Blenkinsop Email periodliving@centaur.co.uk ART Head of Art Billy Peel Senior Art Editor Emily Smith Designer Karen Lawson Contributions by Sarah Overs MARKETING AND SUBSCRIPTIONS Head of Marketing Melanie Graham 01527 834452 Group Marketing Manager Eve Mulvaney 01527 834445 Direct Marketing Manager Anjuman Tariq 01527 834493 Senior Marketing Executive Helen Troth 01527 834483 Marketing Executive Vicki Lees 01527 834409 Marketing Executive Alicia Maragh 01527 834402 Subscriptions Manager Alex Worthington 01527 834435 Customer Services Jayne Everton 01527 834484 ADVERTISING Print & Digital Sales Director Jackie Sanders 01527 834426 Print & Digital Sales Manager Rebecca Vincze 01527 834415 Key Account Manager Debra Greer 01527 834415 Key Account Manager Lucinda Clarke 01527 834404 Key Account Manager Helen Fox 01527 834491 Account Manager Elena Gill 01527 834494 Classified Sales Manager Emma Farrington 020 7970 4421 / 01527 834445 Business Development Manager Keri O’Connor 01527 834472 PRINT AND DIGITAL PRODUCTION Head of Production Bill Griffiths 01527 834421 Print & Digital Production Executive Alice Sullivan Digital Production Executive Nicholas Robertson Production Assistant Aimee Bradley-Davies PERIODLIVING.CO.UK Head of Digital and Customer Service Gill Dawson Digital Manager Tom Burbridge Email Delivery Manager Alison Nash Email Production Manager David Lloyd Web Operations Manager Laura Sturgess Senior Web Editor Lindsey Davis Web Editor Jacob Ingram Video Producer Matt Gibbs Social Media Editor Sarah Handley PUBLISHING AND EXHIBITIONS MANAGEMENT Managing Director Steve Newbold Deputy Managing Director Nick Noble Director of Content & Product Development Michael Holmes Editorial Director Jason Orme Executive Assistant Zoe Beeston 01527 834477

Period Living is published monthly by Centaur Home Interest Media, a division of Centaur Holdings plc, Wells Point, 79 Wells Street, London W1T 3QN. Although every effort is made to ensure the accuracy of material published in Period Living, the publishers can accept no responsibility for the veracity of claims made by contributors, manufacturers or advertisers. Although Period Living has endeavoured to ensure that all information inside the magazine is correct, prices and details may be subject to change. No guarantee can be made of the safe return of unsolicited text or photographs. Letters may be adapted at the discretion of the editor. Copyright for all materials published in Period Living remains with the publishers and nothing in this magazine may be reproduced, in whole or in part, without the written permission of the publishers. Designed using Apple computers. Printed by William Gibbons & Sons. Distributed by Marketforce. Period Living Š 2017 is published monthly. ISSN 0958-1987.

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FOR THE FULL TETRAD EXPERIENCE PLEASE CONTACT OUR PREMIER STOCKISTS LISTED BELOW Aberdeen Archibalds • Aberdeen Sterling Furniture • Abingdon Lee Longlands • Banbury Bennetts • Banchory Taylors • Bangor Caprice • Barnstaple Padfields • Barrow-in-Furness Stollers • Bath TR Hayes • Battersea, London Barker & Stonehouse • Birmingham Lee Longlands • Bo'ness Belgica • Boston Sack Store • Brighouse Websters Furniture • Broughty Ferry Gillies • Carlisle Vaseys • Chesterfield Brampton House Furnishers • Clitheroe Shackletons Home & Garden • Colchester Hatfields • Crickhowell, Wales Webbs of Crickhowell • Darlington Barker & Stonehouse • Derby Lee Longlands • Doncaster Ward Brothers • Dundee Sterling • Dunfermline Thomsons World of Furniture • Dumfries Barbours • Edinburgh Martin & Frost • Elgin Anderson & England • Exeter Stoneman & Bowker • Falmouth Richard Cook • Fulham, London Darlings of Chelsea • Gateshead Barker & Stonehouse • Glasgow Forrest Furnishing • Glasgow Sterling Furniture • Gorseinon, Swansea Arthur Llewellyn Jenkins • Grantham Oldrids • Grimsby AW Robinson Furniture • Guernsey Scope Furnishing • Hawick Chrysties • Hedge End Bradbeers • Hinckley Paul Edwards Interiors • Holt Bakers and Larners • Hull Barker & Stonehouse • Inverness Ogilvies • Inverness Sterling Furniture • Inverurie Andersons • Isle of Wight Bayliss & Booth • Kilmarnock Tannahills • Kingsbridge Peter Betteridge • Knaresborough Barker & Stonehouse • Leamington Spa Whartons • Leeds Barker & Stonehouse • Lincoln GH Shaw • Liverpool Taskers - Aintree • Llanidloes, Mid Wales Hafren Furnishers • Llantrisant, Cardiff Arthur Llewellyn Jenkins • Macclesfield Arighi Bianchi • Milton Keynes Morgan Gilder • Montrose Buicks • Morecambe LPC Furniture • Nelson Pendle Village Mill • Newcastle Barker & Stonehouse • Newton Abbot Prestige Furniture • Northamptonshire, Heart of the Shires Texture Interiors • Norwich Jarrolds • Nottingham Barker & Stonehouse • Perth Gillies • Rainham G Lukehurst • Ringwood Furlong Furniture • Salisbury Mylor & Mawes • Sheffield Ponsford • Shrewsbury Alan Ward • Solihull Whartons • Southsea Design House • St Albans Darlings of Chelsea • Stamford Stamford Garden Centre • Teeside Barker & Stonehouse • Tillicoultry Sterling Furniture • Tunbridge Wells Darlings of Chelsea • Tunbridge Wells Hoopers • Waltham Cross Fishpools • Winchester Design House • Windsor WJ Daniels • Yeovil The Old Creamery • York Browns

www.tetrad.co.uk

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54

141

CONTENTS Cover

21

Photograph Andreas von Einsiedel

Features

33

Decorating & shopping

11 21 108

23 24 53 85

February journal We round up the latest interiors offerings, news and exhibitions ON THE COVER Leading lights Our pick of the most beautiful pendant lighting ON THE COVER Marble rocks Shop for homeware featuring on-trend marbled motifs

Arts & Crafts Be inspired to decorate your home in the style of William Morris ON THE COVER

Splashing out Invest in the ultimate luxury: a centrepiece roll-top bath Rustic boho Mix pretty and distressed pieces for a feminine country look

36 141

Mid-century chairs Antiques Roadshow expert Marc Allum explains what to look for in these iconic furniture designs ON THE COVER

ON THE COVER Made in Britain We go behind the scenes of Froyle Tiles in Surrey, and look at its age-old techniques ON THE COVER Spice and simple Cook up a comforting feast to get you through the cold weather with these spice-infused recipes

148 Heritage weekend‌ Ludlow

We take a tour of this charming Shropshire town and discover where to shop and stay

153 The grand tour‌ Paris

Take a stroll along the streets of this amorous city and visit haunts of the old romantics

178 Lexicon of love

A fascinating look at the hidden language of flowers

6 Period Living

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42 54 64 74 108

Homes

115

ON THE COVER Period drama Jane Ashton injected bold colour and eclectic style into a 17th-century farmhouse

117

ON THE COVER Cornish charm Sarah and Neythan Hayes have lovingly renovated a rural gem ON THE COVER Oasis of calm Lynne Millar has put her own sophisticated stamp on a London Victorian townhouse

Tour de force Olivier and CĂŠline Chollet restored their beautiful French townhouse with vintage flair ON THE COVER

ON THE COVER The Tudor kitchen Alice Acton has created a classic English design in her listed home

Advice & inspiration

73 86 97 102

Focus on‌ wall panelling Advice on how to add character with a decorative panelled finish Sitting comfortably How to buy sofas and armchairs from British manufacturers ON THE COVER

123

127 131 132

The reclaimer Adam Hills from Retrouvius offers advice on salvaged windows ON THE COVER Going with the flow How to create an open-plan layout in a period home

Home health check Keep your rainwater goods in order with this expert guide

Gardens Garden journal The latest products for your garden, plus expert advice Bed of roses Shopping ideas inspired by that great English flower

42

ON THE COVER From plot to plate Create a kitchen garden and grow your own fresh produce with our complete guide

Regulars

8 Welcome to Period Living Enjoy PL in all its forms

94 Subscribe

Save 50% with our special offer

House journal New products and expert advice for updating a period home Handmade kitchens A selection of the best bespoke designs from British companies ON THE COVER

157 Next month

A preview of the March issue

159 Stockists

74

Where to find the products and suppliers featured this month

132

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For every moment

PERIODLIVING BRITAIN’S BEST-SELLING PERIOD HOMES MAGAZINE

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HOMES

FEBRUARY 2017

l DECORATING l GARDENS l ANTIQUES & VINTAGE l RENOVATION

Old meets new

Pure indulgence Warming recipes for a comforting feast

ARTS & CRAFTS Decorate like William Morris with flora and fauna prints

TAKE FRESH INSPIRATION FROM 42 PAGES OF BEAUTIFUL HOMES

HOW TO GO OPEN PLAN Make a modern layout work in an older house FROM PLOT TO PLATE Create your own kitchen garden

www.periodliving.co.uk £4.20

Upholstery, bespoke kitchens and tiles – invest in the best homegrown craftsmanship

9 770958 198197

Made in Britain

02

DESIGN DETAILS Mid-century chairs Marble motifs Pendant lighting

EVERY ISSUE, STRAIGHT TO YOUR DOOR Subscribe to the print edition and you’ll get all the ideas and advice you need through your letterbox each month. Go to periodliving.co.uk/websubscribe 8 Period Living

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Welcome to PL

GET PERIOD LIVING ON YOUR DIGITAL DEVICE Download Period Living from the App Store to access fully searchable and downloadable back issues, supplements, videos and more

STAY CONNECTED Like PL on Facebook and join the community – @periodlivingmagazine Immerse yourself with stunning images on Pinterest – periodliving Follow PL on Twitter for the latest unique content - @PeriodLivingMag Add PL on Instagram for the best period home images – period_living

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ITE TODAY

Visit periodliving. co.uk for hundreds of advice articles and beautiful design galleries to inspire your next project

Watch videos of stunning period homes, craft workshops and renovation tips. Search ‘Period Living’ Period Living 9

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Nothing similar is quite the same

www.jim-lawrence.co.uk Call: 01473 826940 Visit our showroom in Hadleigh, Suffolk

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Call 01473 826940 for a free Brochure

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journal FEBRUARY

Our pick of the latest interiors offerings and news, from quirky pieces by British design talent to must-see exhibitions

A

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Perfectly timed for a spring makeover, Dulux has unveiled its new 112-strong Heritage palette, which aims to give a fresh take on traditional tones. From top: Brushed Gold, Maritime and Dh Blossom, from £37.18 for 2.5ltrs of flat matt.

LOVE IS IN THE AIR With sumptuous curves, luxurious velvet upholstery and love seat proportions, this new Darcy snuggler seat is the perfect perch for two this Valentine’s Day. Pictured in Designers Guild’s Scarlet Varese velvet, from £1,190 at Arlo & Jacob.

FOLLOW US ON TWITTER @PeriodLivingMag for daily news and inspiration

TALENT SPOT

Feature Pippa Blenkinsop

Now winter is almost over, look forward to spring and listen out for the rustling of paper feathers from Suzanne Breakwell’s beautiful bird sculptures. With a background in model making for theatre, Suzanne creates her intricate pieces from wire, papier mâché, pages from books and cotton rag papers, brought to life with handpainted details. ‘I love the beauty and simplicity of making pieces from an everyday material,’ she says, ‘I find that the delicate yet strong characteristics of paper make it interesting and versatile to work with.’

From feathered friends, starting at £78, to mice and hares, from £58, each piece is mounted on a timber plinth and made to order. (suzannebreakwell.com) Period Living 11

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1960s TWIST Handcrafted by Yorkshire-based designer-maker Emma Dolan from genuine Harris Tweed, these lampshades, from £95, combine British heritage with a love for surface decoration and 20th-century design.

Mini masterpieces 2017 marks the 250th anniversary of Bath’s Royal Crescent and, to celebrate, Bath Preservation Trust will host an exhibition of Timothy Richards’ plaster models of 18th-century Neoclassical buildings.

Held at One Royal Crescent, a magnificently restored Palladian townhouse, From Rome to the Royal Crescent runs from 11 February to 4 June.

MIX AND MATCH Introducing Sthål, a new name in tableware. With a unique artisan appearance and oriental flourishes, the Arabesque ceramics are brought to life in a rainbow of lustrous glazes, bringing an eclectic, relaxed feel to dinnertime. From £8 for a dip bowl.

PERFECT BLEND Bring iconic retro curves to your kitchen worksurface with Smeg’s new ECFo1 espresso coffee maker, available in red, blue, cream and black, priced £279.95.

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News

Archive chic Renowned for breathing new life into historic designs, Little Greene has once again teamed up with English Heritage to launch the London Wallpapers IV collection. Inspired by a papered wall handpainted with red hot pokers, this show-stopping Upper Brook Street design is £170 per roll.

FLORAL SCENTS Taking inspiration from its rich design archive, Sanderson has launched a new fabulously floral fragrance range, beautifully illustrated with signature blousy blooms. This 390ml Rose and Peony 1927 hand and body lotion costs £15 at Heathcote & Ivory.

TAKE FLIGHT Rather than follow the flock, bring personality to your home with a statement rug.

Handwoven from wool and cotton, these Bird designs take four to six weeks to make, £750 each at Floor Story.

NOTE TO SELF Make the weekly shopping list a pleasurable pastime with a pretty handbound notebook covered in exquisite Japanese Chiyogami paper. From £6 at Harris & Jones.

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News

FACTORY LIGHTS Featuring a dynamic, industrialinspired design in an on-trend burnished gold finish, and fitted with vintage-style lamps, Där Lighting’s Code 12 light fitting will make a splendid, sculptural centrepiece in a period home.

It costs £210 at Ocean Lighting.

Image (bottom right) G F Watts (1817-1904) Study for the Figure of Life for Love and Life, 1884-85, sanguine chalk, Watts Gallery

ORIGINAL CLAY Introducing a new name in decorative tiles: Maitland & Poate. With a passion for encaustic designs, the team scours the cities of southern Spain, such as Seville, Andalusia and Cordoba, in search of the best handmade originals for its online store. Inspired by these reclaimed finds, they also offer new handmade versions. From £4 per tile.

INCA GOLD Add a new dimension (and a touch of fun) to a muted scheme with this decorative folksy Peru-inspired Cuzco bolster cushion cover, £125 (top), and Machu Bolster cushion cover, £94. Beautifully finished with embroidery and tassels, they’re PL’s top picks from Oka’s spring collection.

England’s Michelangelo ... better known as the great Victorian artist George Frederic Watts, was born on 23 February 200 years ago. To mark his bicentenary, the Watts Gallery Trust has planned a programme of events and exhibitions celebrating his life and work, including a show featuring his finest drawings: A Life in Art: G F Watts 1817 – 1904. From 28 February to 5 November at the Watts Gallery.

Period Living 17

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STYLE ICONS Quirky handmade ceramics are a brilliant way to bring character to kitchen shelves or a botanical display. New from Rockett St George, this range of glazed stoneware features hand-applied decals with an eclectic mix of icons, including whales, horses, roses, anchors, stars, moons, owls and eyes.

From £7.50 for a bowl.

HOT TROPICS Passionate about pineapples? With Neoclassical-style motifs, this Safari Pineapple mug, £6 from M&S, offers a good cup of kitchen kitsch.

FOLLOW US ON INSTAGRAM @period_living for more vintage inspiration and style ideas

SITTING PRETTY

Finest prints Journey through print history with Patterns: Inside the Design Library by Peter Koepke (£49.95, Phaidon). Founded in 1972 by textile designer Susan Mellor and her husband, the library holds over 7million textiles, swatches, embroideries, painted patterns, wallpapers and more, dating from the 1750s to today – an invaluable source of design inspiration.

Spotted at the 2016 Decorex exhibition, these stools couldn’t help but make the PL team smile. Perfect for anyone with a taste for tapestry, or vintage magpies, these retro pieces covered in needlepoint designs will make a conversation point over coffee. Around £117 each from quirky French brand Boboboom.

Fans of retro and mid-century design won’t want to miss the Camden Vintage Furniture Flea, selling homeware from 1950 onwards. 12 February, 10.30am at London Irish Centre, entry £3

18 Period Living

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WINTER

SALE NOW ON

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WINTER SALE NOW ON Up to

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Use code PLIVING15 for 15% OFF everything* including SALE prices soakandsleep.com Duvets | Pillows | Bed Linen | Toppers | Furniture | Towels | Nightwear and much, much more Enter code PLIVING15 at checkout. Minimum spend £50. Excludes shipping. T&C’s apply see website for full details.

Offer code not to be used in conjunction with any other offer. Offer valid to midnight 31st January 2017.

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Shopping Birdcage copper ceiling light, £350, Burford Garden Company

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Three-light industrial pendant bar in Rose Gold, £144, JD Williams

Faraday pendant in Amber, £550, Timothy Oulton

Feature Emily Hawkes

Orsini pendant, £144, Där Lighting

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Funk pendant in Satin Walnut, £399, Urban Avenue

Italian ceramic Azzurro Piccolo rise and fall pendant, £168, Broughtons

Galston antique silver pendant light, £89, One World Trading Co

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Ruby five-light cluster pendant, £129, M&S Silvia brushed brass pendant, £79, Vita Copenhagen

Period Living 21

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Period Living 23

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ARTS & CR AFTS

Feature Pippa Blenkinsop Acanthus wallpaper accent mural by William Morris, from the V&A collection for Surface View, from ÂŁ65 per m

Flourishing from around 1880, the Arts & Crafts movement provided an antidote to the poorly designed and inferior-quality machine-made products associated with the industrialism of the Victorian age. Instead, importance was placed on elevating the role of the artisan, the decorative arts, craftsmanship, honest materials and simplicity of form within domestic design.

Visually, this philosophy was expressed through a myriad of styles and mediums, from humble wooden furniture to ornate surface design. Taking inspiration from nature and a medieval aesthetic, leading figures such as William Morris and Charles Voysey created stylised flora and fauna patterns for wallpapers and fabrics, many for the decorating firm Morris & Co founded by the father of the movement himself in 1861. With enduring appeal, these beautiful prints, whether archive originals or recoloured designs, look just as effective today, bringing visual delight and a sense of British heritage into the home.

24 Period Living

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Decorating

Featuring one of Morris & Co’s most iconic designs dating to 1883, this Strawberry Thief wallpaper, £58 per roll, is the perfect backdrop for the elegant silhouette of the Cromwell Chesterfield grand sofa, £1,499.

Complement with a Strawberry Thief cushion, £35, and Morris & Co’s Hare cushion, £59 and Brook cushion, £95, both based on handpainted designs by the brand’s head designer Alison Gee. All available at John Lewis Period Living 25

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Bringing the Morris legacy into the 21st-century home, archive prints are also available across bedlinen, including this Seaweed pattern, designed by J. H. Dearle in 1901. Morris & Co Seaweed double duvet cover in black, £95; Oxford pillowcase in black (front), £20 each; Housewife pillowcase in black (back), £17 each; Seaweed throw (bottom), £250, all Bedeck Home. Walls painted in Broncho, £40 for 2.5ltrs of matt emulsion, Sanderson

26 Period Living

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Decorating

Taken from the archive at the Whitworth Art Gallery in Manchester, Little Greene’s Vine wallpaper, dating to 1932, gives an unmistakeable nod to the Arts & Crafts movement.

Pictured in Bleu, £76 per roll, it is teamed with woodwork in Lamp Black and cabinetry in Portland Stone Deep, both from £38 for 2.5ltrs of Absolute matt emulsion, Little Greene

Archive wallpapers depicting a rich tapestry of natural motifs, brought to life in jewel and earthy tones, are the perfect foil for traditional joinery, natural fibres and artisan ceramics Period Living 27

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Produced in 1911 by an anonymous artist, this Meadow Fruits design is thought to be inspired by the Mille-Fleurs tapestries of the medieval period. Pictured in Indigo/ Multi, the fabric costs ÂŁ59 per m from the Originals V Print collection at GP & J Baker

A deep-cushioned seat covered in the blousy blooms and stylised, fruit-laden branches of Arts & Crafts prints makes for a sumptuous statement piece 28 Period Living

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Decorating

Fluid and bountiful, this wide-width Bacchus wallcovering in Grigio is based on a handpainted design by decorative artist Melissa White and has a distinct Arts & Crafts feel. ÂŁ58.80 per m from Lewis & Wood

Period Living 29

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Decorating

Acanthus wallpaper in Privet, £69 per roll, Morris & Co. Cosmopolitan wool in Paris Purple/Grey, £53.95 per m, Moon. Sisal Super Panama carpet in Acapulco, £52.45 per m2, Alternative Flooring. William De Morgan Floral tile, £34.74, Victorian Ceramics. Thistle wallpaper in Mulberry/Linen, £66 per roll, Morris & Co. William Morris notecard, one of a set, Princeton Architectural Press. Paint (on tags, from top): Inchyra Blue, £39.50 per 2.5ltrs of Estate emulsion, Farrow & Ball; Crown Period Colours in Promenade, £24.99 for 2.5ltrs of flat matt emulsion, Homebase; Broncho, £40 for 2.5ltrs of matt emulsion, Sanderson; (on lid) Crown Period Colours in Box Tree, £24.99, as before. Bramble linen (under spoons), £19 per m. Hand-carved miniature wooden spoons in (from top) walnut, yew and sycamore, £10 each, Rosie Brewer. Hand-carved oak cooking spoon, £50, The Future Kept. Handcrafted elm board, £28.50; Leach stoneware pestle and mortar, £30; hand-forged iron candle snuffer, £8.50; Ivy leaf dish, handmade by James Burnett Stuart, £25; tumbled linen in Blackcurrant (under bowl), £32.75 per m; candles, £1 each; olive wood bowl, £11, all Tinsmiths Period Living 31

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Firing imaginations for over 35 years The UK’s most comprehensive range of high quality stoves and fireplaces WOODBURNING

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Design Details

The Polyside, the first polypropylene chair designed for Hille by Robin Day in 1963, was a worldwide success.

Now re-launched featuring the original P5 frame, the easily stackable chair is available in a range of colours, from £49 (hille.co.uk)

The Barcelona chair – designed by Ludwig Mies van der Rohe, 1929-1931. Mies, a close friend and mentor to Florence Knoll, formally granted Knoll the production rights to the Barcelona chair and stool in 1953 (knolleurope.com)

Mid-century chairs BBC Antiques Roadshow specialist Marc Allum looks at iconic chair designs admired by generations

Knoll Barcelona® Chair, courtesy of Knoll

M

id-century modern; it’s a term that few of us would have known 20 years ago, but one that is now common in day-to-day usage among media and style-conscious types. It is often over applied, meaning that the true boundaries of this post-war design genre are stretched into an all encompassing and sometimes clichéd morass of everything that looks ‘modern’.

In essence, mid-century modern is generally accepted to be an American movement that came into being after World War II and up until the mid-1960s, but the boundaries are frequently broadened to take in the 1930s through to the 1970s and even the ’80s. However, the style itself is often referred to as a more organic form of the European International Style of architecture, which was characterised by designers such as Ludwig Mies van der Rohe and Le Corbusier. The

renewed vigour of a fresh post-war optimism released a new wave of architecture, but also product and design innovation based around humble objects such as the chair – perhaps the most conjecturally deliberated and constantly redefined form of furniture history has known.

Take a seat The mid-century modern ‘chair’ – like many products of the movement – grew out of a stable of revolutionary pre-war designs, with many of the designers either architects or architecturally trained. Iconic designs were often part of a wider remit to create every detail within a building.

Van der Rohe’s classic Barcelona chair is a case in point; it has an innate spatial awareness that was ‘designed-in’ to suit the epic surroundings of the Barcelona Pavilion, built in 1929. Other major proponents of this relationship include Aalvar Aalto, Eero Saarinen and Charles Eames – to name but a few.

The post-war period saw the chair evolving in more sculptural forms. Experimentation with new materials and new concepts allowed for metals, ➤ Period Living 33

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The Nakashima Straight chair, 1946, is George Nakashima’s modern interpretation of the traditional Windsor chair (knolleurope.com)

Synthetic age Some chairs are so ‘modern’ looking that it would be hard to guess that an example like Euro Saarinen’s Womb chair heralds from 1948.

Such designs seem so timeless, perhaps, because like many classics, such as Charles and Ray Eames’ No.670 chair and No.671 ottoman, they have become part of our psyche. You’ll have no change from £3,000-£6,000 for a 670 and 671, depending on whether you buy new or a secondhand combo.

Burgeoning fashion The trend for mid-century style has led to a wealth of copies and reissues. This interest has inevitably driven up the demand and price of originals, which was intended, due to its initially idealistic inclusive doctrine, to be ‘available to the masses’, but is actually quite rare. It was often

No.670 lounge chair and No.671 ottoman, Charles and Ray Eames for Vitra, priced from £6,097 (vitra.com)

Images Diamond chair, Nakashima Straight chair, Saarinen Womb chair, all courtesy of Knoll

Designed by Harry Bertoia in 1952, the graceful Diamond chair is a study in space, form and function (knolleurope.com)

plastics and textiles to be utilised in different ways, expanding the boundaries of ergonomically viable designs that toyed with the basic premises of function and form. In short, mid-century modern embraced abstraction and art to produce a raft of clever technical and aesthetically pleasing chairs that have become synonymous with our notions of good design. Such classics include Harry Bertoia’s Diamond chair, designed in 1952.

Vintage examples can be purchased in the secondary market and can cost as much as a licensed contemporary version by Knoll International at around £1,000 – and more – depending on the model variations.

It’s easy to enthuse about cantilever tubular metal, exoskeletons and steam-moulded ply; yet it’s the advent of synthetics that predominantly change the parameters of what’s possible in the post-war period. Olivier Morgue’s space-age polyurethane, foam and stretch fabric ‘Djinn’ series, used in Stanley Kubrick’s 2001: A Space Odyssey, epitomise the freedom of expression found in the plastic, fibreglass, foam and moulded abstracts of the ’60s and ’70s. Another iconic example is Eero Saarinen’s Tulip No. 150.

Some might argue that these designs are not the inclusive creations that their designers intended them to be. They are expensive, yet they are also illustrative of how design and technology can filter down to and influence our everyday lives.

Often when I am out lecturing, I am able to direct people’s attention to the seating arrangements.

They will regularly find themselves sitting on the world’s best-selling seat, the Polyside, designed in the early 1960s by Robin Day, which made use of new technological advances in plastics. Around 20 million sold to date! A secondhand polyprop can be sourced for just a few pounds, but you are unlikely to want to use one in your kitchen.

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Design Details produced in small quantities and remained the preserve of the design glitterati and intelligentsia – the ‘architect’s style’ in essence.

Personally, I’ve always been attracted to the ‘woodworkers’, and it’s largely the Scandinavian school of design that perpetuated this connection between the skill of the craftsman and the exploration of new forms. Perhaps my favourite chair of all time comes from this Scandinavian stable. The Chieftain (1949), by Finn Juhl, is a classic Danish rosewood fusion of graceful forms, the originals crisply executed by the master craftsman Niels Vodder. It epitomises the freedom and masterly execution of Scandinavian design at its best with hallowed names such as Eero Aarnio, Alvar Aalto and Arne Jacobsen leading an all-star line-up. So, too, do American George Nakashima’s ‘craft revival’ pieces. Prices vary, but a reissued Chieftain will ultimately cost you several thousands of pounds.

The mid-century modern period is rich but to skim the surface of an object history that is both profoundly important and, at the same time, totally mundane is like trying to define the difference between a diamond and a piece of coal – both are inextricably linked.

The chair pushes boundaries both ergonomically and psychologically, and it will continue to be redefined.

Buying and selling

70 years. Previously, it was 25 years, so manufacturers were able to copy iconic designs; as a result, lookalike versions could be purchased on the high street for just a few hundred pounds.

However, that has now all changed, which means that not only is it now illegal to make these copies unless the copyright period has expired or you have a licence - but it’s also illegal to sell them. An amnesty has allowed stock holders of copies to sell their goods by 28 January 2017.

The only way of buying a rather more luxurious Eames chair and ottoman will now therefore be pushed into the realms of about £5,000 from Herman Miller, or perhaps an original vintage example at an almost equivalent price from a dealer.

Whatever the arguments, the market for designer furniture has changed and it’s unlikely that as much material will be on sale at auctions – unless it’s a bona fide version, or a copy licensed by the original copyright holder.

The trend for midcentury style has led to a wealth of copies and reissues. This has inevitably driven up the price of originals

If you fancy a low-cost designer chair you may have already missed the boat. Recent changes to the copyright laws mean that furniture design will now be protected by law for the life of the creator plus

Where to see mid-century designs Design Museum, 224-238 Kensington High Street, London W8 6AG; designmuseum.org Victoria & Albert Museum, Cromwell Road, London SW7 2RL; vam.ac.uk

Top: With the Tulip Chair, designed in 1957, Eero Saarinen wanted to address the ‘ugly, confusing, world’ that he had observed underneath chairs and tables -- the ‘slum of legs’ (knolleurope.com) Above: The Womb chair was designed by Eero Saarinen in 1946, at Florence Knoll’s request for ‘a chair that was like a basket full of pillows, something I could really curl up in’ (knolleurope.com) Left: In 2000, Onecollection acquired the exclusive rights to produce Finn Juhl’s iconic furniture from the 1940s and ’50s, including The Chieftain (finnjuhl.com)

What to read...

100 Midcentury Chairs by Lucy Ryder Richardson (Pavilion Books, 2016) 1000 Chairs by Charlotte and Peter Fiell (Taschen, 1997) Chairs by Judith Miller (Conran, 2009)

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Illustration Sarah Overs

Clockwise from top left: Richard Miller and his team use a stoneware clay manufactured to a specific formula, to make durable, frost-proof tiles suitable for interior and exterior use; ‘We use numerous techniques for creating patterns,’ Richard explains. ‘The material can reflect anything you want to press into it, so you can be as creative as you want’; natural oxides rather than manufactured pigments give the glazes a subtler, more translucent finish; Richard carves a pattern into a hand-cut wet tile – the team can create individual bespoke designs to order; glazed tiles await firing in the kiln; the standard range is supplied to Fired Earth and a list of independent shops; Richard dry fettles the raw tiles with a knife to remove any rough edges Opposite: Richard (right) and Ziad, with Dotty the studio dog 36 Period Living

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Made in Britain

The tile council In the first of our new features series focusing on traditional trades, we visit a tile maker in Surrey where age-old handmade techniques remain the backbone of this successful cottage industry Words Rachel Crow | Photographs Rosie Barnett

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T

he more you learn, the more you realise there is so much potential with clay.

I love the possibilities with the material and the fact you can make something so functional and part of everyday life,’ Richard Miller enthuses, as he deftly ladles glaze over a cut tile, plucked from a never-ending stack, and adds it to a shelf ready for firing.

He keeps up a steady monologue as he moves from one process to the next, working in perfect harmony with his co-worker Ziad Kadri, and all under the watchful eye of the pottery pet Dotty the Dalmatian. It’s obvious theirs is a wellpractised drill, and not surprising as there aren’t many opportunities for downing tools in the workshop where three of them produce 2,000 to 3,000 tiles a week. ‘It can be repetitive making our standard range,’ – stoneware tiles produced in a beautiful array of colours created from natural oxides – ‘but I like a certain element of monotony to the production as you get into a “zone”,’ says Richard.

‘And this work is always interspersed with more decorative or challenging one-off orders.’

Now set in the outskirts of the picturesque village of Hambledon in Surrey, Froyle Tiles has a diverse customer portfolio and interesting back catalogue of work: from replica Victorian fireplace surrounds for country cottage restorations, recreating intricate Arts and Crafts patterns for grand Lutyens houses, or creating modern kitchen splashbacks; to tiling a pavilion of the Tate St Ives new gallery extension, or emulating aged Edwardian terracotta tiles for the Tube station on the set of Eastenders. ‘With the restoration projects there is always something to research and learn,’ Richard explains, while manhandling a lump of wet clay, ready to shape into a mould for a relief tile design. ‘We enter unknown territory sometimes with the creative process; it’s been a fairly tacit increase in knowledge.’

Often armed with only a small shard of glaze or poor photograph as the limited starting point for

a reproduction, he and his team will don detective caps to investigate the range of glazes or techniques used in a particular period, and then by process of elimination emulate the original – be it a blue and white delft design, or an Art Nouveau stylised floral relief in moss green glaze.

Richard took on the then struggling business at the end of 2005, only a couple of years after completing an MA in ceramics. ‘I was naive and went into it without an idea of what was really involved, but I was young and energetic and saw potential in the product and that captured my imagination,’ he explains.

His was a steep learning curve, at times realising the painful way the quirks and intricacies of the kilns and techniques. ‘As a jobbing potter I had never made tiles before, and it is a very specific process. I wrecked a lot of tiles in the first year, opening the kiln expecting one colour, only to be confronted with something completely different!’ Richard says, grimacing at the memory.

‘I inherited glaze recipes, but we use naturally occurring oxides, such as cobalt, copper or chrome, which, as raw materials, can change over time with alterations in the earth’s seams. There will be slight variations in theses natural glazes, which can be volatile at high temperatures, and with gas firing there is more fluctuation in the atmosphere within the kiln so the glaze pulls around a bit, but as a result the tiles tell of the process they have gone through, and have more character. We have the most to gain by making them in the way that we do, but also the most to lose as the end product is more susceptible to change,’ he adds.

Accustomed to pushing the boundaries of the process on tile manufacture, Richard was well placed to handle the tight deadlines and demands as the technician tasked with firing contestant’s pieces on BBC’s The Great Pottery Throw Down, a new series due to air early this year. The growing interest from the public in traditional crafts and handmade production that spawned such a TV ➤

With the restoration projects there is always something to research and learn. We enter unknown territory sometimes with the creative process

ON THE WEB For a round up of the best British companies, visit periodliving.co.uk

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Made in Britain

Clockwise from top left: Richard makes light work of quickly and efficiently pouring glaze over the surface of tiles – ‘It’s taken years of repeating, but eventually you get an eye and feel for the application, as differences in the thickness of the glaze will produce different effects’; the white stoneware clay is extruded in an old-fashioned pug mill, which removes air bubbles from the clay, the tiles are then hand cut while still soft and laid out to dry; an Art Nouveau design sits alongside more contemporary and geometric shapes; ‘A lot of the restoration projects require us to use certain processes because of those used to create the original product, but as we become more knowledgeable we have more starting points,’ says Richard. ‘Victorians used a lot of white lead in the glazes, so we find alternatives to emulate the same finish’

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Clockwise from above left: Ziad kneads and rolls clay ready for Richard to press into relief moulds; with their efficient production process, they can produce at least 250 of the hand-moulded tiles in a day, all the while keeping up a steady stream of banter between themselves – ‘We each know all of the jobs so slot in around what needs to be done,’ says Richard; simple and rustic tools of the trade; the standard tiles can be raw fired as the glazes have a high clay content so adhere to the tiles – ‘this was a cottage industry way of saving money, to spare the expense of two firings’; Irish clay is used for the relief tiles, which is not as soft as the Cornish stoneware clay so produces a better definition

series, Richard has also seen reflected in larger interior design businesses and construction companies, who have increasingly approached Froyle Tiles to work on projects. ‘While the wider industry has become more mechanised, and offers a set product, there is a real thirst for something more individual and specific, and we can work in a collaborative way with our customers.’ This may be bespoke hand-carved designs or finishes, or at times integrating modern processes with their otherwise traditional ethos: using 3D printing and scanning to cast moulds, or digital decals for decorative elements.

With larger orders building up, in 2008 Richard was able to employ Ziad, and in 2010 a third

member, Erik, joined the team on a part-time basis. The production operation is a subtle marriage between small-scale industrial techniques and handmade skills, with some vintage machinery dotted around the workshop: a 1940s pug mill that extrudes the clay to remove air, or a 1960s hydraulic ram press for quickly creating moulds for relief tiles. ‘It is teetering on the edge of artisan - handmade to make engaging products with integrity, but incorporating machinery to be financially viable, too,’ says Richard. ‘It’s the way to keep these heritage businesses alive.’

To find out more about the tile ranges, visit froyletiles.co.uk or call 01428 684111

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SALE UP TO 40% OFF

Sale ends 31st January

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PERIOD DRAMA With generous proportions, original features and hidden stories, this 17th-century farmhouse provided the perfect blank canvas for Jane Ashton to showcase her confident and eclectic approach to interior design

Words Emily Smith

Words Pippa Blenkinsop | Photographs James Balston

In order for the kitchen to meet the needs of modern life, Jane and husband Richard added a single-storey extension complete with a glazed link and traditional-style bi-fold doors to keep the space bright.

To create a seamless transition from the old space to the new, Jane took on the time-consuming task of sourcing quarry tiles to match those in the old kitchen, then relaid the entire floor, mixing in her salvaged finds with the originals. On the walls, Farrow & Ball’s Light Gray shade provides a neutral backdrop for Jane’s eclectic mix of antique furniture and quirky accessories, including a rattan armchair picked up on Ebay – for similar try Alexander & Pearl – and a sideboard found in a local antiques shop 42 Period Living

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THE STORY

Words Emily Smith

Owners Design mentor Jane Ashton (janeashton.com) lives here with her husband Richard, CEO of a financial company Property A five-bedroom Grade II-listed farmhouse dating back to the 17th century with later additions, set in a North Hertfordshire village What they did The property was extended to create an open-plan kitchen-diner and the entire house was redecorated.

Upstairs, dormer windows were installed in an attic bedroom while another bedroom was converted into a bathroom to create a guest suite

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J

ane Ashton isn’t afraid to be bold.

Colour and pattern, the rustic and refined, the old and new – all combine inside the Grade II-listed farmhouse that she and husband Richard call home.

‘As a design mentor I come across so many people afraid to be brave in their homes,’ she says. ‘But all you need is a little encouragement and confidence.’ Where clients might have been cautious before, after a visit to Jane’s house they’re guaranteed to leave feeling inspired; itching to paper wall to wall with vintage florals or coat all surfaces in deep and dramatic tones.

‘When my clients come here they are wowed, yet they say, “oh but this couldn’t possibly work in my home”, but it can. I like the period of a property to shine through and to bring out the soul of a place, but I don’t want to live in a museum. Mixing up styles creates a more relaxed, modern feel,’ she says of her eclectic style.

As a serial renovator brimming with creative ideas, it’s not surprising that when Jane set out to find a new home six years ago she was after a blank canvas. A cosy, character property set in a country village yet within commuting distance of London was essential, and, with the children now all grown up, not too large. Yet Jane was also looking for somewhere suitable to use as a base for her business, which would have enough space to host workshops and classes, as well as provide a means of showcasing her work.

‘We’d done a lot of looking around and found that most of the older properties had either been over modernised, or were in a bad state of repair,’ she says. ‘This property needed work and its décor was very dated, but luckily it retained a lot of its original features.’ Fortunately, too, it was habitable, which meant Jane and Richard could live in the property for a couple of years before deciding exactly what they wanted to do.

Eclectic Décor ‘We basically went from top to bottom,’ says Jane. ‘We started by converting the attic floor into a guest suite, then we worked our way down decorating each room. Everywhere was covered in fitted carpets, so we ripped all those up. The floorboards weren’t perfect, but I like the odd knock and scratch here and there.’

While most of the rooms boasted generous proportions, there was one that fell short. ‘The kitchen was the real drawback to the property, as it was much too small compared to the rest of the house,’ remembers Jane. The solution was to put in planning for a single-storey extension. ‘Luckily the planning officers agreed, as the size was one of the reasons they approved the design. The house felt disconnected from the garden, so we decided to incorporate bi-fold doors to bring the outside in – they’ve transformed the space.’

When it came to decorating the kitchen, Jane took her cue from a surprising source. ‘The colour scheme was inspired by Downton Abbey,’ she reveals. ‘I just loved the kitchens, they felt so warm and cosy. I did some research and found the actual paints used, but when I tested them they looked completely different on our walls, so I used a similar greyish green shade.’

Jane soon discovered that the property had its own inspiring stories to tell. ‘Soon after we moved in a neighbour told us about the son of the landowner that once lived here, who had divorced and remarried a younger woman with rather lavish tastes. While decorating I would imagine her among many old inherited pieces and wondered how she may have put her younger and perhaps glamorous stamp on the house with chandeliers and dramatic touches.’

Now that the project is complete Jane couldn’t be happier with her home. ‘I think the dining room is my favourite space,’ she says. ‘It’s a room we don’t use every day, so I saw it as the perfect opportunity to be really dramatic. I hope it makes people think twice before playing it safe.’

Clockwise from top: Jane and Richard were drawn to the property’s handsome proportions and period features, such as the original sash windows; in the kitchen-diner, black chairs give a farmhouse table a contemporary edge, above which hangs a statement, feather print lampshade from Antiques by Design; a traditional-style kitchen was installed by Armstrong Jordan to Jane’s design with cabinetry painted in the greyish green of Farrow & Ball’s Mouse’s Back. The space is brought to life with warm accessories, including a copper pendant light from Cox & Cox and a classic Le Creuset kettle

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Above: In this room, reserved for entertaining, Jane has embraced a dramatic scheme. Sand-coloured walls and a white ceiling were covered with Farrow & Ball’s Hague Blue and fitted carpet replaced with dark painted boards. ‘I was nervous painting the ceiling at first, but it really gives the space impact. People often think white ceilings make rooms feel larger, but actually they can make a space feel disjointed.’ Soft white hides and luxe chandeliers complete the look.

Left: The snug linked to the kitchendiner is decorated with Little Greene’s Great Ormond Street wallpaper while a Charnwood stove with an extended flue makes a striking feature. Cox & Cox pendant lights, teamed with wall

fittings from Rockett St George and a copper lamp from Graham & Green, make for a versatile lighting scheme.

Below: For the living room, Jane developed an eastern-inspired theme based on fabric her son brought back from Asia (covering the sofa) and a rug picked up in Morocco. The walls are painted in Silt by Little Greene, and peachy chandeliers and pampas grasses are elegant finishing touches.

Right: Jane chose Green Smoke by Farrow & Ball for the study and fitted a Charnwood stove. The armchair is secondhand – for similar, try Out There Interiors. A ‘Grandfather Olaf’ canvas from Mineheart gives a quirky touch. ‘I like putting humour into an interior, it helps create a relaxed feel’

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Above: The drama continues upstairs in the master bedroom where the walls are painted in a deep green; try Mylands’ Borough Market for similar. The screen concealing the entrance to the walk-in wardrobe was bought at auction and helps create an oriental boudoir feel, while the original Victorian fireplace was sourced at a salvage yard, and the chair was picked up at Sunbury Antiques Market and reupholstered by a friend.

Right: Jane had tongue-and-groove panelling installed in the bathroom, painted in Mylands’ Piccadilly shade.

The floor needed to be reinforced to support the Aston Matthews cast-iron bath and was relaid with ceramic tiles, which continue into the shower area to create a seamless wet room look.

Opposite: A ‘Madame Blush’ canvas by Mineheart takes pride of place above a roll-top bath from Aston Matthews in the family bathroom

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Eclectic Décor

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Above: ‘As it’s north facing, the guest bedroom is very cold, and when we moved in it was painted blue, which made it even colder,’ says Jane. To make the room warm and inviting, she painted it in Little Greene’s Stone Dark Warm and introduced texture with a statement headboard made from reclaimed floorboards. The wall lights were left by the previous owners – Jane removed the shades and added old filament bulbs to give an industrial look.

Right: Jane’s son wanted a room with a gentleman’s club feel, so the fitted wardrobes were ripped out and replaced with bespoke panelling finished in Little Greene’s Light Bronze Green. For a similar Flemish-style chandelier, try Broughtons.

Opposite: Jane had the attic bathroom papered in a vintage floral design sourced from Germany, which is complemented by an orange Aston Matthews roll-top bath – for a similar finish, try Earthborn’s Tangerine shade. ‘When I showed the decorator the room he gave me a rather funny look because there’s not a straight wall in there!’ says Jane. ‘But he did a fantastic job – floral paper is great for disguising imperfections and uneven surfaces’

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HOMES

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QUALITY BATHROOMS WITHOUT SPL A SHING OUT

IDEAS & INSPIRATION

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CORNISH CHARM Sarah and Neythan Hayes weren’t looking for a ‘finished’ property, and it took four years of searching before they found this secluded and characterful farmhouse with enormous potential Words Katherine Sorrell | Photographs Polly Eltes

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Farmhouse Renovation

With all the elements of classic farmhouse style – flagstones, stable door, textured walls, open shelves, and a four-oven Aga – Sarah and Neythan’s home is full of warm welcomes. The breakfast room floor is reclaimed Delabole slate from Markstone Granite, the shelves and bench were made by local craftspeople, and the walls are painted in Farrow & Ball’s Dorset Cream

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L

ow ceilings, exposed beams, thick stone walls and huge fireplaces are all part of the irresistible charm of this 18th-century farmhouse. One of just six properties that make up a tranquil Cornish hamlet, a short drive from Sarah and Neythan’s work in St Ives, this family home took some finding.

‘We were renting nearby and searching for a house to buy,’ recalls Sarah. ‘It took four years. Neyth spotted it online, and we were the first people to view it. We wanted something authentic and private, and we knew this was perfect for us.’

The previous owner had rewired the property, installed central heating, opened up the fireplaces and created a lawn and garden. ‘We’re now doing the next level of work,’ explains Sarah. ‘We have updated the plumbing, replaced the kitchen and breakfast room floors, installed solar panels and roof insulation, and planted an orchard. Neyth ripped out the old fitted kitchen and we replaced it with a trestle table, a freestanding fridge and a Victorian gun cabinet that we bought at auction.

We’ve gained so much space.’

But it didn’t all go so smoothly. In the family’s first summer here the Victorian well, which they rely on for water, ran dry and they had to have a borehole dug at great expense. ‘We occasionally rent out the house for holidays, and laying a floor a week before our first letting was hair-raising.’

The layout works well both as a family home and a place to entertain. ‘It’s a great party house,’ says Sarah. ‘Neyth remembers his grandparents’

farmhouse in north Cornwall, which had both a breakfast room and a kitchen, and we’ve tried to replicate that here, with a back kitchen as a prep area, connected to the breakfast room with the Aga and a table that will seat us all.’ Having the dining room in the centre of the house means that it is well used. ‘I love walking away from the mess of the kitchen and enjoying a meal with friends and family in a beautiful, candlelit room. There’s a good flow through the house, ending in the living room which, as you step down into it, feels so snug with the wood burner and shutters.’

Sarah let the house itself take the lead when it came to décor. ‘We chose traditional colours: creamy yellow for the breakfast room and unpainted lime plaster in the living room. In the bathroom we experimented with pink pigments and limewash from Cornish Lime, and the same in the dining room. It’s a lot of fun making up unique colours using traditional methods and materials.’

The couple’s furniture is a combination of secondhand finds, auction bargains, family treasures, souvenirs from travelling and pieces made by local craftspeople. Every piece tells a story: their Aga came from a care home in Truro, the roll-top bath was bought on Ebay, and the Berber rug in the bedroom was found on holiday in Morocco. ‘I don’t follow trends, and I believe you should take your time until you find the perfect thing,’ says Sarah. ‘I enjoy using natural materials, and I try to reclaim and upcycle, staying local as much as possible. I’d describe our style as personal – most of the artwork hanging is made by family or friends, or else is about Cornwall; old – we love the character and sustainability of second-hand; and unplanned – it’s pretty much a case of throwing together lots of things we love and hoping that it all somehow works.’

Opposite: Sarah and working cocker spaniel Jacca in the refurbished back kitchen, which is fitted with mostly freestanding furniture, including a cateringstandard gas cooker. The sink unit and shelves were made by local salvage yard Shiver Me Timbers, and the engineered wood floor is by Absolute Flooring.

Above left: The house dates back to the 1700s and would originally have been two separate properties.

Above right: Cosy and atmospheric, the dining room is furnished with reclaimed furniture and the walls are painted with Sarah and Neythan’s own handmixed paints coloured with natural pigments

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Farmhouse Renovation

THE STORY The owners Sarah and Neythan Hayes, who run two Rum & Crab Shacks in St Ives and Exeter and The Queen’s Hotel in St Ives, live here with their children Morwenna, 12, Edward, 10, and Amy, seven, plus dog Jacca Property A four-bedroom stone farmhouse near Helston, west Cornwall, dating from the 1700s, with a Victorian extension What they did The bathroom and kitchen were replaced, walls replastered, and a timber floor was laid in the kitchen, with reclaimed slate in the breakfast room. The couple installed a wood burner in the living room, and fitted roof insulation and solar panels

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This page: Ercol chairs and a vintage trestle dining table create a relaxed setting for family meals in the characterful breakfast room. The rise-and-fall pendant is from The French House, and the bookshelf was made bespoke by carpenter Rob Scotter.

Opposite: The butler’s sink is reclaimed and the vintage flour crocks were auction finds. The ‘gurgle’ jug is by Fosters Pottery 58 Period Living

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This page: A step down from the dining room, the living room is in the Victorian section of the farmhouse. The old wooden armchair was bought at auction, dressed with a hand-embroidered seagull cushion

by Jan Constantine as a reminder of the property’s coastal setting. Seen through the doorway, the dining table, made by Shiver Me Timbers out of joists taken from a former pilchard press, is the perfect partner to the salvaged pews from a Methodist chapel in Penzance. The print on the wall is by Barbara Hepworth.

Opposite: Sarah and Neythan decided fitting a wood burner in the living room was a priority and chose a Clearview Pioneer 400, which keeps the room very cosy. The rug was bought at auction, the lampshade was a family hand-me-down, and the sofa is from Sofa.com

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This page: Sarah and Neythan treated themselves to a Feather & Black bed when they moved to Cornwall. The curtains are in Osborne & Little’s Sylphe fabric and the cushions on the bed are made from vintage placemats.

They bought the chest of drawers from a London antiques shop. The walls are painted in Farrow & Ball’s Fawn.

Right: The 1920s metal bed In Morwenna’s bedroom was an Ebay purchase, and the duvet cover was from Seasalt – for similar, try Bedeck.

The name painting above the bed is

by Sarah’s mother, Claire, a talented watercolourist; her bespoke illustrations are available from Noms de Claire.

Below right: There’s plenty of space in the family bathroom for the striking cast-iron bath, found on Ebay, and a Lloyd Loom chair that Sarah inherited from her grandmother. The blind fabric is Vanessa Arbuthnott’s Swallow Dive

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Farmhouse Renovation

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OASIS OF CALM Searching for a peaceful, creative place to live, Lynne Millar made her way across London to this sophisticated Clapham townhouse, and found that its elegant proportions suited her work and home life perfectly Words Johanna Thornycroft | Photographs Andreas von Einsiedel

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xxxxx Homes The living rooms were opened up and panelled throughout (painted in Farrow & Ball’s Plummet and Cornforth White), while antique-effect wooden flooring from Waxed Floors creates continuity between the two spaces. A chest of drawers from Pilgrim Antiques is topped by a 1960s ‘Oluce’ Colombo 281 lamp. The bronze ballerina sculpture is by Helge Leiberg and the round side table is from Linley. For a similar coffee table, try Neptune

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THE STORY

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pring 2015, and film producer Lynne Millar decided it was time to move house. ‘I longed for somewhere with great light that felt more creative yet calm and homely,’ she recalls. Her search took her to all sorts of Georgian and Victorian properties, from Islington to Richmond and Peckham. ‘Six weeks later I was living here in Clapham,’ she explains, still slightly amazed. Lynne bought the early Victorian terraced house virtually as it is today. ‘I loved the fact that there was space to work from home and a 70-foot back garden for my dog, Pip. ‘It’s a light house - most of the interior doors are demi-glazed and the original windows are huge.’ She was lucky, too, that the previous owners had gutted the whole house, replacing everything with good quality fittings. The layout was perfect, and the wooden and stone floors were just the right colour and patina. ‘I don’t have plans for rugs,’ says Lynne. ‘I love the clean and simple look, and it’s much easier with Pip.’ She called on the help of interiors stylist Cassandra Ellis, and their collaboration began with paint samples. Although Lynne liked the colours she had inherited, she felt some needed to be warmer in tone, and lighter. ‘Cassandra has a great “little black book” and put me in touch with all those important people, like a

Owner Lynne Millar, who runs a film production company, lives here with English cocker spaniel Pip Property A three-bedroom early-Victorian terraced house. It’s not listed but is in a Conservation Area What she did Lynne only had to make decorative changes, as the previous owners had opened up the ground and lower-ground floors, updated the electrics and plumbing, and fitted new bathrooms, kitchen and flooring

good plumber, decorator, antiques dealers Matthew Cox and Georgia Lacey, and Marianna Kennedy for her signature book cloth blinds,’ she adds.

Before moving in, Lynne realised that her collection of modern art would have to go as the works were far too big. Nowadays she prefers to own a few especially beautiful things. ‘I admire designer Rose Uniacke’s pared-back style, and as a treat have bought a few things from her, including the exquisite blue linen fabric - covering a number of chairs – and a gorgeous rustic table,’ she says.

‘Hoarding things means bunging stuff into storage. It’s better to give it away and only keep the things that really matter. However, two very special pieces will always come with me whenever I move,’ she says, of the antique country table in the kitchen, a gift from her father, and a bronze ballerina. ‘It’s by Helge Leiberg and I bought it from a dealer friend, so it has strong links to a happy past.’ There’s also a new acquisition that’s already special. ‘Cassandra thought I should look for mirrors for the house. She probably had something bigger in mind, but I found a tiny, 1750s hand-carved Italian mirror with its original foxed plate and thought it would be perfect.’

And so with Cassandra’s guidance, and her own elegant sense of style, Lynne has turned her townhouse into a smart and comfortable home.

Right: The rear living room, where the original fireplace is framed with display shelving, and one of a pair of vintage George Smith leather sofas is topped with cushions from Louise Bradley and a Loro Piana cashmere throw. A linen cover from Rose Uniacke, made by Yasmin Corda, has transformed an old dining chair and adds a subtle blue highlight to the room’s neutral palette. Textured pots by Jono Smart are displayed on top of the Linley table. The log baskets are from Brush64

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Victorian Townhouse

Discover how to add wall panelling in your rooms on page 73

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This image: Surprisingly light, the basement kitchen doubles as a boardroom for meetings around the antique table. The Martin Moore cabinets, Lacanche cooker and Fired Earth stone floors all came with the house. Lynne bought vintage chairs from Wild at Heart, mixing them with Philippe Hurel stools.

The old windows are French and were destined for outside but Lynne likes their flaky paint against the pristine wall.

Top right: Lynne turned a bedroom into an office, choosing a Philippe Hurel desk.

The painting is by Ryan McElhinney.

Middle right: An old door with coloured glass leads to a garden storage area.

A wall of cupboards houses the Miele appliances to help keep surfaces clear.

Bottom right: A glass stair balustrade helps maintain the flow of light in the kitchen. For similar, try UK Glass Designs

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Victorian Townhouse

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Right: The calm palette continues into Lynne’s bedroom, where an 1850s Gustavian painted Swedish chest from Georgia Lacey, plaster wall sconce lights from Cox London, and Frette bedlinen in neutral shades are the perfect accessories.

Below: The roll-top bath – painted in Farrow & Ball’s Railings – and taps are from Albion.

A tiny antique marble-topped table with a drawer, bought in Devon, adds character to the monochrome scheme

70 Period Living

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FOR THE FINEST CONSERVATORIES, ORANGERIES AND ROOFLIGHTS

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THE FABULOUS COLLECTION MAKES A VIVID STATEMENT www.crucial-trading.com

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Advice FOCUS ON…

Wall panelling

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Take inspiration from Lynne’s stylish interior and add character to your room with a decorative panelled finish

oday a desirable decorative feature in period homes, wall panelling originally served a more practical purpose. In the days before insulation was used in buildings, applying an extra layer of timber would help to warm up rooms with cold stone walls, and would also cover up damp patches. Early examples from the 13th century tended to be plain vertical boards, but over time panelling evolved to become an art form and was often carved with beautiful designs.

Most wall panelling on the market today is made from MDF, with the intention that it is painted. Once fitted and painted, it would be difficult to distinguish it from wood.

Provided the walls are fairly level, MDF panelling is easy to fit on a DIY basis. If the walls are uneven, they can usually be battened first. Ensure the company you are buying from offers good instructions before you invest. Expect to pay around £25-50 per square metre for the panels, which are best painted in water-based eggshell.

Is it right for my home?

Reclaimed panels

Fitting new panelling can be a good way to return character to a home that has been stripped back, to fill in gaps in an existing scheme, and to help a new extension to blend in.

Intricate dark wood panelling is not to everyone’s taste, and when used full height it can feel imposing. But there are more subtle options that go to dado height and can be painted in a soft shade to add warmth and interest.

Being sensitive to the period of your home is key. If it is listed, you should speak to the local conservation officer to see if panelling will be an acceptable addition.

As well as ensuring the design is right for your home’s period, there are other aesthetic considerations. Where it is not used full height, panelling tends to look best fitted either a third or two thirds of the room’s height, although this may be influenced by features such as fireplaces or windowsills.

You should also consider the size of the individual panel frames. Larger areas look good with bigger frame sizes, while small, awkward spaces tend to suit reeded panelling.

It is possible to purchase original wood panelling that has been salvaged from period properties. While it adds authentic aged character, quantity can be an issue. Where there are only a small number available they can sometimes be used to replace missing panels in a larger run, but are often repurposed as something else, such as cupboard doors. If you come across a large quantity, you may find that the dealer will only sell the complete set.

Bathrooms Panelling is a popular, often more affordable, alternative to wall tiles in bathrooms, especially in Victorian homes. It can help a built-in bath blend in with the room and hide pipework. It can also be used to build secret cupboards, or even full doors to en suites. While painted MDF designs are water resistant enough to be used in bathrooms, they aren’t fully waterproof and so should not be used in showers.

Words Melanie Griffiths Illustration Sarah Overs

A short history Framed panelling became popular from the 14th century, and was usually oak, which might be left plain or be carved with decorative detail. Elaborate linenfold designs, which resembled folded linen, emerged as a trend in the late 15th century, while in Tudor and Jacobean times the fashion was for small squares or rectangles, with the wood either left unfinished or treated with wax or varnish. The panelling was often topped off with decorative carved capping.

In the Georgian era, panelling took on a more classic appearance, with larger, simple panels of painted softwood.

Over the period, full-height styles began to be replaced by dado-level panelling. The Victorians continued this trend for shorter sections, although panelling did become less popular until the Arts and Crafts movement, where simple oak designs fitted up to head height were preferred.

Real wood or MDF? Solid oak panelling is expensive, and tends to be newly fitted only where it is the true authentic option or when matching existing elements, which makes it wise to work with a specialist. Expect to pay around £300-400 per square metre for the panelling, plus installation.

SOURCEBOOK

Deacon & Sandys Cranbrook, Kent; 01580 243331; deaconandsandys. co.uk Handcrafts solid oak panelling with a particular expertise in 16thand 17th-century designs.

Stuart Interiors Bath, Somerset; 01935 826659; stuartinteriors.ltd.uk Designs, produces and carves all styles of solid oak panelling in its workshop then installs it on site.

Distinctive Country Furniture Martock, Somerset; 01935 825800; distinctivecountry furniture.co.uk Specialises in 16th, 17th and 18th century-style oak panelling, which it handmakes and fits on site.

Finepanel.co.uk 01892 544228; finepanel.co.uk Produces a range

of MDF designs for home delivery, which are easy to install and paint.

The English Panelling Company 01453 731305; theenglishpanelling company.co.uk Nationwide delivery of different styles of panelling for home installation and painting.

Oakleaf Keighley, West Yorkshire; 01535 663274; oakleaf.co.uk Highly realistic aged oak-effect moulded panelling made using masters selected from 17th-century designs, and hand-stained.

Wall Panelling Experts 01706 260070; panelmaster.co.uk Offers a wide range of options for home delivery including oak veneer, pine and water-resistant MDF.

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TOUR DE FORCE It was love at first sight for Olivier and CĂŠline Chollet when they looked round this ancient French townhouse, affectionately known by locals as the Tower of Snow. The couple soon discovered the reasons behind its name, and many more stories besides Words and styling Monique van der Pauw | Photographs Ton Bouwer (moonshineweb.eu)/Coco Features

Above: La Tour des Neiges with its 17th-century timbers and enchanting garden, nestled in the heart of the historic town of Auxerre in Burgundy. The window frames are painted with Castle Gray by Farrow & Ball. Opposite: CĂŠline and Olivier have turned a spacious hallway into a cosy seating area by installing an impressive 17th-century fireplace, where Olivier occasionally cooks meals over the flames 74 Period Living

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French Medieval Home

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uying this house wasn’t a terribly smart idea for our finances, our time, or our energy,’ admits Céline. ‘The price was way too high, but we still couldn’t resist coming to see it. We wandered from one room to another, completely puzzled; there were no doors, only curtains. The bathroom was a disaster; in fact, each and every room had to be redone. But it was a coup de foudre: love at first sight. For six months we couldn’t sleep until we finally decided to buy it.’

For centuries the Auxerrois – the citizens of Auxerre – had known the property as ‘La Tour des Neiges’, or the Tower of Snow, and Olivier, who is passionate about history, has enjoyed uncovering its secrets. ‘In days gone by, long before the invention of freezers, snow would have been stored in the cellar until spring arrived, to make ice cream for the rich,’ he explains.

‘The house dates back to the 14th century, and rumour has it that Joan of Arc once spent a night here,’ says Olivier. ‘Over a hundred years later, this part of town was ransacked, first by Protestants then by Catholics. La Tour des Neiges was badly damaged but was renovated at the beginning of the 17th century, creating the floorplan that we have today. More recently it had belonged to a wine merchant, but it fell into disrepair after the death of his widow.’

There was plenty of work to be done, but Olivier and Céline were keen to keep to the

original layout. ‘It exactly matches what we discovered in the archives, dating from 1767,’ says Olivier. Unfortunately, because of its turbulent past, there were hardly any original features left.

‘Apart from the exposed beams, the remains of a sculpture on the façade, and some windows, everything had been ripped out. There was not a single fireplace left, which was such a pity.’

Céline is a painter, well known for her beautiful watercolours of old houses, and thanks to her artistry, combined with Olivier’s knowledge of history, the pair knew from the beginning what they would try to achieve: ‘We wanted to rediscover its old character again. By using antique materials, we tried to recreate as authentic an atmosphere as we could.’ For instance, salvaged tomettes – floor tiles – for the kitchen, and old doors have been reinstated in those empty doorways. Among them, a 17th-century door with three beautifully painted panels: ‘The salesman told us that he hadn’t found the time to remove the paintings!’ says Céline.

In the kitchen, there are handmade French and Dutch wall tiles dating from the 17th and 18th centuries. But the couple used some locally sourced new materials as well, such as the oak flooring in the living room, roof tiles, and the bespoke limestone kitchen sink. ‘Luckily, in Burgundy there still are lots of talented artisans, full of passion for their work,’ says Olivier.

The furniture is all gathered from fleamarkets, antiques shops and auctions. ‘We wanted to create interiors in an elegant, warm country style – nothing too precious or pretentious,’ explains Céline. ‘We’re not all that serious about recreating the look of a particular historical period. Far more important than the period that furniture, art and objects come from is their authenticity, their beauty and their ancestry. So the interior is decorated with a comfortable mix and match of styles from several centuries; a journey through time, which reminds us of the journey made by La Tour des Neiges itself, across many centuries.’

THE STORY Owners Céline Chollet, an artist and blogger (Céline Chollet Aquarelles), and her husband Olivier, a history teacher and headmaster of a high school, live here. The couple have two grown-up children – son Camille and daughter Lucie – who have moved away from home Property A 17th-century house in the old part of Auxerre, in Burgundy, France What they did The couple bought the house in 1997, when it was in a poor state of repair with few remaining original features. They restored the property using salvaged flooring, old doors and wall tiles, and installed a huge 17th-century fireplace in the living room. Other pieces were commissioned from local artisans

Opposite: The front door opens directly into this pretty timbered living room. Celine was keen to ensure that visitors’ first impressions were of a bright, welcoming space, so painted the once-dark beams light grey. The sofa was reupholstered with a fabric from Scottish label Anta. The curtain fabric and armchair covers are from Sequana. Céline painted the parrot pictures, and also made the lamp above the sofa using an old mattress spring and a painted paper shade 76 Period Living

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Above: This homely dining area of the kitchen features a piano painted by Céline in grey, which didn’t fit through any door so came into the house through a window. Céline also painted the portrait of Olivier. Opposite, clockwise from top left: The 17th- and 18th-century wall tiles are from Northern France and the Netherlands. The limestone sink was made to measure to fit the couple’s big copper pans; an old chest of drawers serves as an island; the stove is a Lacanche; Céline painted this antique cupboard, found in Normandy, and the wooden panels next to the window, inspired by a Swedish wallpaper dating from 1760 78 Period Living

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French Medieval Home

Above: The attic guest room is filled with all kinds of curios collected by Olivier: old books and musical instruments, stuffed animals, portraits, and antique toys.

Opposite, clockwise from top left: The 17th-century door, with its three painted panels. The couple still make use of the old copper sink and taps to wash their hands. Céline’s sister, artist Laura Bour, made the wooden sculpture; the shelves in the guest room display an array of natural artefacts; these unusual baskets belonged to Olivier’s father, and were used to catch eels: guests wake up to a splendid view of the roof beams Period Living 81

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Céline chose the décor for the master bedroom and painted the walls herself. She also painted the antique wooden bed in Farrow & Ball’s Pavilion Gray. Above it, a coronet is upholstered to match the bedlinen. The 18th-century panel on the wall ‘is like a window with a view on the past,’ she says 82 Period Living

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SITTING COMFORTABLY Britain is renowned for its quality upholstery designs. We quiz the experts to discover what you need to know before buying, and pick out the most beautiful sofas and armchairs

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Upholstery

uying upholstered seating can be a bewildering experience. Most of us spend more time sitting down each day than we do in bed, which makes comfort just as crucial as style – but while we are often tempted by the look of a sofa or armchair, the “sit” can be disappointing. Luckily, there is a wealth of choice on offer from British manufacturers, so if you persevere, you will find one to satisfy your tastes on both fronts.

quickly with use,’ says Multiyork’s Kate. ‘A highgrade duck feather cushion is one of the most comfortable options; the naturally curved feathers mould around the body and offer a sumptuous feel. Duck feather-filled cushions do require a little more aftercare, however, as they need regular plumping and turning to keep their shape.’

‘For a very supportive and quite firm sit, opt for reflex foam, which keeps its shape well and needs little maintenance,’ adds Willow & Hall’s Sarah.

Where should I start?

Are fixed or removable covers best?

Don’t order upholstery online without first trying it out in person. ‘For such an important purchase, it’s essential to shop around and review all your options,’ advises Sarah Massouh, founder of Willow & Hall. ‘Focus on companies that value craftsmanship and offer a 10-year guarantee.’

Before you go shopping, gather together any paint or fabric swatches that reflect the design of your room, and take measurements of the space.

Use your current upholstery as an indicator of size.

‘It depends on your lifestyle and the look you want – if you prefer a relaxed feel and have young children or pets, then washable covers may be better. But a more formal-style piece really needs to be tight covered,’ says Sofa Workshop’s Paul.

‘Removable covers offer more design flexibility, though,’ adds Janus Cooper, managing director of Tetrad. ‘They are a great option if you are likely to want to change the look of your home over time.’

How is the best upholstery made?

Consider height as well as the length and depth of upholstery as it will have an impact on comfort and how your room looks. High-backed seating looks better in rooms with tall ceilings while low-backed seats help to give a smaller room a spacious feel.

When you find a chair or sofa you like, make a template of its footprint and place it in position on the floor so you can check that it fits comfortably.

If space is tight, bear in mind some manufacturers are able to resize their chairs and sofas to order.

‘Quality sofas and armchairs are crafted by hand, using traditional methods and quality materials, including a hardwood frame and high tensile steel springs,’ says Kate Tansley, creative director at Multiyork. ‘Hardwood – usually beech – is best because softwoods such as pine and cedar may warp. A frame should also be properly joined with dowlings and screws, as glue alone will never last.’

Once the frame is built, the back and base are either webbed, with a series of coil springs added, or fully sprung using serpentine springs, which form a zig-zag pattern. The piece is then padded with materials such as wool fleece, horsehair and felt to create the shape, and covered in fabric.

Is it easy to check the quality?

A well-made sofa or armchair should be heavy – to test it, try to lift it at the corner – and it shouldn’t rock. Press lightly along the arms and under the cushion, around the seat and backs – these should be well padded and you shouldn’t be able to easily feel the wooden rails. Also examine the finish of the cover, and check the fabric is pattern matched.

Does size matter?

ON THE WEB Visit periodliving. co.uk for an edited selection of stylish sofa beds

How much should I pay?

You can spend as little as £500 on a new sofa, or less than £200 for an armchair, but if you intend to keep it for a number of years, and would be keen to have it reupholstered in the future, then you will need to spend at least twice as much.

Cheaper designs may suit if you like to change your furniture regularly, but they won’t offer the quality of those made using traditional methods. ➤

Feature Melanie Griffiths

What difference do the springs make?

They control how firm or soft the seat is, and the best way to discover your preference is to try out the different options. Paul Staden, CEO of Sofa Workshop, advises: ‘For a softer sit, look for coil-sprung seats and fishmouth edges, which offer comfort and support right up to the edge of the seat, while for more upright pieces, choose heavy gauge serpentine springs.’

Which filling should I opt for?

How upholstery is filled has a big impact on both the way it feels and the support it offers. ‘Lowquality fillings such as polyester fibre will flatten

Above: Duresta for Matthew Williamson Tango sofa in Aurora Fuchsia, £1,439, Barker & Stonehouse Left: Oscar corner sofa in Navy Pure Belgian linen, £3,670, Sofa.com

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Upholstery

Left: Buttermere twoseater sofa in Zinc Country linen, £1,089, Willow & Hall Above right: Dart twoseater sofa, from £1,431, Balmain & Balmain

KNOW YOUR SOFA STYLES FIXED BACK – the rear frame of the sofa is sprung and upholstered, with no back cushions, offering a more structured finish. This type may be buttoned, as seen on Chesterfield designs.

‘scattered’ against the sofa’s back frame for a relaxed look.

CUSHIONED BACK – a more relaxed-style sofa with two or three squared cushions resting across the back.

CUSHIONED SEATS – has removable cushions, filled with feathers or manmade materials, that are usually reversible.

SCATTER BACK – several loose cushions, which may be in varying sizes or colours, are

T-CUSHION – the seat cushions protrude around the sofa arms for a snug fit. ➤

FIXED SEATS – the seat is sprung and upholstered for a streamlined finish, with no loose cushions to plump.

Above: Sophie chair in Milo Geometric Blue, £940, Parker Knoll Below: Grosvenor threeseater Chesterfield sofa, available in over 110 different leathers, from £1,999, Sofas by Saxon

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INTEREST FREE CREDIT

0%

SAVE

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NOW £1239

At Saxon, we take great pride in every single piece of furniture we make, which is why each sofa and chair is hand-crafted to order. Combining carefully seasoned beech hardwood frames, with the finest leathers and fabrics and traditional British craftsmanship, means that our furniture is built to last.

OVER 900 REVIEWS

PL-52-107.indd 90

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07/12/2016 17:31

Upholstery

CHOOSING THE RIGHT FABRIC

Above: Orlando sofa in Emerald Italian velvet, from £1,700, Arlo & Jacob Below: Cara formalback sofa in New Generation Taffy Basil velvet, from £1,775 for a 1.5-seater, Wesley-Barrell

‘Fabrics are a great way to capture the character of a period home, and archive prints from companies such as Sanderson or Morris & Co will add colour and pattern without throwing your decorating scheme out of line,’ says Multiyork’s Kate Tansley. ‘Many contemporary patterns contain traditional motifs, so you can reference a style era without recreating it.’

‘The fabric durability you need depends on the item,’ says Willow & Hall’s Sarah Massouh.

‘Thicker, more hard-wearing

fabrics are best for everyday furniture such as sofas, whereas more delicate, lightweight fabrics suit an occasional chair.’

‘Check the capabilities,’ adds Sofa Workshop’s Paul Staden.

‘All fabrics have these noted in the swatch books, along with composition and rub tests.

Upholstery fabrics for domestic use must hit minimum 10,000 rubs, but most come with at least 20,000 rub counts.’

In addition, an upholstered item should have a ticket that displays its fire resistance. ➤

Above: Ives armchair in Liberty’s Jeffery Rose Tree velvet, from £1,799, Sofa Workshop Below: Wainwright chair in Bizet Hot Pink, from £1,789, John Sankey

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Braemar armchair in Raspberry Check Harris Tweed, from £1,195, Tetrad

Above: Dixie sofa in Bumblebee Clever velvet, from £1,395 for a small two-seater, Loaf Below: Simon two-seater sofa in Reykjavik Blue Simply cotton, £1,100, Perch & Parrow

CARING FOR UPHOLSTERY ‘As well as plumping cushions to keep them in shape, it’s important to vacuum the fabric regularly to remove dust, as if left it can become ingrained and rot the fibres,’ advises Sofa Workshop’s Paul Staden.

‘A weekly brushing stimulates the pile and helps prevent pressure marks and shading through everyday use, particularly on velvets. You should also have upholstery cleaned every year to 18 months, dependent on use.’

Tetrad’s Janus Cooper adds: ‘Many loose-cover models are washable, but for fixed covers I recommend dry clean only.

‘For leather pieces, you should avoid vacuum cleaning.

Instead, dusting furniture regularly with a soft cloth or brush will stop the dust and dirt that causes premature wear from accumulating.’

To keep your upholstery looking like new, position it out of prolonged direct sunlight, as the fabric colour will fade.

Left: Jolie armchair in Baylia Damask Burnt Orange, £449, M&S Right: Atlas medium sofa in Monsoon Chiante Blush, £1,119, and Universal large rectangular footstool in Calista Cardinal, £299, Multiyork 92 Period Living

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09/12/2016 09:02

OW H PE O k a M l

THE FINEST TIMBER WINDOWS AND DOORS

NEW INSTALLATIONS, UPGRADES, AND REPAIRS

01344 868 668 www.sashwindow.com

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HOUSE journal

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

ARTISAN LOOK

Words Karen Bray

Colour

of t

Benjamin Moore has revealed Shadow, a sophisticated, royal amethyst, as its Colour of the Year for 2017. Taking cues from architecture, fashion, textiles and the arts, the Benjamin Moore Colour Studio discovered an increased desire for a more rich and sumptuous palette than the neutral tones of more recent years. Intense and exuberant, Shadow creates the perfect ambience. It’s priced from £19.50 for 0.94ltrs of paint from the Regal Select flat range.

ear 2017

If you’re restoring a listed home – or looking to buy one – visit The Listed Property Show at London’s Olympia from 18-19 February 2017, and put your questions to conservation advisors and period interiors experts.

Register for free tickets at lpoc.co.uk

STYLE AND FUNCTION With the multiple benefits of 100ºC filtered boiling, filtered cold water and standard mains hot and cold from the simple operation of two levers, the Omni Classic 4-in-1 tap from Franke has an elegant design that is perfect for more traditional kitchen schemes. It marries the timeless appeal of a swan-neck spout, gentle curves and elegant white levers with premium high-shine solid stainless steel. The filter system gives you perfect-tasting water, while the tap dispenses the equivalent of eight cups of boiling water at a cost of just a penny a cup. With a threeyear guarantee, it costs £1,349.

Y he

A renowned style for both modern and traditional interiors, Artisan design highlights the skilled work of master craftspeople and the beauty of nature in design. Amtico celebrates this trend with Spacia, a timeless collection of luxury vinyl flooring designs, showcased perfectly here in the authentic quality of these oak-style planks and the structure of the herringbone laying pattern. Spacia Honey Oak laid in a Herringbone plank design costs from £39.99 per m2.

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Home Updates ETCHED APPEAL The perfect way to transform your windows, Frostbite Film from The Window Film Company provides both privacy and a wonderful decorative element. The Angulos design, from £30, creates the appearance of acidetched glass, preventing vision from both sides while allowing good levels of natural light to pass through. Printed in vibrant white ink, it will add a classic touch to your interior scheme.

Shutter season From the vibrant tones of red, orange and green, to the soft hues of lavender, mint and grey, ensure your home is on trend with window treatments in this season’s shades, using The Shutter Store’s colour match service. Choose from an array of options to suit your decorating scheme, including colours from both Dulux and Farrow & Ball for an additional £45.

WORDS OF WISDOM When updating ageing heating systems, the hot water storage cylinder is often overlooked. Martyn Bridges, from the Hot Water Association, offers advice on upgrading this important element. ● One size does not fit all; know your options and take lifestyle into consideration. ● Rather than the old jacket-clad tank, today’s cylinders are highly insulated and efficient in sizes from 50 to 500 litres. Your installer can advise on the right size cylinder for your needs, but a 170-litre indirectly heated cylinder is adequate for a family of four. ● Supplying multiple outlets is the biggest benefit of choosing a cylinder-based hot water system, making them perfectly suited for properties with more than one bathroom.

Given an adequate supply pressure, you can run showers simultaneously while turning on a tap elsewhere or flushing a toilet, all without effecting the running of the system. ● Where low pressure needs a pump to boost water flow, heating and storing hot water in a cylinder will ensure it is pushed through at the right temperature as needed.

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DECORATIVE TONES Lapicida has launched a collection of geometric pattern tiles in contrasting marble and limestone. Highlighting the subtlety of the natural stone, and suitable for walls and floors, Crossover and Illusion (right and below), both £474 per m2, feature trompe l’oeil themes, creating complex 3-D effects inspired by grand, classic floors, while Argyle’s diamond pattern (left and below) offers a more contemporary option, £594 per m2.

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

Q

What is the best way to clean the geometric floor tiles in my house?

It is always advisable to carry out a small cleaning trial in a discreet location before embarking on the task wholesale. It’s also important to avoid over-wetting the tiles because this could loosen them or cause saltrelated problems.

The best method is to clean each tile individually by hand using a non-ionic cleaning product, such as Synperonic A and Vulpex spirit soap from conservation suppliers, or HG Extra, HG grease remover or BAL floor tile cleaner, from good tile suppliers.

Every tile should be pre-wetted, the product applied to the tile surface in accordance with the manufacturer’s instructions, agitated using a green, plastic scouring pad, left for 20 minutes and then washed off thoroughly. Hardened deposits such as paint spills can be removed using a craft knife blade at a 45-degree angle.

Wire wool or any hard abrasive material shouldn’t be used.

Wonderful wood

Hot stuff Add a bold focal point to your kitchen with the new Everhot 100 Tangerine range cooker. The vibrant electric model co-ordinates beautifully with a range of other colours – from blues and greens to white and other neutrals. What’s more, Everhot’s hand-built cookers use less than half the energy of an equivalent model, gently warming a kitchen using electricity, making them quick to switch on or off, easy to install, well suited to running off solar or other forms of renewable energy and, above all, great for cooking. Priced from £7,100.

Q ON THE WEB For more advice on caring for original tiled flooring, visit periodliving.co.uk

I believe that it may be possible to have old paint layers examined to learn about how a house was decorated in the past; could you tell me more?

Architectural paint research involves combining archival research with sampling and laboratory analysis to investigate a building’s decorative history. Small paint samples are taken discreetly, as needed, and the locations recorded. The samples are set in resin blocks and cut to expose cross-sections through the paint layers for examination microscopically. Chemical tests can provide additional information.

By identifying colour schemes, paint types and techniques, architectural paint research can help you understand the development and past use of a room or building as well as its decorative story. This may offer you practical benefits when redecorating, for instance, by highlighting any surviving finishes that are worth retaining, establishing the technical compatibility of proposed new paint or even ideas for authentic redecoration. Be warned, though, that some colours popular with our forebears do not always suit today’s tastes!

If you have a question for Douglas Kent, email it to periodliving@centaur.co.uk*

*We do our best to answer all queries, but cannot guarantee a response

Wood surface specialists Havwoods International has rediscovered the age-old Japanese art of Shou Sugi Ban (translated as the burning of Japanese cypress) in its innovative new wall cladding collection.

This ancient technique is typically adopted as a weathering process to create a more durable and hardy surface, but also works to emphasise the beautiful knots and grains of the wood’s natural surface. Available in seven distinctive tones, including Conway and Franklin, from the Shou Sugi Ban collection, £149.94 per m2.

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Parlour Farm Beautiful Bespoke Kitchens Handmade in Cirencester

We have been creating beautiful handmade kitchens in the Cotswolds for over 20 years and our business flourishes on personal recommendations. Our own team of local craftsmen are passionate about making your dream kitchen a reality.

Please call us to arrange your free personal design consultation www.parlourfarm.com | info@parlourfarm.com | 01285 885336 Parlour Farm | 12 Wilkinson Road | Love Lane | Cirencester | GL7 1YT

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Bespoke kitchen handpainted in Willow, with natural oak veneer cabinets and Yukon Silestone worktops. From ÂŁ35,000, Tom Howley

HANDMADE KITCHENS

Words Emily Smith

From classic country to elegant contemporary styles, a bespoke solid wood British kitchen will ensure an individuality and durability that’s well worth the investment. We consider the benefits, plus provide our pick of the latest designs

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HOMES

Feature Emily Hawkes

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he social hub of the home, the kitchen is no longer just a place to prepare food, but a multifunctional space in which to congregate, eat and entertain. To this end, choosing a new kitchen that works in harmony with family life as well as your home’s unique features has never been more important. Investing in a bespoke design, made to order, will make the most of the space, enhance its functionality and add value to your home.

‘The benefits of a handmade kitchen are not only in the wow

factor and individuality, but also in the lifespan, as they can last for decades,’ says Papilio managing director, Matt Prall.

A bespoke in-frame kitchen will have solid wood carcasses and doors, with traditional shelf lippings and dovetailed drawers – quality that should ensure it is far more durable than any off-the-shelf cabinetry. ‘In not being restricted by standard sizes, you can specify the exact dimensions required and build around odd features, such as awkward pillars or low ceilings,’ says Richard Moore, design director at Martin Moore. ➤

Above left: Bespoke kitchen handpainted in Farrow & Ball’s Lime White, featuring a classic pattern door, turned end columns, two-tier plate rack and chimney surround, with Zimbabwe Black granite worktops. From £18,000 for a complete kitchen, Rencraft Above: Shaker-style kitchen handpainted in Farrow & Ball’s Off Black. From £8,000 for a similar design, British Standard Left: Bovingdon kitchen made from solid oak, oak veneer and tulipwood, handpainted in Dark Lead

by Little Greene, with polished concrete worktops and polished Venetian plaster splashback.

From £35,000, Cue & Co of London

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WHAT TO LOOK FOR ‘The best way to ensure you are working with a kitchen firm that can design and build a truly bespoke kitchen is to find one that has a workshop,’ says John Stephens, director at Rencraft.

Take a wish list of appliances and any inspiration you have, plus a floor plan of the room if you have one. ‘Ask the kitchen company to talk you through the look and construction of its kitchens, explain the design process and the way they work,

and give you some idea of costs to help you compare like for like,’ adds Richard Moore.

‘An element to consider early on is the colour of the worktops and flooring, rather than the cabinetry,’ continues John.

‘People often automatically start with the cabinet colour, but as they can often now be painted in any shade, it’s better to concentrate on flooring and worktops as there is much less choice, so fine tune these first.’ ➤

Above left: Victorian kitchen made from pine and tulipwood, handpainted in Merriott, from £5,000, Creamery Kitchens Above: Artisan in-frame kitchen featuring hardwood frames and European oak drawers, handpainted in Old Bell House (island in Pantry White), with Terra Bianca natural granite worktops. From £25,000, John Lewis of Hungerford Left: Natural pippy oak in-frame kitchen, from £20,000, Churchwood

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Kitchens Classic English kitchen made from tulipwood and maple with solid oak drawers, handpainted in Flint and a custom-mixed shade, with honed black granite worktops and Bella brass door furniture.

From ÂŁ25,000, Devol

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HOW MUCH TO SPEND As a rough guide, it is wise to spend a maximum of five per cent of the value of your house on a new kitchen, to avoid losing money if you sell. Be sure to factor in the cost of appliances, decorative finishes and necessary electrical works, deducting these from your total budget before choosing how much to spend on cabinetry and fitting.

‘In terms of initial designs, if they are taken to the next stage and translated into a complete

set of drawings, there may be a charge, says Rencraft’s John Stephens. ‘Ideally you will need a couple of sessions with the designer, from which they should be able to give you a rough design and costings.’

You can purchase a solid wood in-frame kitchen from £5,000, which is usually pine, up to £50,000 for hardwood.

Expect to pay up to £144 per square metre for a bespoke cabinetry and design service.

Above left: Bespoke Brasserie kitchen handpainted in RAL colour 0102025, featuring a solid bronze carcass base island with handleless drawers and Patagonia marble work surface. From £45,000, Smallbone of Devizes Above: Bespoke kitchen with wardrobe cupboards, handpainted in Bone White and Apres Ski (inside cabinetry) by Fired Earth, with Moon White granite worktops in a leathered finish. From £35,000, Martin Moore Left: Bespoke maple kitchen handpainted in Farrow & Ball’s Hardwick White and Hague Blue, with a French oak island worktop. From £40,000, Edmondson Interiors

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Visit our website at www.cotteswood.co.uk

SHOWROOMS Station Road, Chipping Norton, Oxfordshire OX7 5XN Tel: 01608 641858 14 Hill Avenue, Amersham on the Hill, Buckinghamshire HP6 5BW Tel: 01494 434200

FOR YOUR FREE BROCHURE AND PRICES PLEASE PHONE 01608 644620 PL-52-107.indd 107

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THE TUDOR KITCHEN Alice Acton has refurbished her farmhouse kitchen to make it as classically English as her beautiful Grade I-listed home Words Victoria Jenkins | Photographs William Goddard 108 Period Living

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HOMES

The new electric Aga is a big hit with Jack Russell Hattie.

Keeping the overall look traditional to suit the historic building, but adding a contemporary twist, the units and island were handmade by Midelwood and painted in Mylands’ Mid Wedgwood, Hawkesmoor and Broken White, topped with Bianco Latino granite from the Bristol Marble & Granite Company. The flooring is concrete moulded faux flagstones, from Traditional Flagstones – a fraction of the price of real stone. Alice bought two of the bar stools from Chalon, for £50 each, and then added two more from Ikea. The pendant lights above the island are from La Fleure in Langport

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THE STORY Owners Alice and Jeremy Acton live here with children Harry, 12, Sam, 10, and Rose, nine. The couple host wedding receptions in the gardens and historic outbuildings Property Half of a Grade I-listed manor house in Midelney, near Langport, Somerset. Built in 1532, the manor house has been in the family ever since What they did The kitchen needed rewiring and replastering, and a new floor.

The couple fitted a handmade, handpainted kitchen, with granite worktops. An island separates the L-shaped runs of cabinetry from the dining area

W

hen Alice moved back to her family’s ancestral manor house six years ago, with her husband Jeremy and their three children, the kitchen consisted of a pine dresser, table, chairs and cupboards, all dating back to the 1980s. It had lasted well, but two years ago the couple decided it was time for a new, properly planned kitchen.

‘It’s quite a large room, which is lucky as we entertain a lot,’ says Alice. ‘So when we revamped it I wanted the sort of kitchen where you can cook but still be a part of things when you have guests.’

A beautiful handmade kitchen was the solution.

‘I didn’t want a sleek modern design – I wanted traditional but with a modern twist,’ recalls Alice.

‘So the cabinetry is classic but painted in three shades, which along with the granite worktop creates a more contemporary effect.’

One very striking feature in the kitchen is the stone and brick wall, once the outside wall of the 17th-century falconry mews, of which there are only a couple left intact in the country.

‘The archway in the kitchen leads into it as we now use it as a boot and boiler room,’ says Alice.

‘We’ve left it exposed as it just oozes character.’

The work took two months, as it also involved rewiring and replastering, new glass in the sloping roof and a new floor. Alice’s mother lives in the other half of the manor house, so while the work was completed, the family used her kitchen.

Now it’s finished, it works really well. ‘I love having the Aga and island together as I can have a glass of wine with friends while I cook.’

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Classic Kitchen

Top left: Alice at the table, handmade by Ian Weston of Shropshire with bespoke Windsor chairs from Robin Clarke. The framed photograph is by Bill Bradshaw.

Above: Alice and her family live in one half of Midelney Manor, built by her ancestors in the 16th century. Alice’s mother lives in the other half of the house.

Left: Alice and Jeremy made a feature of the stone and brick that once formed the exterior wall of a 17th-century falconry mews, and added a sense of fun with a quirky Vietnamese horse’s head from Homesense. The electric pewter Aga is on all the time so the kitchen is the warmest room in the house. Midelwood built the housing for it, and the tiles above, which feature a tiny butterfly design, are from Wellington Tiles. The glass cabinets above the farmhouse sink contain some treasured plates showing the family crest.

Alice and Jeremy decided that as the room was for entertaining as well as cooking, it needed good lighting so asked Rupert Little of David Little to design it to be soft and golden. ‘We didn’t want anything harsh and we’re delighted with the result,’ Alice says. The walls are painted in Mylands’ Kensington Rose, which adds warmth

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Left: Alice’s great-grandfather built the single-storey kitchen over a courtyard, which connects the main house to an old falconry. The back door from the dining room leads to this sunny spot.

Below: The sloping roof was part of Alice’s great-grandfather’s original kitchen, but the glass was replaced during this latest renovation. The arched doorway in the stonework leads to the old falconry, now used as a boiler and boot room

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The Reclaimer

Frame of reference Adam Hills, co-founder and salvage chief at Retrouvius, looks at the pros and cons of using reclaimed windows They’re more expensive…

If you’re restoring a property and looking for original windows to replicate the period, it’s worth considering the implications from both an environmental and financial perspective. Using anything reclaimed is a worthwhile endeavour, but it’s generally quite hard to find salvaged windows that will match the building’s exact measurements, as they are often more expensive than modern equivalents, and you will struggle to comply with current building regulations regarding insulation. However, if you do want to use them for aesthetic purposes, you need to ensure you are buying something with longevity and that your money is well spent.

Quality is key…

The condition of reclaimed windows will depend on where they have been sourced from, the plight of the original building and the

Feature Karen Bray

How to use reclaimed windows I often suggest using reclaimed windows internally where insulation isn’t an issue.

A lot are used in pubs and restaurants to create internal divisions, or transformed into decorative mirrors – an effective way of recycling windows while creating a striking architectural feature. Dutch designer Piet Hein Eek launched his career with a range of cabinets made using old windows. A lot of them were really charming, anthropomorphiclooking items of furniture – a unique way of reusing unusual salvaged items.

reasons why it was demolished. Most wooden windows are removed because they are rotten, so check all joints thoroughly. A good way of checking quality is to stick a screwdriver or bradawl in the bottom corner of the frame – if it goes straight in, then the wood is rotten.

Consider necessity…

It’s worth asking yourself whether you need the complete window. Many people salvage windows for decorative reasons, such as saving the original stained or leaded glass, which can be fitted into a new frame of sound condition.

Restoring glass is a specialist job but leaded glass can be repaired reasonably easily and cost-effectively as the lead is soft.

Sash windows on the other hand are fairly complicated to restore, and you do need to understand their structure to be able to know what you’re sourcing. It may depend on the part of the country you are in, for example, as Glaswegian sash windows are constructed in a different way to English ones. Always use a reputable company to restore sash windows; there are lots that specialise in their renovation.

From top left: Old window cabinet in steel, POA, Piet Hein Eek; set of four reclaimed stained-glass windows with mottled glass and leaded panels in a floral design, £48 each, V&V Reclamation; Adam outside the shop front made using mahogany-frame windows with copper inserts; arched oak windows, probably medieval, from a Masonic hall, £1,200 per pair, Wye Valley Reclamation

Know the market…

Whenever I’m pricing salvage, the first question I ask is what the market is for the piece. For a reclaimed window with particular dimensions, and of a certain style and condition, the market is fairly small, and so the chance of finding someone who wants it is very tight, so I would price it relatively cheaply. If you are lucky enough to find the one you’re looking for, you could probably get it at a good price.

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Open-Plan Design

GOING WITH THE FLOW

Removing walls to create a more open-plan layout is an increasingly popular trend in period homes, but it must be handled with sensitivity.

We asked two industry experts for their views on how to get it right

Above: Adding large glazed doors offers the flexibility of closing off areas when needed, but maintains the sense of flow and natural light Left: Removing the plaster in between timbers can be a sensitive option for creating a more open feel without knocking down the wall

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eriod homes are not traditionally thought of as generous open-plan spaces conducive to modern living.

Indeed, the very idea seems the antithesis of the character of cosy cottages and pretty terraces. Yet, older properties are increasingly being adapted in order to suit the growing desire for large, light and airy spaces.

One of the main reasons for taking down walls is to create a sociable kitchen-diner, often with a relaxed sitting area – a space where all the family can gather together, and guests can be entertained while you prepare food. Many households only make use of a separate dining room on special occasions, so reconfiguring the layout to gain a larger space often seems the logical solution.

When done sensitively, an open-plan redesign can enhance your lifestyle as well as the building itself; but older homes are imbued with history and character that once stripped out is hard to return. Taking down walls in a house that was designed to have smaller rooms will forever alter its atmosphere, so it’s important to ensure you are making the right decision and not fighting the character of the original property. ➤ Period Living 117

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Neil McKay, architect and winner of best renovation in the Period Living Readers’ Homes Awards 2016, explains the main considerations

D

epending on the age and nature of the house, there can be a lot of challenges to creating an open-plan layout in a period home. Properties reflect not just the materials and technologies available at the time of their construction, but also the tastes and lifestyle of their builders.

Before assuming that adapting to changing lifestyles requires a wholesale reorganisation, it’s worth asking yourself exactly what you want to achieve in your home, and whether there are easier ways to do it. Do you want a better connection between spaces? More natural light? Views to the garden? If your home doesn’t really suit your needs or tastes, could it be more economical to move? Could you rethink the way you use the existing rooms? The advice of a good architect at this early stage could save far more than it costs.

If you’ve only recently bought your home, it’s worth living in it for a while before committing to building works. Find out as much as you can

about its origins and history. Experience it in every season and get a feel for its existing character before deciding what changes you want to make.

Some homes suit being opened up more than others. In cottages, enclosed cosy spaces are part of the character, so going open plan may impact negatively on the feel of the house. Conversely, barn or industrial conversions lend themselves better to open-plan spaces, as that is how they were originally intended. Many Victorian semis or terraces can be opened up if they are simple in their interior design. It’s all about the right context and respecting the character of the building.

If you decide you want to open up the interior, firstly check whether your house is listed as, if so, any changes will require listed building consent, even if they are wholly internal. Seek advice from the local conservation officer.

Most homes are not listed, but it’s still vital to conserve historic features wherever possible.

Original fireplaces, plaster mouldings, internal joinery and windows are very important and you should avoid removing or replacing them at all costs. They give your home its character and add to its value, so plan alterations around them or reuse them elsewhere in the building. Disrupting

Feature Melanie Griffiths Photographs (previous page top) Kristy Noble, (previous page bottom) Bridget Peirson, (above) Jeremy Phillips, (right) Jody Stewart

Working with the house’s character

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Open-Plan Design Left: While often avoidable with the use of steel beams, timber posts can prove attractive dividers and subtly divide zones in a room, such as in this dining area Below: A modern extension to a period home can offer the best of both worlds, and is often preferred by the planners.

Here, a change in floor level helps divide the space

the floorboards is also an issue when taking out a wall. Consider whether you can lift and replace original boards, or used reclaimed flooring.

In terms of layout, a “dumbbell” plan – where spaces that are less reliant on natural light, such as the kitchen, are placed in the middle, perhaps with the living room at the front and the dining room at the back – can work well. You also need to think about creating a utility space for noisy appliances, such as washing machines, which can be disruptive when relaxing or entertaining.

Even in big open-plan spaces, you have the option of making smaller areas feel distinct. A change in floor level or the use of timber beams can subtly zone spaces, and you can fit doors to give the flexibility of being able to close off smaller sections where needed. To maintain a sense of flow in the space, you can fit the same flooring throughout, which can also be continued outside, over a level threshold, to link to the garden.

Next, consider the structural implications.

Almost anything can be achieved if you’re willing to pay for it, but working sensitively with the existing structure is likely to look better and cost less. Be aware that it’s not always obvious whether a wall has a structural function - even lightweight timber partitions may be providing support or stability, so ask a structural engineer early on.

When it comes to supporting the new opening, the default option is usually to use a steel beam.

You could go for exposed timber beams, although you will need more timber for the same span that steel can create. People often want to avoid timber

posts in the layout, but they can be attractive features that also help subtly divide areas.

With any works to a historic property, make sure you get the right builders, who understand the nature of old buildings. Traditional construction is generally based on lime mortars and plasters rather than cement and gypsum. Lime allows for flexibility and vapour permeability, and these features are essential to the functioning of older properties. A good builder will not be short of work, however, so you may find that just taking down a wall is more expensive than you realise.

M

Extending to go open plan oving walls is not the best option for all period homes, so you may want to consider extending to gain an open-plan space. This approach will allow you to enjoy the best of both worlds by keeping intimate rooms full of character in the historic building, while creating light, clean, open spaces in the extension.

Planners will want to ensure that the addition is subservient to the main house, and it is often appropriate to create a contemporary design to contrast with the historic building. This gives more scope to accommodate modern lifestyle needs.

In terms of joining the extension, planners tend to prefer a linking element to give a clear visibility of separation – this may be a small glazed section.

Victorian terraces have more scope to open up the rear of the house and directly join the extension.

Permitted development rights have relaxed to allow extensions of up to 6m if an attached house and 8m if a detached house, although this is less if you live in a Conservation Area. If your home is listed, you will need to apply for listed building consent before extending or knocking down an internal wall. Contact your local authority for more information, or visit planningportal.co.uk. ➤

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Left: The position of large items of furniture is important in order to break up the space. Maintain a walkthrough and use seating to separate areas, as in this coastalinspired project

by Amelia Carter

Getting the design right London interior designer Amelia Carter explains the importance of good flow in open-plan spaces

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reating an open-plan layout can make an older property feel rejuvenated, but there are some important points to consider when it comes to interior design. Firstly, think about the flow of the room as well as visuals through the space.

The layout will most likely still be zoned – for example, living or dining areas – so consider how these will run in to each other and how you might differentiate the individual spaces.

There are a number of options to zone areas.

Using different types of flooring is an effective solution. Also consider the placement of big pieces of furniture, such as consoles and sofas, to break up areas, or to create more of a divide use decorative screens. It is important, however, that an openplan space flows, so be conscious of how furniture is placed in relation to doorways and walkthroughs.

Structural posts can be an issue in open-plan layouts, so it is sometimes worth spending a bit more if they can be avoided. However, you can also incorporate them into the room and build storage around them, or use them to help you zone.

Light is an important factor, both in terms of natural illumination and the placement of fittings. If your home is listed, lighting needs to be considered particularly carefully as you may not be able to use spot lights, or even wall lights.

When designing a scheme, think about which rooms are in your open-plan design, what their uses are and how often each room is used.

Going open plan is a modern concept, so to retain the characterful feel of a period home, use exposed details from the original building.

It’s important to work with features such as fireplaces and windows, and to be careful with new fittings you choose. If you go too modern it probably won’t work, so try to keep it subtle.

Fabrics and textures on furniture and soft furnishings can help a home retain character.

Photograph (bottom) Jody Stewart

Right: A central island is a stylish and practical divider in this kitchen-diner.

Retaining original features such as fireplaces and mouldings is key

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Maintenance

HOME HEALTH CHECK:

Rainwater goods In the first of our new feature series focusing on monthly property maintenance tasks, we look at common defects with guttering

T

Words Roger Hunt

he single most important piece of advice that anyone who owns an old house should heed is not to forget the gutters.

Broken or overflowing rainwater goods are a key cause of property decay, so ignoring problems is likely to cause damage to both the structure of your home and your wallet.

It is easy to assess the state of rainwater goods and undertake regular maintenance to ensure they work efficiently. This review is best carried out at least once a year, preferably in autumn when the trees have shed their leaves. A good time to make an initial check is when it’s raining; watch the route the water takes - a pair of binoculars is useful. If pipes and gutters are overflowing, dripping or leaking, investigate further when the weather is dry, possibly with the aid of a ladder.

Overhauling rainwater systems and realigning gutters, particularly if they are made from heavy cast-iron components, requires care and necessitates working at height, so engage a builder if you’re unsure about tackling it yourself.

Warning signs

Material facts Traditionally rainwater goods were made from lead or cast iron; when undertaking maintenance and replacement is necessary, it’s generally recommended to replace like-for-like.

LEAD: Attractive, virtually maintenance free and long lasting, lead can, however, split, crack or sag. A specialist lead worker should undertake any repairs to lead guttering.

CAST IRON: Long-lasting and strong, cast iron looks authentic on period homes, but is heavy and rusts so needs regular redecoration.

CAST ALUMINIUM: A lightweight option that does not rust and corrode, aluminium can look similar to cast iron, but lacks the texture.

PLASTIC: Cheap, lightweight and easy to fix, plastic guttering seldom looks sympathetic on older homes, and is rarely permitted by conservation officers, so ideally should only be a temporary solution. It is prone to distort and as a result can develop leaks at joints.

An effective rainwater system moves water away from a building quickly and efficiently, but if maintenance is neglected, problems soon become evident. It is important that the guttering is positioned correctly and that there are sufficient downpipes to deal with water flow.

What to look for:

Blocked gutters or downpipes

Damp patches on walls or ceilings, but bear in mind that moisture can travel in unexpected directions so the cause may not be obvious.

Stains, discolouration and moss on walls, and plant growth in and around rainwater goods.

Deterioration to masonry due to frost damage, caused by the wall becoming saturated with water.

Water collecting around the base of the building.

Gutter bolts or other fixings or pieces found on the ground near to the house.

Gutters and downpipes that are blocked by leaves, moss and other debris cause water to spill down the face of the wall or seep into the timber behind the gutter, including the ends of rafters and joists. Water trapped in pipes during cold weather can freeze, resulting in cracks and splits in the metalwork. ➤

Illustration Sarah Overs

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ACTION: Wearing gloves, clear out leaves and other debris and check the system thoroughly.

If necessary, gently feed a garden hose along pipes to flush them through.

Maintenance is made easier by fitting gutter guards that reduce the risk of leaves causing blockages. A variety of versions are available, including mesh strips that clip over gutters, and brushes that lie inside.

Install pipe balloons to prevent debris from entering downpipes.

Cracked gutters and downpipes Damage is not always easy to spot. If there is no immediately visible problem, check the rear of the pipe or gutter, using a torch and mirror if necessary. Cast-iron components are prone to rusting at the back where it is hard to apply paint.

Lead downpipes are fixed tight to the wall to prevent movement so splits can be harder to spot.

ACTION: Replace the section of pipe or gutter.

Temporary repairs can sometimes be made with joint repair tape or gutter sealant.

Joints and loose pipes Joints are a potential weak point in both gutters and downpipes, so ensure they haven’t become disconnected and are leak free. Rusted or missing bolts are often the culprit, along with loose gutter brackets and downpipe fittings.

ACTION: Secure or replace all missing, loose or rusted gutter fixings.

Seal joints with gutter sealant.

Insufficient fall Where a gutter is clear but water is not running away, the ‘fall’ or angle may be incorrect. A good way to test this is by pouring a bucket of water along the gutter. If the slope is insufficient the water will not flow away, whereas if it’s too steep water will overshoot.

ACTION: Refix or replace gutter brackets that are loose, missing or causing the gutter to sag.

Realign the gutter to increase the fall.

Ensure gutter brackets are fixed to a sound surface and are capable of supporting the added weight of snow or heavy downpours – ideally one bracket per every metre length of gutter.

Drainage A rainwater system should empty into gullies and drains at the base of downpipes so the water flows clear of the building. An easy way to check the system is running freely is by tipping a bucket of water down it.

ACTION: Wearing gloves, clear any debris from gullies or, if necessary and possible, use drain rods.

Protect gullies with easily removable grille covers, which are available in a range of styles.

Fit a ‘shoe’ at the base of a downpipe to direct water away from the wall and into a drain.

Improve inadequate drainage.

Decorating cast iron With cast-iron items, regular redecorating is essential as otherwise the metal quickly deteriorates. Use a wire brush to remove loose paint and rust and recoat as soon as possible using an appropriate rust inhibitor and paint system.

Don’t skimp when painting the inside or back of gutters and downpipes. It is helpful to use a small brush to get into awkward corners, and use a piece of cardboard to protect the wall while you are working.

Where sections of the guttering have been taken down or new sections are being installed, paint them before fixing.

Useful contacts Alumasc: supplier of aluminium and castiron rainwater systems. Tel: 01744 648400; alumascrainwater.co.uk Aluminium Rainwater Supplies: guttering in aluminium mill or polyester powder-coated finish. Tel: 029 2039 0576; arwsltd.com Hargreaves Foundry: manufactures cast-iron rainwater systems. Tel: 01422 330607; hargreavesfoundry.co.uk LBS Builders Merchants: supplier of gutter brush guards, which allow rainwater to flow freely while acting as a barrier for debris, stopping it from clogging up in the gutter channel. Tel: 01558 610512; hedgehog-gutter-brush.co.uk J & JW Longbottom: manufactures and supplies cast-iron rainwater pipes and fittings. Tel: 01484 682141; longbottomfoundry.co.uk Lead Contractors Association: an index of specialist members supplying materials and services that have to adhere to a code of practice and quality standards. Tel: 01342 317888; leadcontractors.co.uk Saint-Gobain PAM UK: manufactures traditional cast-iron rainwater systems. Tel: 0115 930 5000; saint-gobain-pam.co.uk Tuscan Foundry Products: supplies a range of cast-iron and lead rainwater goods, and can cast bespoke products to order. Tel: 01409 255120; tuscanfoundry.co.uk Yeoman Rainguard: rainwater systems in a wide range of materials and sizes. Tel: 0113 279 5854; rainguard.co.uk

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the pENMAN COLLECTION

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SHELF LIFE Pot up culinary herbs in this set of two round planters cast from poured concrete, £20, Cox & Cox.

Don’t miss… the famed floral carpet of more than 300 varieties of winter snowdrops at the National Trust’s Anglesey Abbey in Cambridge Coffee break One for the habitual houseplant killers, this innovative jar from Pikaplant contains a coffee plant that lives in an airtight humid biotope, recycling the water and air it has inside. It waters itself, so you don’t need to… or won’t forget to! £49 from Pad Lifestyle.

GARDEN journal While you wait for the garden to burst into bloom, focus on indoor plant life

Feature Rachel Crow Illustrations Sarah Overs

Po w

Keep indoor greenery well watered with this Indoor watering can in duck egg blue, £17.99 from Sophie Conran.

coated r de

ON THE BOOKSHELF From a bench planter to a living chandelier, Plant Craft (Timber Press, £17.99) contains 30 step-bystep projects for adding clever decorative touches indoors using nature’s handiwork.

Sow or scatter With two sections for handily separating flowers and veg, store your seed packets in this tin from Sophie Allport, £12.

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Learn how to grow fruit and veg the organic way in a workshop with expert Matt Gibbs at Barnsdale Gardens, in Rutland, on 22 February, 10am-4pm, £79 pp CRAFTY IDEA Repurpose old wooden spoons as unique plant labels. Paint them in colours of your choice, and for a distressed look rub back with sandpaper when the paint is dry. Scrawl the plant name with a fine-tipped brush.

Bench press Pot up and pot on with this compact hardwood bench. With handy storage drawers for planting accessories, and side pegs and rail for hanging up hand tools, it is £189.99 from Waitrose Garden.

IN THE POT TING SHED… SWEET PEAS

By Mick Lavelle, gardening expert, writer and senior lecturer in horticulture at Writtle University College ‘eye’ (a small, round scar) using a sharp penknife. Don’t soak the seeds, though, as they are liable to rot. ● Water the pots and cover with clear polythene, or glass, until the first shoots emerge. Transplant each one into a single pot once they reach about 3.5cm. Grow these Windowsills on indoors but make sure they are ideal for raising remain on the cool side until seedlings, but can mid to late March, when they become cold at night. can be hardened off in a Bring them into the room sheltered spot outside - cover on frosty eves, then them with fleece or polythene return to the sill in at night. Plant them out, 20the morning 30cm apart, from mid-April.

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There is something quintessentially British about the sweet pea, which remains a firm favourite in the garden. ● Sweet peas are easily raised from seed.

You can buy plants from March, but the range of colours and scent is better if you grow your own. Buy new seeds each year, as own collected ones soon result in a uniform crop of small purple flowers with none of the flamboyant diversity of their parents. ● February is an ideal time to sow sweet peas under protection outdoors, or in a cool room in the house. Sow five to seven seeds in a 13cm pot, spacing them 2-3cm apart and covering them with 1cm of compost. They have a hard seed coat and it helps if you make a small chip opposite the

tip

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Rose Garden small luxury handled tray, £7, Creative Tops

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Shopping

V&A watering can, £21.95, Wild & Wolf

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Rose sprig vinyl floor tile in Duck Egg Blue, m2, Cath Kidston for Harvey Maria £42.95 per m

Feature Rachel Crow

Rose and Be e

Palace Rose ceramic pen, £17.99, Historic Royal Palaces Shop

Symbolising love to war, the rose’s emblem branches its way through English history, while its fragrant blooms are a mainstay of formal to frothy cottage gardens. Enjoy motifs of this floriferous favourite of poets and playwrights with this selection of buys

Chrissy PVC half garden apron in White and Pink, £17, Ragged Rose

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The Rose, the history of the flower told through 40 species, with 40 art prints, by Brent Elliot, £35, Carlton Books

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Fallen Fruits three-piece round pot planter set, £25.99, Wayfair

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Words Emily Smith

Words Emily Smith

A quintessential kitchen garden with an exuberant mix of produce and flowers, with beds intersected by brick and gravel paths to allow easy access.

In this abundant plot every inch is cultivated, with crops including chard, onions and corn, with companion planting of calendula, cleome, nigella and sweet peas for cutting flowers 132 Period Living

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FROM PLOT TO PLATE Join the ‘grow your own’ revolution with our guide to creating a kitchen garden brimming with wholesome vegetables, herbs, salad and fruit that you can pick fresh for the table Words and photographs Leigh Clapp

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A

part from the advantage of cutting your food bills, there is nothing tastier or healthier than using the freshest ingredients for the kitchen table, straight from your own garden. The popularity of growing your own has led to sales of vegetable seeds overtaking those of flowers, and from a pot of herbs on the windowsill, tucking salads and vegetables in among the flowers beds, to setting aside a dedicated plot, there are many ways to create your own harvest.

HOW TO CREATE A KITCHEN GARDEN Early spring is an ideal time to begin creating your plot, so start planning now. At first it may involve a little trial and error but, whether you have a small or large garden, you can add some edibles.

Decide on the size of the plot you would like to create and can manage. A large plot with room to grow everything will take a lot of work, both in preparation and also maintenance, whereas a tiny plot with dwarf varieties, containers, or produce mixed in among flowerbeds, are better options if your available time for gardening is limited.

POSITION An open, sunny spot is preferable, ideally one that enjoys the morning sun, and around six to eight hours of direct sunlight daily. To grow quickly and well, vegetables need as much light as possible, so track the sun throughout the day to see where shadows fall. If you don’t have these conditions, there are some crops that tolerate shade, such as cherries, blackberries, raspberries, rhubarb and blackcurrants. Wind protection is also important, so a permeable barrier, such as a picket fence, hedge or windbreak can filter its effect.

WHAT TO GROW Grow what you love to eat, and as much as you need. Make a list of your favourite edibles, including herbs, and consider those that are more expensive to buy. Include different varieties of vegetables you enjoy, then look carefully at your space and climatic conditions and narrow your selection. Plan choices so that you have harvests throughout the seasons – from the first potato crops to brassicas through the winter months.

SOIL PREPARATION Test the pH levels of your soil to see if it is more acid or alkaline – which can vary in different spots – and to help you select your crops. Soils are generally on a spectrum from clay to sand, but all will need the addition of organic matter to retain moisture and nutrients. Clay soil needs breaking up and takes longer to warm up so suits later crops, whereas light soils are good for early vegetables but will need large quantities of

manure and compost to avoid water draining away too rapidly. The ideal is loose, crumbly loam, which absorbs and holds water and nutrients, is well aerated and drains freely.

TYPE OF BEDS Raised beds, filled with a loamy soil from a local garden centre, are ideal for growing small plots of vegetables, and the perfect choice if the soil in your garden is not good quality. They provide good drainage, increase soil temperature, prevent soil compaction, and the sides of the bed prevent soil washing away in heavy rain and act as a barrier to pests, such as snails and slugs, as well as pathway weeds.

You can buy ready-made raised beds, or make them yourself. Wooden planks or old railway sleepers are often used, brick or stone surrounds are long lasting, while woven willow looks pretty and rustic but will need renewing about every six years. Line timber beds with black polythene to keep the timber dry and increase its longevity.

LAYOUT OPTIONS Every plot is different, so work out the best design for your space and needs. There are no rules; you can mix vegetables, fruit, herbs and flowers, including edible varieties, all jostling together in a tapestry of colours and shapes, in segregated rows or blocks, or as an ornamental potager, in

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Gardens Left: With deep raised beds, you can ensure the plants have the most nutritious soil to grow in, and can also sit on the sides while weeding and planting. Teepees can add height in the middle of beds, or line a path with apple arches to create an atmospheric allee. Use containers for interest, too Below: Cut flowers grown next to the productive rows add scent and colour, and attract beneficial insects

a geometric pattern of your choice. Unless crops need special protection, it can be helpful to mix the plantings, as a large area of a single crop attracts pests and the mix of different edibles and ornamentals confuses them. It is helpful to draw the design on paper first before marking out or planting.

Include access pathways, and keep in mind that beds need to be a size you can reach into easily for weeding, planting and harvesting.

To keep slugs at bay it is advisable not to have long grass or dense flower borders directly next to the plot; instead a path makes it easier to spot and dispatch the pests.

Make best use of the vertical space, too.

Grow climbers, such as peas, beans and cucumbers, up tripods and climbing frames, along with nasturtiums to attract blackfly away from crops, and sweet peas for added colour and scent. Include companion plants that attract beneficial insects, such as marigolds and daisies. Fruit trees are a wonderful addition, even in the tiniest space, as espaliers, cordons or step-overs.

SOWING AND PLANTING Seeds are the lowest cost but if you don’t have a greenhouse or propagator and want a more instant result, plug plants are a good option.

A combination of plants and seeds may work

best; you can pop seed trays inside on a windowsill, then pot on seedlings into the garden. Many vegetable seeds can be sown directly in situ once the soil warms up.

Plan a programme of small, successive sowings and plantings every couple of weeks for a yearlong harvest. Edge plots with contrasting plants, including herbs and flowers, which will mask bare spots as the season progresses. After harvesting, use fast fillers, such as chervil or cut-and-come-again salad greens. Many of the latter self-sow and can be moved easily to fill gaps when required.

Fast-growing green manures are ideal: both mustard and phacelia are tough as well as beautiful in flower.

In February, you can start sowing choices such as broad beans, peas, carrots, onions, the first potatoes and salad crops under cloches.

For great-value yielders you can’t beat Swiss chard and perpetual spinach that will crop for a whole year and throughout winter. Salads can also be grown year round, and many of the most expensive to buy at the shops, such as rocket and baby leaves, are the easiest to grow.

Other easy to grow edibles include tomatoes, potatoes, beetroot, courgettes, garlic, onions, squash, strawberries, chives and mint.

Vegetables, fruit and herbs can look beautiful, so be proud of your bounty. ➤

ON THE WEB To see a stunning range of gardens in all seasons visit periodliving.co.uk

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12 KITCHEN GARDEN FAVOURITES SALAD LEAVES – and lettuces are easy to grow from seed in the ground or containers, and give a high yield. Cut-and-come-again salads give a succession of leaves, from five to eight weeks after sowing – an economic alternative to expensive salad bags in shops and much fresher and tastier. They like fertile, moisture-retentive soil. Sow more every four to six weeks for a continuous supply.

TOMATOES – are easy to raise from seed from March on a warm windowsill with plenty of light, or buy plants from your garden centre in May. They need nutrient-dense soil. Sun-ripened tomatoes from your garden will beat the taste of any you can buy.

‘Bush’ tomatoes are the easiest as they don’t need to be staked or trained and grow happily outside in pots, hanging baskets or grow bags.

BEANS – are good yielders and use the vertical space rather than taking up ground level space.

Easy to grow from seed, water them well and harvest regularly – the more you pick, the more the plant will produce. Broad beans can be sown direct into the ground in March or April, or French, borlotti and runner beans the end of May/early June, for a harvest 12-14 weeks later.

An added bonus with scarlet runner beans is that the vibrant flowers are also edible.

CARROTS - Sow early carrots under cloches in February, or wait until March or April in the open.

For sweet, small carrots, sow every few weeks from early spring to late summer for a successional harvest from June to November. They like light soil, with plenty of organic matter dug in with full sun for early varieties, or some shade for maincrop varieties. Carrots can also be grown in containers and raised beds; thin out the seedlings in the evenings, firming down the soil to help prevent carrot fly. Water when the weather is dry.

POTATOES – Plant chitted seed potatoes in the ground or containers – early varieties in late March and main crops in April, ready to harvest in 10 to 13 weeks. They grow best in fertile, slightly acidic loose soil, and need regular watering.

BEETROOT - is easy to grow from seed, in the ground or a pot. Sow directly into the soil in April to July, in medium to light, neutral to slightly alkaline soil that has not been recently manured. Keep well watered and weeded. Round varieties will be ready to harvest from 11 weeks. Golf ball size are tender and delicious and the leaves can be used as an alternative to spinach or in salads.

CHARD/SILVERBEET – Easy to grow, sow chard in spring, keep well watered and add liquid feed regularly. It often grows over a number of years as a perennial. Rainbow varieties add the wow factor whether in neat rows on the plot or mixed among garden flowers. Try ‘Bright Lights’, ‘Rainbow’ or ‘Ruby’. A great addition to stir-fries.

APPLES – Bare-root fruit trees can be planted from November to March. Self-fertile trees will produce fruit without the need of another tree to pollinate it. Soak roots before planting in a sheltered, sunny position, ideally in well-drained sandy loam soil.

In a small space, train them against a wall or fence as an espalier. You can also buy espaliered trees in pots at garden centres throughout the year. Water well for the first few years and expect to harvest in a couple of years, depending on the variety. Even small gardens can have apples as step-overs, espaliered, on arches, or columns in containers.

GOOSEBERRIES - Easy to grow, there are many gooseberry varieties. Autumn is an ideal time to plant bare-rooted bushes, in a sunny sheltered spot. Prepare the soil by forking over and adding compost or rotted manure and fertiliser to the planting hole. Mulch and water well until they are established. Thin out in late May/early June, and use these first fruits for cooking. The second harvest, a few weeks later, will be sweeter.

Net bushes or grow in a fruit cage.

CURRANTS - Bare-rooted white, red and black currants are available for planting between October and March. Easy to look after, once established they will remain productive for about 15 years. Plant in well-drained soil, with added well-rotted manure. A sunny, slightly sheltered spot is best, but they will grow in part shade. They will fruit from the second summer, but need training, pruning and feeding for best crops.

STRAWBERRIES - For a tasty and decorative treat, grow some strawberries in a hanging basket. Plant in April for a summer harvest. Place five or six plants in a basket, and water daily during the growing seasons. Feed from flowering to harvest time with a product high in potassium.

CALENDULA – These quick-growing hardy annuals work well en masse or to edge productive beds as a companion plant to attract beneficial insects.

Easy to grow in most soils they will do their best in rich, loose soil in full sun. If grown organically, add the tangy flower petals to salads. ➤

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EXPERT TIPS

KITCHEN GARDENS TO VISIT

Marylyn Abbott, gardening author and owner and creator of West Green House Garden in Hampshire, shares her potager preferences: l A potager for me is a decorative design that should be functional, and mine is ever changing. l To fill a planting space that is too large to maintain and to add structure to seasonal and rotating planting, make a pattern with a planting of santolina clipped as balls, rosemary or lavender. l A crab apple is a tree for all seasons. In spring it gives blossom, in summer shade, and in autumn it bears small apples. Crab apples with yellow apples, like ‘Golden Hornet’ and scarlet ‘John Downie’, are the best varieties to make jelly from. l If I had to choose one vegetable, it would be a climbing bean: they are easy to grow and give weeks of good vegetable right through the summer. I like to plant a combination of pod colours; green ‘Monte Cristo’, purple ‘Carminat’ and yellow ‘Monte Gusto’.

WEST GREEN HOUSE GARDENS - Imaginative, everchanging creative potager displays. Near Hartley Wintney, Hook, Hampshire RG27 8JB. Tel: 01252 844611; westgreenhouse.co.uk WEST DEAN GARDENS - Restored walled Victorian kitchen garden and glasshouses, with heritage and new vegetable varieties. West Dean, West Sussex PO18 0QZ. Tel: 01243 818279; westdean.org.uk PASHLEY MANOR GARDENS - Decorative home kitchen garden. Ticehurst, East Sussex TN5 7HE. Tel: 01580 200888; pashleymanorgardens.com ATTINGHAM PARK - Late-18th-century kitchen garden, two acres of glasshouses and Georgian bee house. Atcham, Shropshire SY4 4TP. Tel: 01743 708123; nationaltrust.org.uk/attingham-park AUDLEY END HOUSE & GARDENS - Organic walled kitchen garden, with over 120 apple and 60 tomato varieties. Saffron Walden, Essex CB11 4JF. Tel: 01799 522842; english-heritage.org.uk/visit/ places/audley-end-house-and-gardens

Clipped buxus spheres add a touch of formality at the edge of this vegetable bed, in which young plants are protected from scavengers by mesh cloches

HELPFUL RESOURCES

RHS Award of Garden Merit list of fruit and veg – rhs.org.uk/Advice/ Beginners-Guide/ Vegetable-basics For advice on what and when to sow – allotmentgarden.org

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Designers and makers of handmade kitchens The difference is in the detail

Please call for a brochure or visit our showrooms Unit 9, Chart Farm, Seal Chart Sevenoaks, Kent TN15 0ES Tel: 01732 762682

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09/12/2016 09:24

Recipes

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Photographs Manja Wachsmuth Illustration Sarah Overs

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Spices, earth’s refined alchemy, not only enhance the flavour of our food, but have impressive healing qualities to support health, inner balance and wellbeing.

Natasha MacAller shares some tasty and nourishing recipes

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TURK ISH LAMB STEW This humble stew is packed full of smoky flavours from the pepper paste and Turkish pepper flakes.

Dry mint adds another dimension that mellows into the rich sauce as it cooks. Marinating the lamb overnight in yogurt, pepper paste and spices tenderises the meat, ensuring that it is beautifully soft, and gives it an extra depth of flavour.

SERVES 4 ● Couscous

and a green salad, to serve (optional)

For the marinade: tbsp of Greek-style yogurt ● 3 garlic cloves, crushed ● 2 tbsp of mild Turkish red pepper paste* ● 2 tbsp of tomato purée ● 2 tsp of Turkish Aleppo pepper flakes** ● 1 tsp of dried mint ● ½ tsp of ground cinnamon ● 4

1 Put all the ingredients for the marinade into a mixing bowl. Add a good pinch of salt and mix together. Add the lamb and mix well so it all gets completely coated. Cover and marinate overnight in the fridge.

2 Remove the lamb from the fridge to come to room temperature. Meanwhile, heat the oil in a casserole over a medium heat and add the onions and bell peppers. Cook, stirring occasionally, for 6–8 minutes, or until lovely and golden.

3 Add the tomatoes, red pepper paste, tomato purée, Turkish pepper flakes, dried mint and a good pinch of salt and pepper. Pour in 100ml of boiling water and mix together. Add the lamb and mix well. Cover, reduce the heat to low and cook, stirring occasionally, for 1½–2 hours or until the lamb is beautifully tender, removing the lid for the last 30 minutes of cooking so that the sauce can reduce.

4 Serve immediately with couscous and a fresh green salad.

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by Natasha MacAller, photography by Manja Wachsmuth (£25, Jacqui Small). PL readers can buy it for the special price of £20, including UK postage and packaging (please add £2.50 if overseas). To order, call 01903 828503 and quote offer code SPICE2016.

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‘THE THATCHED COTTAGE’ COTTAGE PIE I first sampled this classic British comfort food at The Thatched Cottage in Bedfordshire. I watched as fresh horseradish root was pulled from an old wooden barrel planter, then brushed, peeled, chopped, quickly blanched (to retain the bright white colour) and the pieces tossed in a blender with warmed white vinegar. Horseradish makes the perfect counterpoint to creamy soothing potato mash, and contains enormous amounts of natural antibiotic.

SERVES 4 ● 2

tbsp of oil minced beef ● 2 onions, chopped ● 2 carrots, peeled and chopped ● 2 garlic cloves, minced ● 1 tbsp of dried mixed herbs ● 1 tbsp of Worcestershire sauce ● 1 beef stock cube ● 240ml of dry white wine ● 10g of parsley leaves, chopped ● 3 tbsp of HP sauce ● 2 tbsp of tamarind paste ● 500g

● Worcestershire

sauce and extra horseradish, to serve

For the horseradish mash: of floury baking potatoes (Maris Piper, King or Russet), peeled and cut in half ● ½ tsp of sea salt, or to taste ● 120ml of milk ● 55g of salted butter ● 2 tbsp of fresh or jarred pure horseradish (not creamed) ● 1kg

Preheat the oven to 180°C (350°F/gas mark 4).

1 Heat a large frying pan and add the oil. Sauté the beef over a low heat, stirring with a wooden spoon to break up any lumps.

Add the onion, carrot, garlic and dried mixed herbs, stirring well. Add the Worcestershire sauce, stock cube and 500ml of water. Cover and simmer for 10 minutes.

2 Add the wine, parsley, HP sauce and tamarind paste, then simmer and reduce to thicken. Season to taste. For the mash, put the potatoes in a pan with the salt and pour in enough water to cover. Bring to the boil then turn down the heat to a simmer and cook until the potatoes are fork tender.

3 Drain and mash using a ricer or potato masher. Mash in the milk, butter and horseradish, adjusting the seasoning to taste, until smooth.

4 Spoon the beef into four individual oven-proof dishes or one large baking or casserole dish. Spoon or pipe the mashed potatoes on top, covering the beef filling completely, and using the back of a fork, make a decorative pattern on top. Place the dish or dishes on a foil-lined baking tray and bake until bubbly, about 20 minutes for individual dishes or 30 minutes for a large one. If you wish, you can place it under the grill for an additional 10 minutes to brown the top.

5 Serve with Worcestershire sauce and extra horseradish. ➤

*You can order Turkish red pepper paste online from souchef.co.uk **You can substitute Turkish Aleppo pepper flakes with a mix of sweet paprika and cayenne pepper

of lamb leg, cut into 2.5cm cubes ● 4 tbsp of olive oil ● 2 onions, thinly sliced ● 3 green bell peppers, seeded and thinly sliced ● 400g of canned chopped tomatoes ● 2 tbsp of Turkish red pepper paste* ● 2 tbsp of tomato purée ● 1 tsp of Turkish Aleppo pepper flakes** ● 1 tsp of dried mint

Recipe John Gregory-Smith

● 600g

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HOMES

HEIRLOOM ORGANIC APPLE AND WALNUT GALETTE Rosemary is a surprising pairing with apples, walnuts and cinnamon, but adds a distinctive pine citrus aroma, and is believed to have antioxidant and memory-strengthening benefits, too.

SERVES 6 ● ● ● ● ● ● ● ●

● ●

200g of plain flour 1 tsp of granulated sugar 1 tbsp of rosemary leaves, minced 2 tsp of ground cinnamon Large pinch of salt 115g of cold butter, cut into small cubes 2 tbsp of iced water 500g mixed crisp organic eating apples (Granny Smith, Monty’s Surprise or Canadien du Reinette) 30g of chopped walnuts, preferably organic 55g of butter, melted and browned and mixed with ¼ tsp of ground cinnamon

● ● ●

3 tbsp of dark brown sugar 1 egg, beaten, for glazing 1 tbsp of cinnamon sugar (1 tbsp of sugar, ½ tsp of cinnamon, large pinch of salt)

For the apple butter (makes 115g): ● 2 tbsp of salted butter ● Half a cinnamon stick ● Charred leaves of 1 small rosemary sprig, or ¼ tsp of dried rosemary ● 225g of apples, peeled, cored and chopped ● ½ tsp of lemon juice ● 1 tbsp of caster sugar

1 Whisk together the flour, sugar, rosemary and cinnamon with a big pinch of salt. Crumble in the cold butter using your fingertips or a pastry cutter until pea-sized. Drizzle in the iced water, tossing gently with a fork or your fingers to combine. If it doesn’t hold, add a little more water, but don’t overwork the dough.

2 Turn the dough out onto a lightly flour-dusted board and gather into a ball. Pat the dough out and fold over twice. Wrap tightly in cling film and chill for an hour.

3 Make the apple butter. Melt the butter with the cinnamon and rosemary on a medium heat in a 500ml pot. Simmer until you can smell the spices, about 3–4 minutes. Add the apples, lemon juice, sugar and 1 tablespoon of water, give it a stir, cover and cook until the apples are mushy, about 10–15 minutes. Remove the lid and cook down to a thick paste, stirring occasionally. Discard the cinnamon stick, then push the apples through a sieve until smooth. Cool the apple butter.

4 For the filling, cut the apples into quarters around the core then slice each chunk into thin slices, stacking together. Set aside.

5 Turn the dough out onto parchment paper then roll or pat out into a free-form tart about 5mm thick. Transfer to a baking tray, letting the paper edges hang over. Spread the apple butter onto the dough, leaving about 4cm around the edge. Add the apple stacks on top of the apple butter and fold the pastry edges over. Return to the fridge to chill.

Preheat the oven to 190°C (375°F/gas mark 5).

6 Remove the galette from the fridge, sprinkle with the walnuts, then drizzle the brown cinnamon butter over all. Scatter the brown sugar on top.

Glaze the crust with egg wash then sprinkle cinnamon sugar on the edges. Bake for 25–30 minutes until the crust is golden brown.

PUMPK IN BREAD PUDDING Nutmeg, and its webbed coral-red mace wrapper, has almost as strong an olfactory memory recall as the spice vanilla. It is also believed to help with memory, so you can allow yourself another spoonful of this delicious dessert.

SERVES 6 ● ● ● ● ● ● ● ● ● ● ● ● ● ●

375g of puréed roasted pumpkin or butternut squash 240ml of double cream 1 tsp of sea salt 1 tbsp of freshly grated ginger 1 tsp of ground cinnamon 1 tsp of freshly ground nutmeg 1 tsp of ground mace 85g of molasses or treacle 210g of maple syrup ½ tbsp of pure vanilla extract 1 tbsp of brandy 4 large eggs 4 croissants, sliced horizontally and toasted 250g of pitted prunes, diced

● ● ● ●

60g of crystallised ginger, chopped 300g of cranberry compote Butter, for buttering the dish Nutmeg-dusted whipped cream or vanilla ice cream, to serve (optional)

For the cranberry compote: 350g of cranberries ● 1 cinnamon stick, charred ● 200g of granulated sugar ● 2 allspice berries ● 1 tangerine, sliced into four horizontally ● ¼ tsp of white pepper ● Large pinch salt ●

1 To make the cranberry compote, put all the ingredients into a pan with 240ml of water and bring to a gentle simmer. Cook for about 8 minutes then remove from the heat. Strain out the fruit and spices and set aside. Simmer the liquid until reduced by half.

2 Return the fruit and spices to the pan and stir to combine.

Cool, then cover and chill until needed.

3 In a large bowl, combine the puréed pumpkin, cream, salt, ginger, cinnamon, nutmeg, mace, molasses or treacle, maple syrup, vanilla, brandy and eggs and beat well.

4 Add the toasted croissant slices and gently turn over in the custard mixture until they are thoroughly coated. (You might want to wear gloves as it’s really gooey!) Using your hands or a large spoon, layer the croissants into the prepared dish, sprinkling with the chopped prunes, crystallized ginger and cranberry compote between each layer and finishing with a layer of croissant. Tightly cover the dish with cling film then foil. Refrigerate and allow to soak for at least one hour or preferably overnight.

5 Preheat the oven to 160°C (325°F/gas mark 3). Butter a deep casserole dish.

6 Bake in the oven for about an hour (a knife inserted in the centre should come out clean). Remove the cling film and foil and bake for an additional 15 minutes to lightly brown the top.

Remove from the oven and let cool to room temperature.

7 To serve, cut into slices, gently heat in the oven or microwave and serve with a spoonful of nutmeg-dusted whipped cream or vanilla ice cream. ➤ Period Living 145

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SOUR CHERRY, THYME AND CHEDDAR SCONES Originally created for Sausal El Segundo restaurant in Los Angeles, these scones are not too sweet and full of goodness, with grains, purported antiageing thyme leaves and high-anthocyanin brain-food cherries. The pepper is thought to increase the benefits of these active compounds as well as adding inviting toasty pepper aromas.

MAKES 9 LARGE OR 15 SMALL SCONES 250g of plain flour 25g of rolled oats (don’t use quick-cooking oats) ● 2 packed tbsp of soft brown sugar ● 1½ tsp of chopped fresh thyme leaves, or ¾ tsp of dried thyme ● Zest of half a lemon ● 1 tbsp of ground flax seeds ● 1½ tsp of baking powder ● ½ tsp of toasted ground black pepper, plus extra for sprinkling on top ● ¼ tsp of kosher or sea salt ● ¼ tsp of toasted ground star anise ● 55g of butter, chilled, cut into 1cm cubes ● 1 large egg, beaten ● 90ml sour cream, chilled ● 55g of grated mature Cheddar, or Parmesan ● 1 egg beaten, for glazing ● 2 tbsp of rolled oats, for sprinkling on top ● 185g of low-sugar cherry jam or compote ●

●

1 In a large bowl, whisk together the flour, rolled oats, brown sugar, thyme, lemon zest, flax seeds, baking powder, pepper, salt and star anise. Chop in the chilled butter with two forks or a pastry blender until the mixture resembles coarse cornmeal.

2 Add the beaten egg and sour cream and stir quickly and lightly with a fork until incorporated, being careful not to overwork the dough.

3 Turn the dough out onto a lightly floured surface and pat out or gently roll into a 1cm deep rectangle, using additional flour sparingly.

Sprinkle all but three tablespoons of the grated cheese on top.

4 Fold into thirds, seal sides gently and roll out again into a rectangle. Cut with a knife into 8cm squares (or 15 smaller two-bite squares) and place on a parchment- or silicone-lined baking tray.

Make a large thumbprint in the centre of each scone. Cover and chill for 30 minutes or until you are ready to bake, or wrap tightly and freeze for up to a month.

5 Just before baking, preheat the oven to 190°C fan (375°F/gas mark 5). Brush each scone with egg wash and sprinkle with the oats, remaining cheese and a few grinds of black pepper, then fill each thumbprint with about 2 teaspoons of cherry jam.

6 Bake for 15–17 minutes (12–14 minutes for smaller squares) until the tops are golden brown.

Transfer to a wire rack to cool.

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Heritage weekend...

LUDLOW

Packed with historical interest and physical beauty, this charming market town has all the makings of the perfect English break

ituated on the River Teme, in the unspoilt countryside of the Welsh Marches, Ludlow is often described as ‘the loveliest town in England’. With more listed buildings than anywhere else its size in Britain, Ludlow’s medieval street layout survives almost intact, with the Broadgate arch a significant remnant of the ancient town walls.

Over 100 independent shops and an outdoor market held since the 12th century sit at its heart, watched over by the magnificent 900-year-old Ludlow castle, and St Laurence’s Church, poet A.E. Housman’s final resting place. This is one of Ludlow’s many stunning vantage points, from where you can see for miles across the Shropshire Hills Area of Outstanding Natural Beauty, as well as find intricate carvings under the choir stalls’ seats.

Whether you are an antiques enthusiast, music lover or foodie, Ludlow has something to offer visitors and locals alike every day of the year. Its reputation for fine food flourishes in the local

delis, cafés, restaurants and pubs, as well as Ludlow Food Centre – a unique, award-winning farm shop set in the Earl of Plymouth’s Oakly Park Estate. Famous for the festivals that celebrate its local produce, the town hosts its Spring Festival in May, featuring food as well as music and classic cars; August Bank Holiday brings the Green Festival, and in September the Ludlow Food and Drink Festival, including the Sausage and Ale Trails, takes over the town, among other events.

For fans of forest trails and riverside rambles, Ludlow and the surrounding area offers much.

Take a stroll along the historic Bread Walk, where the panoramic views from Whitcliffe Common are fabulous. Or venture a little further towards the Mortimer Trail, where bluebells and anemones abound, and deer and buzzards can be spotted.

Whether visiting to shop, eat or explore, you’ll find a selection of small, versatile and familyowned businesses selling quality products with a personal touch, in the prettiest of settings.

Photographs (Top) Ludlow Town Council; (Harp Lane Deli) © Ashleigh Cadet/acadet.co.uk; (Market) © Ludlow Marches Food and Drink Festival Illustration Sarah Overs

S

Words Emily Hawkes

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Out and About Opposite: Set in beautiful public gardens, you can see Ludlow castle, with its Norman, Medieval and Tudor architecture from this stunning view of the town.

Clockwise from left: Ludlow’s handsome Feathers Hotel; the town’s outdoor markets run most days of the week; stop at The Charlton Arms for a riverside pint; The Hen & Chickens guest house is within walking distance to the centre; one of Ludlow’s fine delis; the iconic Ludlow bridge

Where to stay The Grade II-listed Feathers Hotel, named after the ostrich feather motifs forming part of its famous Jacobean timber-framed façade, must be one of the most photographed buildings in Shropshire. This 17th-century coaching inn has for centuries welcomed guests to stay at the heart of Ludlow; the café terrace offers a peaceful haven in summer, while an equal attraction can be found next to a roaring log fire in the atmospheric lounge in winter. From £95 per night, including breakfast.

01584 875261; feathersatludlow.co.uk.

The old inn of The Hen & Chickens guest house, with its Grade II-listed exterior, sloping floors and steep turning staircases, dates back to around 1810, with its name originating from the common stone bottles in which ale was sold – a hen being the larger, the chicken the smaller. Four en suite bedrooms and a dining room are housed within, with a further two bedrooms in Vine Cottage to the rear. From £80 per night, including breakfast.

01584 874318; henandchickensgh.biz.

Where to eat Visit Harp Lane Deli off the market square for its wall of cheese, or to perch and watch the world go by with excellent coffee. A lovely little dining room upstairs is the perfect place for an intimate supper party. Open Monday and Tuesday, 9.30– 4.30pm; Wednesday to Saturday, 9.30–5pm.

01584 877353; harplane.com.

With seasonal menus inspired and sourced from the best Shropshire has to offer, including locally reared meat and fresh vegetables grown in Lady Windsor’s walled garden, The Clive prides itself on offering traditional food in an informal setting, as well as en suite B&B accommodation.

01584 856565; theclive.co.uk.

Return from a country walk to the waterfront decks of The Charlton Arms, a welcoming stonebuilt pub and B&B set on the banks of the River Teme. Tuck in to modern British and pub classics in the cosily furnished surroundings. 01584 872813; thecharltonarms.co.uk. ➤ Period Living 149

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Where to shop

Clockwise from above left: Find a mix of antiques and vintage pieces at 55 Mill Street; Homeware store Black Bough on Market Street; visit Dickinson’s Period House shop for a wide range of artefacts.

Below: View of the Ionic portico on the west front of Berrington Hall; the library’s delicate pastel scheme

Black Bough takes its philosophy from seeing beauty in everyday things, and owners Alex and Adam stock well-considered items both old and new, from vintage watches and ceramics to home accessories and stationery. Open Monday to Saturday 10am–5pm, Sundays and Bank Holidays 11am–4pm. 01584 877948; blackbough.co.uk.

With three floors of decorative antiques, from English country and French painted to Mid-century modern, 55 Mill Street also offers vintage clothing and textiles, garden antiques, and a design and sourcing service. Open Monday to Saturday 10am–5pm; Sunday 11am–4pm.

01584 877200; facebook.com/55-Mill-Street.

If you’re looking for a decorative detail to complete a restoration project, make sure to visit Dickinson’s Period House Shop. Grown out of a family architectural salvage business, it uses local craftspeople and small workshops to source authentic replicas, stocking everything from brass letterplates to Bakelite lamp shades and vintage airing racks. Open Monday to Saturday, 9.30am– 5pm. 01584 877276; periodhouseshops.com.

Situated seven miles south of Ludlow, this classic Georgian mansion and its stunning parkland setting is a must-visit for fans of Capability Brown and Henry Holland, as visitor experience manager Ana Vaughan explains…

What can you tell us about the property?

Set within Lancelot ‘Capability’ Brown’s final landscape, Berrington Hall is a fine example of a sweeping 18th-century pleasure ground. Thomas Harley, son of the 3rd Earl of Oxford, was keen to retire back to his Herefordshire roots, so bought the estate in 1775, commissioning Brown to design the park you see today. Mature oaks and beeches, and a 14-acre lake, frame the deep red sandstone house, which Brown’s son-inlaw, architect Henry Holland, designed in around 1778, capturing the French, Neo-Classical style.

The interiors include Biagio Rebecca ceilings and showcase Holland’s mastery of spatial effects, along with his favourite motifs – swags of husks – and plaster roundels embellished with rosettes.

Holland wanted to create ‘the perfect place to live’, but through marriage, time and the pressures of death duties, Berrington came into the care of the National Trust in 1954.

How is it presented today?

Berrington Hall is one of the few masterpieces of Henry Holland to survive intact, and much of the original plasterwork and decoration can still be seen. The mansion is in fact a villa with a grand Ionic portico, and the interiors are characteristic of Holland’s refined Louis XVI style. Despite its

slightly austere exterior, Berrington’s delicate and decorative interiors have created a house that feels homely and welcoming, and every room tells a story of the Hall’s past inhabitants, from Thomas Harley (1775–1804), the Rodneys (1804–1901) to the Cawleys (1901 –1957).

Why visit Berrington Hall?

As well as exploring Red Earth’s Genius Loci exhibition in the park, visitors can experience some of the extremes of the 18th century in the ‘wig and bum’ shop, plus the hidden ‘below stairs’ rooms, showcasing a Georgian servants’ space.

Berrington Hall is open 11am-4pm (10am for garden, park, shop and tearoom); see website for dates. Admission: adult £10.50, child £5.25, family £26.25. Tel: 01568 615721; nationaltrust.org.uk/berrington-hall

Photographs (Right) ©National Trust Images/Rupert Truman; (bottom right) ©National Trust Images/Andreas von Einsiedel

Berrington Hall

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Travel

The grand tour…

PARIS

As Cupid sharpens the tip of his golden arrow in readiness for 14 February, we take a trip to the 19th-century capital of amorous clichés

Photographs (clockwise from top) © Paris Tourist Office/Amélie Dupont/Sarah Sergent, © pierreantoine-photos.com Illustration Sarah Overs

P

Words Rachel Crow

aris in the early decades of the 19th century: Romanticism is at its height, a movement characterised by imagination, emotion, and freedom of thought and expression. And to think of French Romanticism is to think of Victor Hugo.

Today, take a seat at a bench opposite Notre Dame’s western front and count the sculpted kings that stand in quiet reverie below the ornate rose window. Hugo, who penned his novel The Hunchback of Notre Dame in part to make his contemporaries more aware of the value of Gothic architecture, and helped to save the damaged cathedral, no doubt contemplated this same view at length nearly 200 years ago; his fictional protagonist Quasimodo ‘would sometimes spend whole hours crouched before one of the statues in solitary conversation with it.’

A year after the publication of his Gothic romance in 1831, Hugo moved to an apartment on the southern side of the Marais, at Place des Vosges, the oldest planned square in Paris and a beautifully preserved quarter of the city. A museum since 1902, the Rohan-Guéménée mansion was home to Hugo and his wife Adèle until 1848. Today Maison de Victor Hugo tells the story of the writer’s life through the periods before, during and after his exile, and demonstrates a little-known facet of his genius - his talent as a decorator. As well as the lounge hung with rich red damask, are recreations of sumptuous interiors that Hugo ➤

Clockwise from above: The restoration of the medieval Notre Dame, which had been damaged and looted during the French Revolution and inspired Victor Hugo’s famed 19th-century romantic novel, began in 1844; the king’s gallery that runs along the cathedral’s west facade depicts the 28 kings of Judah; Victor Hugo’s skills as an interior designer and taste for Gothic-style furniture can be seen in the elaborately decorated dining room at Maison Victor Hugo; the writer would entertain contemporaries such as Alexandre Dumas in his lounge, hung with rich and sumptuous red damask

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Left: The spiral staircase to the studio of Gustave Moreau, specially designed by the architect Albert Lafon at the request of the painter in 1895, to accommodate his large-format paintings.

The second and third floors of the former family home are taken up with the huge ateliers containing thousands of paintings, watercolours and drawings Below: The bedroom, previously the sitting room of Pauline Moreau, the painter’s mother, contains his favourite pieces of furniture. It is in the apartment on the first floor, which forms a small sentimental museum

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designed during his years spent in exile in Guernsey at the house of Juliette Drouet, Hauteville Fairy. The Chinese-style panels and oriental porcelain that cover the walls of the Chinese room, are a contrast to the dining room that demonstrates his passion for Gothic furniture; Hugo was a fleamarket treasure hunter and furniture upcycler of his day, and would have dismantled and then reassembled pieces according to his decorative whims, making doors into tables, or chests into sideboards or benches. The bedroom in which he died in May 1885, has also been faithfully recreated and among the furniture on display is the raised desk at which he would write standing up - an early example of ergonomics!

Many writers, actors, musicians and painters that formed the elite of the Parisian Romantic movement settled in the ‘New Athens’ area of the city, at the foothills of Montmartre, and in 1830 to this mix came the Dutch artist Ary Scheffer. His small villa tucked down Rue Chapal, with its enchanting tree-lined courtyard garden and two atmospheric glass artists’ studios set within a tumble of roses, forms the charming setting for the Musée de la Vie Romantique. Focus here is on the work of the painter, who entertained Chopin, Eugene Delacroix, Gioachin Rossini, Dickens and many more great names at his soirées, but also the memorabilia, including furniture, paintings and objets d’art of another frequent visitor, novelist George Sand – the pseudonym for Aurore Dudevant – who was famous for her commitment to flouting fashion and sexual conventions, dressing like a man and engaging in many high-profile love affairs that made her the talk of Paris.

A stroll along the neighbouring streets will reveal many neoclassical mansions built by this wave of 19th-century creative residents. On the Rue de la Rochefoucauld is the Musée Gustave Moreau, the cluttered private apartment, light-filled studio and vast gallery of the symbolist painter (1826-1898) who was influenced by the romantic artists. Modest from the outside, Moreau’s family home was transformed under his instructions into a small museum where, alongside personal furnishings and objects, are thousands of paintings, watercolours and drawings that cover the walls and give an insight into his works and influences; up the elegant, wrought-iron spiral staircase is his fantasy realm, a hypnotic feast of Greek mythology, mystical beasts and biblical scenes.

Romanticism was characterised by a glorification of nature, and a unique environment that celebrates the natural world in all its beauty is the Deyrolle shop-cum-museum. Founded by the entomologist

Photographs (clockwise from top left) © Musée de la Vie Romantique/D.Messina/Roger-Viollet, © Paris Tourist Office/Amélie Dupont, © Musee Gustave Moreau RMN-GP/ Adrien Didierjean/Franck Raux, (opposite, clockwise from top)© Paris Tourist Office/Marc Bertrand/Amélie Dupont, © Deyrolle/Marc Dantan

Left to right: The courtyard garden of the Musée de la Vie Romantique; a portrait of George Sand by Auguste Charpentier – the novelist earned as much notoriety for her bohemian lifestyle as her writing; the house museum is devoted to the work of painter Ary Scheffer, Sand and other mementoes of the Romantic era

07/12/2016 14:27

Travel Jean-Baptiste Deyrolle in 1831, and continued by his son Achille and grandson Emile in turn, it has occupied its current premises since 1881.

Presented like a cabinet of curiosities and retaining the 19th-century décor, the store grew in an era when the study of natural history was at its zenith, developing from a business based on the sale of insects and hunting equipment to intrepid explorers and collectors, into a magical environment of discovery. Alongside antique wooden display cases, bell jars and specimen drawers filled with hundreds of insect and butterfly species, or plates of antique botanical illustrations, is a captivating exhibit of exotic taxidermy of all shapes and sizes – expect to find tigers and lions striking a pose beside grizzly bears, zebras, baboons and peacocks. Understandably, such a temple to 19th-century exploration has attracted attention from famous names in the world of film and fashion, among them Louis Vuitton, Woody Allen and Wes Anderson.

Equally as atmospheric, and conjuring up images of gentlemen in top hats and ladies in corset and bustle dress, are the glass-roofed shopping galleries dating from the early 1800s. Les Passages Couverts sprung up as social centres for the new bourgeoisie that appeared riding on the coattails of the French Revolution, as places to shop, dine, rendezvous with lovers - or have one’s shoes cleaned of animal droppings at a salon de décrottage. Each of the surviving passages has its own distinctive character: from Galerie Vivienne, built in 1823 with a neoclassical mosaic tiled floor, complete with an original 19th-century antique bookstore, Librairie Jousseaume, alongside an eclectic mix of boutiques and tea rooms; the avantgarde architectural details and fish bone design glass and steel roof of Passage Verdeau, where you can browse antiques and collectibles; or Passage du Grand-Cerf, originally housing craftspeople, where you can still discover craft shops alongside interiors boutiques.

This is only to scratch the surface of reminders of this fascinating époque in the city’s history. As Victor Hugo wrote: ‘He who contemplates the depths of Paris is seized with vertigo. Nothing is more fantastic. Nothing is more tragic. Nothing is more sublime.’

Les Passages Couverts sprung up as social centres for the new bourgeoisie... as places to shop, dine, rendezvous with lovers

Right and below: Entrances to two of the beautiful 19thcentury passages couverts, of which 20 remain Bottom: Most of the taxidermy animals on display at Deyrolle ‘Living Heritage Company’ died from natural causes, old age or illness – the fascinating shop-cum-museum is a lure for naturalists and artists

Contact details MAISON DE VICTOR HUGO - open Tuesdays to Sundays, 10am-6pm.

6 place des Vosges, 75004 Paris. maisonsvictorhugo.paris.fr/en MUSÉE DE LA VIE ROMANTIQUE - open March to October. 16 rue Chaptal, 75009 Paris. parismusees.paris.fr DEYROLLE - open Monday to Saturday, 10am-7pm. 46, Rue du Bac, 75007 Paris. deyrolle.com MUSÉE GUSTAVE MOREAU - open Wednesday to Monday, 10am-5.15pm.

14 Rue de la Rochefoucauld, 75009, Paris. en.musee-moreau.fr LES PASSAGES COUVERT – for more details, visit passagesetgaleries.org and parisinfo.com

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BIFOLD DOORS AND ROOF LANTERNS ADD THE WOW FACTOR Allow natural light to flood into your new room with a contemporary aluminium roof lantern or bifold door from our range complete with solar control double glazing. Standard and bespoke sizes available at affordable prices.

Add the WOW factor to your home extension or self-build.

01621 834123 sales@foldingdoors2u.co.uk www.foldingdoors2u.co.uk PL-113-160.indd 158

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09/12/2016 09:25

28/04/2016 15:00

Next Month

Don’t miss the next issue of

PERIODLIVING Photographs Leigh Clapp, Douglas Gibb, Tommy Durath/House of Pictures, Penny Wincer, Emma Lewis/Narratives, Malcolm Menzies

OUT 26 JANUARY

Stunning real period homes l Plant a rose garden l Spring green decorating l Ideas for small spaces l Lighting design l

Period Living 157

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100% water blown traditional insulation materials and moreIcynene modern Whileand all contains materials of equal thermal resistance no toxic chemicals like HFCs, CFCs or the effectiveness of some insulations perform identically under laboratory conditions the same is not true in real life; HCFCs. Remaining soft and flexible, Icynene materials diminishes over time. Installing Icynene ensures no loss of performance. accommodates any normal expansion, contraction or movement within a building. So whether you plan to build,like renovate or extend, Icynene is 100% water blown, containing no toxic chemicals HFC’s, CFC’s or HCFC’s. Remaining soft and the Icynene Insulation System will deliver the within a building. So whether you flexible Icynene accommodates any normal expansion, contraction or movement performance you can count on for a lifetime of plan to build, renovate or extend the Icynene Insulation System will deliver the performance you can count on for a savings and comfort.

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STOCKISTS

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Absolute Flooring 01726 860006 absoluteflooringsw.com Aga 0845 712 5207 agaliving.com Albion 01255 831605 albionbathco.com Alexander & Pearl 020 8508 0411 alexanderandpearl.co.uk Alternative Flooring 01264 335111 alternativeflooring.com Amelia Carter 020 7371 9179 ameliacarter.com Amtico 0121 222 8327 amtico.com Angel & Boho 0845 200 0723 angelandboho.com Annie Sloan 01865 713089 anniesloan.co.uk Anta 01862 832477 anta.co.uk Anthropologie 00800 0026 8476 anthropologie.com Antiques by Design 01245 222771 antiquesbydesign.co.uk Arlo & Jacob 0333 122 1537 arloandjacob.com Armstrong Jordan 01279 731220 armstrongjordan.co.uk Aston Matthews 020 7226 7220 astonmatthews.co.uk Balmain & Balmain 01672 870414 balmainandbalmain.com Barker & Stonehouse 0333 920 1040 barkerandstonehouse.co.uk Barnsdale Gardens 01572 813200 barnsdalegardens.co.uk BC Designs 01206 827100 bcdesigns.co.uk Bedeck 0333 200 7331 bedeckhome.com Ben Pentreath 020 7430 2526 benpentreath.com Benjamin Moore 01753 575756 benjaminmoorepaint.co.uk Bill Bradshaw 07957 195699 billbradshaw.co.uk Black Bough 01584 877948 blackbough.co.uk Boboboom boboboom.com Bristol Marble & Granite Company 0117 965 6565 bristolmarbleandgranite.com British Standard 020 7870 7688 britishstandardcupboards.co.uk Broughtons 0116 234 1888 broughtons.com Brush 64 01722 711895 brush64.co.uk Burford 01993 823117 burford.co.uk Burlington 01293 586367 burlingtonbathrooms.com Carlton Books 020 7612 0431 carltonbooks.co.uk Cassandra Ellis cassandraellis.co.uk The Cast Iron Bath Company 01723 585896 castironbath.co.uk Catchpole & Rye 020 7351 0940 catchpoleandrye.com Chadder & Co 01342 823243 chadder.com Chalon 01458 254600 chalon.com Charnwood 01983 537777 charnwood.com Churchwood 01298 872422 churchwood.co.uk Clearview Stoves 01588 650123 clearviewstoves.com The Contemporary Home 0845 130 8229 tch.net Cornish Lime 01208 79779 cornishlime.co.uk Cox & Cox 0330 333 2123 coxandcox.co.uk Cox London 020 8885 1765 coxlondon.com Crabtree & Evelyn 0843 289 6560 crabtree-evelyn.co.uk Creative Tops 01536 207710 creative-tops.com

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Cue & Co 020 7731 4728 cueandco.com Där Lighting darlighting.co.uk David Lay 01736 361414 davidlay.co.uk David Little 01458 259322 dlltd.co.uk Decorative Country Living 01400 273632 decorativecountryliving.com Devol 01509 261000 devolkitchens.co.uk Dickinson’s Period House Shop 01584 877276 periodhouseshops.com Doulas Watson Studio 01491 629960 douglaswatsonstudio.com Dulux 0333 222 7171 dulux.co.uk Duresta 0115 973 7000 duresta.com Edmonson Interiors 01580 212934 edmondsoninteriors.co.uk Emma Bridgewater 01782 407733 emmabridgewater.co.uk Emma Dolan 01584 877200 emmadolan.co.uk Fabrics & Papers 01273 495500 fabricsandpapers.com Farrow & Ball 01202 876141 farrow-ball.com Feather & Black 01243 380600 featherandblack.com Fired Earth 0845 366 0400 firedearth.com Floor Story 020 7871 3013 floorstory.co.uk Franke 0161 436 6280 franke.co.uk The French House 020 7371 7573 thefrenchhouse.co.uk Frette frette.com The Future Kept thefuturekept.com George Home 0800 952 0101 george.com George Smith 020 7384 1004 georgesmith.co.uk Georgia Lacey 01892 516850 georgialacey.co.uk GP & J Baker 020 7351 7760 gpjbaker.com Graham & Green 01225 418200 grahamandgreen.co.uk Gustavian 020 7060 2680 gustavian.com Harris & Jones 01908 587858 harrisandjones.co.uk Harvey Maria 0845 680 1231 harveymaria.com Havwoods International 01524 737000 havwoods.co.uk Heathcote & Ivory 020 7483 8383 heathcote-ivory.com Helge Leiberg helgeleiberg.de Historic Royal Palaces 020 3166 6848 historicroyalpalaces.com Historic Royal Palaces Shop historicroyalpalaces.com Homebase 0345 077 8888 homebase.co.uk Homesense 01923 473561 homesense.com Hot Water Association hotwater.org.uk House of Fraser 0345 602 1073 houseoffraser.co.uk India Jane 020 8799 7152 indiajane.co.uk Interiors 1900 0333 00 333 08 interiors1900.com Jan Constantine 01270 821194 janconstantine.com JD Williams 0871 231 2000 jdwilliams.co.uk John Lewis of Hungerford 0700 278 4726 john-lewis.co.uk John Sankey 0115 946 2121 johnsankey.co.uk Jono Smart jonosmart.co.uk Joules 0345 250 7160 joules.com

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La Maison Chic 0800 133 7828 la-maison-chic.co.uk Lacanche 01202 733011 lacanche.co.uk LaFleure 01458 253209 Lapicida 020 3012 1000 lapicida.com Le Creuset lecreuset.co.uk Lewis & Wood 01453 878517 lewisandwood.co.uk Linley 020 7730 7300 davidlinley.com Listed Property Show 01795 844939 lpoc.co.uk Little Greene 0845 880 5855 littlegreene.com Loaf 0845 468 0698 loaf.com Loro Piana loropiana.com Louise Bradley 020 7589 1442 louisebradley.co.uk Maitland & Poate 07801 055330 maitlandandpoate.com Marianna Kennedy 020 7375 2757 mariannakennedy.com Marks & Spencer 0333 014 8555 marksandspencer.com Markstone Granite 01566 784289 markstonegranite.co.uk Martin Moore 0845 180 0015 martinmoore.com 0845 180 0015 Matthew Cox 01780 481092 matthewcox.com MiaFleur 0116 298 6393 miafleur.com Midelney Manor 01458 252377 midelneymanor.co.uk Midelwood 01460 259110 midelwood.com Mineheart 0845 467 4580 mineheart.com Moon 01943 873181 moons.co.uk Morris & Co 0844 543 9500 william-morris.co.uk Multiyork 0333 358 3567 multiyork.co.uk My Furniture 0845 309 6356 my-furniture.com Mylands 020 8670 9161 mylands.co.uk Neil McKay 0333 014 7459 nmac1968@yahoo.co.uk Neptune 01793 427450 neptune.com Newgate 01691 679994 newgateclocks.com Nina Campbell 020 7255 1011 ninacampbell.com Noms de Claire 01494 713262 nomsdeclaire.co.uk/names.htm Ocean Lighting 01642 245066 oceanlighting.co.uk Oka 0844 815 7380 oka.com Old Creamery 01935 410500 oldcreameryfurniture.com Oliver Bonas 020 8974 0110 oliverbonas.com One World Trading Co 020 8974 2211 one.world Original BTC 020 7351 2130 originalbtc.com Osborne & Little 020 8812 3000 osborneandlittle.com Pad Lifestyle 0131 225 9012 padlifestyle.com Papilio 01373 466713 wearepapilio.co.uk Parker Knoll 01773 604121 parkerknoll.co.uk Perch & Parrow 020 8629 1166 perchandparrow.com Phaidon phaidon.com Philippe Hurel 020 7373 1133 philippe-hurel.com Piet Hein Eek pietheineek.nl Pilgrim Antiques 01404 41219 Potter & Rest potterandrest.co.uk Princeton Architectural Press papress.com Ragged Rose 01622 812897 raggedrose.com Raj Tent Club 020 7820 0010 rajtentclub.com

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Red Candy 0121 224 7728 redcandy.co.uk Rencraft 01732 762682 rencraft.co.uk Retrouvius 020 8960 6060 retrouvius.com Robin Clarke 01568 760272 robinclarkewindsorchairs.co.uk Rockett St George 01444 253391 rockettstgeorge.co.uk Rose Uniacke 020 7730 7050 roseuniacke.com Rosie Brewer rosiebrewer.com Ryan McElhinney ryanmcelhinney.co.uk Sanderson 0844 543 9500 sanderson-uk.com Sequana 020 7352 9977 tissusdhelene.co.uk Shiver Me Timbers 01736 711338 shivermetimberscornwall.co.uk The Shutter Store 0800 074 7321 shutters.co.uk Smallbone of Devizes 020 7589 5998 smallbone.co.uk Smeg 0344 557 9907 smeguk.com Smiths Briten 0845 634 4321 purebathroomcollection.co.uk Sofa Workshop 0808 252 7759 sofaworkshop.com Sofa.com 0345 400 2222 sofa.com Sofas by Saxon 01204 368413 sofasbysaxon.com Sophie Allport 01778 560256 sophieallport.com Sophie Conran 020 7603 1522 sophieconran.com Sthål sthal.se Sunbury Antiques Market 01932 230946 sunburyantiques.com Surface View 0118 922 1327 surfaceview.co.uk Tetrad 01772 792936 tetrad.co.uk Timber Press timberpress.co.uk Timothy Oulton timothyoulton.com Timothy Richards 01225 311499 timothyrichards.com Tinsmiths 01531 632083 tinsmiths.co.uk Tom Howley 0161 848 1200 tomhowley.co.uk Traditional Flagstones 07971 693594 traditonalflagstones.co.uk UK Glass Designs 0117 914 9304 ukglassdesigns.co.uk V&V Reclamation 01992 550941 vandv.co.uk Vanessa Arbuthnott 01285 831437 vanessaarbuthnott.co.uk Victoria + Albert 020 7351 4378 vandabaths.com The Vintage Furniture Flea judysvintagefair.co.uk Vita Copenhagen vitacopenhagen.com Waitrose Garden 01344 578 811 waitrosegarden.com The Water Monopoly 020 7624 2636 thewatermonopoly.com Watts Gallery 01483 810235 wattsgallery.org.uk Waxed Floors 020 7738 1620 waxedfloors.co.uk Wayfair wayfair.co.uk We Love Cushions welovecushions.co.uk Wellington Tiles 01823 667242 wellingtontile-online.co.uk Wesley-Barrell 01993 893111 wesley-barrell.co.uk West Elm 0800 404 9780 westelm.co.uk Wild & Wolf 01225 789909 wildandwolf.com Wild at Heart 020 7727 3095 wildatheart.com William Holland 01305 251930 williamholland.com Willow & Hall 0845 468 0577 willowandhall.co.uk Window Film Company 01494 854153 windowfilmcompany.co.uk Wye Valley Reclamation 01432 353606 warehouse701.co.uk

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07/12/2016 17:33

MARKETPLACE Looking for a perfect period-style furnishings, fixtures and finishes for your decorating or renovation project? You’ll find everything you need right here. To book advertising space call Emma Farrington on 020 7970 4421 or email emma.farrington@centaurmedia.com

MARSHALL ALPHA MARSHALL

NOW ELECTRIC

MARSHALL

ALPHA - NOW ELECTRIC Still also available oil, wood &MARSHALL multiONE fuel

MARSHALL ONE ALPHA - NOW ELECTRIC Probably the most beautiful 3 oven electric cooker in the world.

Probably the most beautiful 3 oven electric cooker in the world.

summer when you do not want a hot kitchen.

summer when you do not want a hot kitchen.

Probably the most beautiful 3 oven electric cooker in the world. Also available, to stand alongside the Also available, to stand alongside the Marshall Also available, to stand alongside the Marshall Marshall cooker, is the electric mini cooker for use in the summer when cooker, you do not want a hot kitchen. cooker, is the electric mini cooker for use in the is the electric mini cooker for use in the Special price £4,900 plus delivery

Special price £4,900 plus delivery

Also available Oil & Woodfired.

Also available Oil & Woodfired.

Please contact Tel No. 01332 833000 for brochures

Please contact Tel No. 01332 833000 for brochures

www.sandyford.co.uk www.marshallcookers.co.uk

www.sandyford.co.uk www.marshallcookers.co.uk

(A division of Sandyford Cookers)

(A division of Sandyford Cookers)

Please contact Tel No. 01332 833000 for brochures (A division of Sandyford Cookers)

www.sandyford.co.uk www.marshallcookers.co.uk

Category guide

Showcase p164 Antique Fairs & Auctions p162 Animal Housing p171 Architectural Salvage p166 Bathrooms p173 Bedrooms p168

Building Services p172 Fabric p172 Fixtures & Fittings p170 Flooring p174 Heating p172 Kitchens p175 Lighting p169 Rugs & Carpets p174 Period Living 161

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PERIOD LIVING’S GUIDE TO

ANTIQUE CENTRES, FAIRS & AUCTIONS All the events in the antiques world worth knowing about. To include a listing, call Emma Farrington on 020 7970 4421 or email emma.farrington@centaurmedia.com

1 Antiques and Home Show

Lincolnshire Showground, Grange-de-Lings, Lincoln, LN2 2NA With thousands of international stalls selling the most beautiful antiques, jewellery, furniture, reclamation items, French linens, vintage clothing and accessories. The world famous Lincolnshire Antiques and Home Show is the largest in Europe and attracts thousands of buyers and sellers from all over the world.

Monday 30 & Tuesday 31 January Monday 27 & Tuesday 28 March asfairs.com 01298 27493

2 Newark - International Antiques & Collectors Fair Newark & Nottinghamshire Showground, Newark, Nottinghamshire NG24 2NY

Europe’s largest antiques event features an unrivalled product choice. Literally everything from bed knobs to broomsticks!

Thursday 2nd & Friday 3rd February Thursday 30th & Friday 31st March iacf.co.uk 01636 702326

3 Sandown Park - Antiques & Collectors Market

Sandown Park Racecourse, Esher, Surrey, KT10 9AJ Shop at the Sandown Park Tuesday market for a really great mix of goods. An admission FREE event, car parking is £5 per vehicle. Free minibus shuttle from Esher Rail Station from 8.30am until 2.30pm.

1 Lincolnshire Antiques and Home Show 12. Pavilions of Harrogate Antiques & Fine Art Fair 8 Stafford Bingley Hall Antiques Fair

9 Midland Furniture Auctions

2 Newark International Antiques & Collectors Fair Nottinghamshire 6. Continuity Fairs Antique Home & Vintage Shows - South London 7. Alexandra Palace London 11. Detling Antiques, Vintage & Collectors Fair Maidstone 5. Wellers of Guildford Surrey

10 Shepton Mallet Antiques, Vintage & Collectors Fair Somerset

6. Continuity Fairs Antique Home & Vintage Shows - Exeter, Devon

Tuesday 7th February Tuesday 4th April

3 Sandown Park Antiques & Collectors Market Surrey

4 Ardingly International Antiques & Collectors Fair West Sussex

iacf.co.uk 01636 702326

4 Ardingly - International Antiques & Collectors Fair

South of England Showground, Ardingly, West Sussex RH17 6TL From decorative collectables to kichenware and baths! You’ll discover all you could need for your interiors at this mid-week fair.

Tuesday 17th & Wednesday 18th January Tuesday 7th & Wednesday 8th March iacf.co.uk 01636 702326

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5. Wellers of Guildford

Bedford Road, Guildford, Surrey GU1 4SJ Guildford’s premier auction house specialising in general trade & retail products every Tuesday. Our monthly Jewellery & Collectables auction includes an eclectic selection of products, ranging from antiques, rings, memorabilia and much more. To view our latest auctions please visit www.wellersofguildford.com or call 01483 802280 for more information.

• • • • •

Tuesday General Auction – 7/02/17 – Viewing From 8:00 – Starts 09:30 Tuesday General Auction – 14/02/17 – Viewing From 8:00 – Starts 09:30 Jewellery & Collectables – 16/02/17 – Viewing 15/02/17 – 09:30-16:30 – Starts 10:30 Tuesday General Auction – 21/02/17 – Viewing From 8:00 – Starts 09:30 Tuesday General Auction – 28/02/17 – Viewing From 8:00 – Starts 09:30

7 Alexandra Palace - Antiques & Collectors Fair

Alexandra Palace, Alexandra Palace Way, London N22 7AY Discover quality items at the capitals largest Sunday antiques fair. Also featuring a pop-up vintage fair and complimentary valuations from an expert.

Sunday 12th February Sunday 21st May iacf.co.uk 01636 702326

9

Midland Furniture Auctions

Midland Furniture Auctions holds one of the UK’s biggest weekly furniture auctions. Every Wednesday their salerooms are packed with the latest ranges and types of furniture.

Bidders can expect choice at great prices. Located off the M1 (J28) near Alfreton, Derbyshire.

10 Grange Close, Clover Nook Industrial Park, Alfreton, Derbyshire, DE55 4QT. Call 01773 832 555 www.mfagroup.co.uk

11 Detling Antiques, Vintage and Collectors Fair

Kent County Showground, Detling, Maidstone, England ME14 3JF Up to 400 exhibitors both indoors and out. Be part of our cosmopolitan fair in the garden of England. Featuring antiques, vintage, collectables including a flavour of the Continent. An excellent hunting ground for interiors enthusiasts, vintage aficionados and antiques & collectables connoisseurs. Saturday early entry 8.30-10am £6 10am - 4.30pm £5 Sunday 10am3.30pm £4. Dogs are allowed providing they are kept on a lead.

Saturday 14 & Sunday 15 January

6 Continuity Fairs Present Antique Home & Vintage Shows

7th February 2017 - Epsom Racecourse, South London KT18 5LP £3 (No early entry) Accompanied children, under 16 free - Bargain Hunt filming this venue

For futher information call 01584 873 634 /077013 558 600

11th & 12th February - West Point Exeter, Devon With up to 400 stands 8.30am - 10am (early entry) £10 10am onwards £5 Bring this advert along for 2 for 1 entry special

8 Stafford Bingley Hall Antiques Fair

Bingley Hall - County showground (A518), 5 mins from J14,M6.

Giant 3 day Quality Antiques Fairs.

Over 300 standholders. Large indoor venue with ample free parking, bar and refreshments, wheelchair access and onsite cash machine. Open to trade 8.30am Friday Open to Public 10am - 5pm. Entry fee for 2016 Stafford prices are £5 adults £4 concessions and early trade is £7 at 8.30 am Friday only 3rd, 4th and 5th February 10th, 11th and 12th March Tel. 01274 588 505

10 Shepton Mallet Antiques,Vintage & Collectors Fair

Royal Bath & West Showground, Shepton Mallet, Somerset, BA4 6QN Shop to your hearts content at this fabulous weekend fair in the West Country. Bursting with quality antique and vintage items.

Friday 13th to Sunday 15th January Friday 10th to Sunday 12th March iacf.co.uk 01636 702326

12 Pavilions of Harrogate Antiques & Fine Art Fair The Pavilions of Harrogate, Railway Road, Harrogate, North Yorkshire Antiques and Fine Art Fair.

Admission £5.

Open: Friday, Saturday and Sunday 11am - 5pm.

Friday 27 January 2017 Premium listing - http://www.cooperevents.com/harrogate Cooper Antiques Fairs - 01278 784 912

B2B Events - 07774 147 197

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Showcase Coromandel

Exquisite Coromandel Crewel Embroidered Fabrics As supplied to the National Trust 0118 979 6222 www.coromandel.co.uk

SHAWS EDGWORTH FIRECLAY SINK

This extra large, heavyweight Edgworth 1.5 bowl fireclay sink from Shaws is plain fronted, distinctly designed and handcrafted in England. The sink, with softly curved corners has an offset dividing wall and dimensions of 997x470x255mm. The Edgworth has a 3½” waste outlet in each sink, suitable for basket strainer or waste disposal and is available in white and biscuit finishes with a durable glaze which is cool to the touch. A Shaws sink is a sink of substance, adding personality to any kitchen.

Visit www.shawsofdarwen.com to view the complete range of sinks and taps.

Shaws of Darwen Tel: 01254 775111 Fax: 01254 873462

Bromleighs offer an extensive range of switches and electrical accessories to suit both period and contemporary interiors. Their Forged and Profile Collections are hand-made at their workshop in Cornwall, using inserts manufactured here in the UK. The Hardwood, Bakelite and Period Switch collections are made with British Oak which is hand-stained and waxed. Recent installations include a Chateau in France and the extensive refurbishment of an Irish Castle. Bromleighs also offer a wide range of interior and exterior lighting and architectural hardware. For a current brochure or further information, please call the team on 01208 79490 or www.bromleighs.com

Sandyford Ecomatic Gemini

It doesn’t matter how good a stove you have if you have a short chimney below the roofline or stove in a single story building, you are exposed to wind, surrounded by trees or in an area of low pressure and thermal disturbance you will be subject to downdraft. For chimney pots or twin wall flues, FlueCube the (patented) clever chimney cowl improves stoves burning efficiency, stops downdraft and reduces carbon.It achieves this by creating a positive draw through the flue system stabilizing the burn with in the stove and thus enabling the stove to perform (burn) at much greater efficiency consuming a larger amount of carbon then would previously be possible.

It has no moving parts and is British made call 01580 715870. www.fluecube.co.uk

WINDOWS - BACK TO THE FUTURE Windows have a fascinating history and Crittall’s new HomelightPlus residential window shows just how far they’ve evolved.

This 21st Century enhanced version of its successful Homelight window first made during the 1920s brings new-look styling/window profiling, higher energy-savings, performance, robust security.

Visit www.crittall-windows.co.uk T: 01376 530800 E: hq@crittall-windows.co.uk

• • • • • • • •

Dual Fire Electric and Woodfired 5 ovens 3 ovens woodfired with 2 hotspots 2 ovens electric with 1 hotspot 200 degrees from cold within 20 mins with very little wood Fitted with rotoair system complete with afterburner The only woodfired/electric cooker available (in one piece) British designed and lovingly put together in our modern workshop Please contact 01332 833000 for brochures

www.sandyford.co.uk www.marshallcookers.co.uk www.woodcooker.co.uk

Live a charmed life afloat!

Our beautiful, traditional 29 metre Dutch barge is FOR SALE. Fully furnished and equipped for summer cruising in Europe and all-year-round living (winter mooring booked Bruges 2016/17).

Stylish, period home: four cosy double cabins, four bath/shower rooms. two comfortable saloons, galley, and spacious deck.

New adventures beckon?

Full details: www.barge-chouette.com

LOMAX + WOOD Lomax + Wood, the specialist supplier of made-to-order timber windows and doors, offer a full installation service designed for private home owners. With this package the company provides an initial site survey, design, supply and install service, which acts as a one-stop solution for homeowners.

Ideal for both new build and heritage work the Chelsea & Kensington range offers a coordinated collection of high performance period-style wooden windows and doors www.lomaxwood.co.uk while the Contemporary collection offers stunning Alu-clad and Tilt Turn systems.

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Architectural Antiques & Salvage Period brass door knobs – Victorian plumbing fittings- Georgian oak beams – reclaimed pine flooring – ledge and brace doors – oak front doors – hand forged iron hinges – brass door knockers – nickle letter boxes – black iron lever handles- brass bib taps – Belfast sinks – vintage enamel lights – Georgian door knobs – cabinet knobs – drawer pulls – brass curtain poles – railway benches – high level w.c. suites – Belfast sinks – reclaimed pine doors – door bolts – door – handles – rosehead nails – locks – latches – door bells – waste plug PL_Tradoak_0117.pdf 24/10/2016 14:36 and chain – butler sinks1 – brass basin taps – Suffolk latches – window fittings – radiator feet – wc flush pipes – chain pulls – brass and iron hooks – cast iron brackets – pendant lights – industrial lamp shades – Tee hinges

SEE IT ALL AT

coxsarchitectural.co.uk

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Lexicon of love

V

Feature Karen Darlow

ictorian romantics had a lot to contend with. Forbidden by the conventions of decorum to meet without a chaperone, they had to be creative in their courtship, and turned to floriography to convey messages to the object of their heart’s desire. A floral secret code burgeoned, to aid (ahem…) budding romances, with dictionaries of flowery meanings appearing – first in France and America, then in the UK, where John Ingram’s The Language of Flowers; or Flora Symbolica, was published in 1869.

You won’t be at all surprised to discover that Ingram reaffirms the age-old symbol of roses for love, or that common stinging nettles mean ‘You are spiteful’. Tread carefully, though, before offering a tussie-mussie (as these meaningful posies were known) of geraniums; they are slippery customers with numerous meanings depending on the variety, so an RHS Encyclopedia might come in handy.

A common geranium means deceit, a dark-coloured one melancholy, though if it has a horseshoe leaf it means stupidity.

You’re on safer ground with an ivy-leaved variety, a ‘bridal favour’. The nutmegscented geranium is symbolic of an ‘expected meeting’, but how on earth are you supposed to offer the lemon-scented variety in anticipation of an ‘unexpected meeting’? Perhaps the Victorians were better at predicting the future.

Roses aren’t exactly a bed of roses either. A dog rose represents both pleasure and pain, and while an English recipient of a yellow rose would understand it to

mean friendship, in Texas, where it’s the state flower, it means passionate, undying love. Ingram defines white and red roses presented together as ‘unity’. Confusingly enough, though, he also claims that the York (white) and Lancaster (red) roses combine to mean ‘war’. But let’s turn our thoughts back to love, and a flower guaranteed to make a maiden blush: the maiden-blush rose, which carries an intriguing message, ‘If you love me, you will find it out’. Promises, promises…

So now we’ve mastered the basic grammar and vocabulary, perhaps we’re ready to string a sentence together, with one or two of Ingram’s ‘floral epistles’.

Suppose you want to say ‘May maternal love protect your youth in innocence and joy’ – and let’s face it, why wouldn’t you? You’d gather together: moss – maternal love; bearded crepis or juniper – protection; primroses – youth; daisy – innocence; and wood sorrel – joy.

And rather than sending an anxious text to check tonight’s date is still a date, why not piece together this little bunch of flowery aide-memoires? Plum blossom – keep your promise; sweet pea – a meeting; convolvulus – night; and forget-me-not – do not forget. In other words, ‘Keep your promise to meet me tonight. Do not forget.’ But good luck finding the plum blossom.

A word of caution, though: steer clear of basil, as it means ‘hatred’; wild tansy, ‘I declare war against you’; and broken straws, ‘rupture of a contract’.

In the world of flowers there really is a fine line between love and hate.

Images Istock

How fluent are you in the language of flowers? Here’s how not to get your tussie-mussies in a twist

178 Period Living

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